**Title: EU Commission Proposes Defunding Venice Biennale Following Russia's Pavilion Reopening**
The European Commission has formally recommended the cessation of the EU's €2 million ($2.28 million) grant to the Venice Biennale due to the reopening of Russia's pavilion. This marks Russia's return to the prestigious art festival for the first time since 2022, despite ongoing sanctions imposed by Brussels and pressure on Italian authorities to exclude the country.
The announcement was made by Henna Virkkunen, the Executive Vice-President of the European Commission for Democracy, who emphasized that cultural initiatives funded by taxpayers should promote democratic values. Virkkunen stated that Russia's actions do not align with this principle, prompting the Commission's recommendation to withdraw funding.
In early March, the Venice Biennale confirmed Russia's participation, which has sparked significant controversy amid the ongoing conflict in Ukraine and heightened tensions with the West. The Russian pavilion, one of the oldest at the Biennale, is owned by Russia, making its eviction without the Italian government’s intervention impossible.
Mikhail Shvydkoy, Russia's cultural exchange chief, announced that the pavilion would showcase over 50 young musicians, poets, and philosophers from Russia and other nations. He described the exhibition, titled “The Tree Is Rooted in the Sky,” as evidence that Russian culture remains vibrant and resilient against attempts to isolate it by Western political elites.
Russia's participation in the Biennale has provoked strong reactions from Ukraine and its allies within the EU. In a joint letter, Ukraine and 21 other EU member states urged the Biennale to reconsider its decision, arguing that allowing Russia a platform sends a troubling message. The situation escalated in April when the entire five-member international jury of the Biennale resigned in protest against the inclusion of both Russia and Israel.
In response to the Biennale's decision, Ukraine imposed sanctions on individuals associated with the Russian pavilion, while activists, including members of the banned punk group Pussy Riot, organized protests in Venice. Although the pavilion was open during the preview days, it later closed for the remainder of the event, citing the impact of EU sanctions.
Pietrangelo Buttafuoco, the President of the Biennale, defended the decision to include Russia, accusing critics of engaging in censorship and narcissism. He stated, “The Biennale is not a court; it is a garden of peace. We cannot shut it down; we cannot boycott as an automatic response. We must discuss. We may disagree, and we do so forcefully.”
The EU's recommendation to defund the Biennale has also drawn criticism from Italian Deputy Prime Minister Matteo Salvini, who described the threats against Italian cultural institutions as “truly embarrassing.”
In response to the EU's stance, Shvydkoy condemned the pressure as “disgraceful,” arguing that claims of openness to dialogue with Russia by the European establishment are insincere. He further accused Brussels of interfering in Italy's domestic affairs.
Maria Zakharova, spokeswoman for the Russian Foreign Ministry, characterized the EU's actions as a regression into “anti-culture,” a trend she claims has been evident in the West in recent years.
As the Venice Biennale continues, the debate surrounding cultural diplomacy, artistic freedom, and political tensions remains a focal point of discussion among artists, politicians, and the public alike. The future of the Biennale and its funding from the EU hangs in the balance as these conversations unfold.