Key Takeaways
- The Venetian art exhibition has been marred by controversy, with three artists demanding their work be removed from the inaugural exhibition.
- The artist withdrawal has sparked a heated debate about the role of politics in art and Russian connections.
- The exhibition's original vision was to bring together artists from around the world to showcase their work and promote cultural understanding.
- The controversy surrounding the artist withdrawal and Russian connections has tainted the exhibition's reputation.
- The art world is left to wonder about the reasons behind the artists' dramatic decision and the impact of Russian connections on the Venetian art exhibition.
- The Venice Biennale has a long history of showcasing art and culture, with the inaugural edition in 1895 attracting 224,000 visitors.
Artists Withdraw from Venice Exhibition Amid Controversy Over Russian Oligarch Ties
Last week, artists Reto Pulfer from Switzerland, Maryam Hoseini from Iran, and Anna Witt from Germany requested the removal of their works from the inaugural exhibition at Scuola Piccola Zattere, a nonprofit cultural space in Venice. The exhibition, titled “One Year Score: Primo Movimento,” opened on November 22 and is set to run until March 30, 2025. Three other artists—Agnieska Mastalerz from Poland and Italians Ludovica Carbotta and Tomaso De Luca—remain part of the exhibition.
Scuola Piccola Zattere was established in November by Victoria Mikhelson, the daughter of Russian billionaire Leonid Mikhelson, a close associate of Russian President Vladimir Putin and a public supporter of Russia’s ongoing war in Ukraine.
Leonid Mikhelson, who faced sanctions from the UK government in 2022, has not been directly sanctioned by the US, although several companies tied to his business operations have been. Mikhelson is the founder and chairman of Novatek, a major Russian natural gas producer that supplies gas to Russia’s Sverdlov Plant. This plant, sanctioned by the US in 2023, produces explosives and ammunition used by the Russian military in Ukraine. Mikhelson is also a key stakeholder in Sibur, a leading liquefied petroleum gas (LPG) company. Due to US sanctions, Sibur has faced challenges, including reduced LPG exports due to a shortage of gas tankers. According to the independent Russian media outlet Project, Sibur provides materials utilized in Russian military systems deployed in Ukraine.
Leonid Mikhelson handed over control of two of his companies—Nova, which specializes in constructing gas pipelines, and the logistics company Optima—to his daughter Victoria in 2018, as reported by the Russian newspaper Kommersant. Optima also owns the GES-2 House of Culture, a 585,000-square-foot contemporary art museum in Moscow, built by the V-A-C Foundation, an arts nonprofit established by Mikhelson in 2009. Optima additionally holds a 2.3 percent stake in Novatek.
Victoria informed ARTnews via email that Scuola Piccola Zattere is financed entirely through her "personal resources." However, the nonprofit occupies a building in Venice that previously housed the V-A-C Foundation. Victoria formerly served as V-A-C’s head of strategic development and research. V-A-C’s Venice operations ceased in May 2022, and its Italian director, Francesco Manacorda, resigned in protest against Russia’s invasion of Ukraine. At the time, Manacorda told Russia's TASS news agency, “Current events have drastically altered both professional and personal circumstances, leading me to the difficult conclusion that I could no longer continue with the same commitment and pride.”
Artists Reto Pulfer, Maryam Hoseini, and Anna Witt withdrew their work from the Scuola Piccola Zattere exhibition after being questioned by ARTnews about the institution’s connections to Leonid Mikhelson. Since then, all three have declined to comment. The remaining artists—Agnieska Mastalerz, Ludovica Carbotta, and Tomaso De Luca—also did not respond to requests for a statement.
Scuola Piccola Zattere Defends Its Mission and Funding Amid Artist Withdrawals
In a statement to ARTnews, Scuola Piccola Zattere explained that the artists’ decision to withdraw followed “the release of articles questioning the source of the institution’s funding.”
“Although the legitimacy of the funding has been verified and is regularly monitored by Italian authorities, and despite open communication with the artists about the governance of the institution—which has remained unchanged since the beginning of their collaboration—the media coverage led to their decision to step away,” the institution wrote in an email. “We respect their choice but are saddened that we cannot continue collaborating on a project centered on dialogue, exchange, and mutual learning—tools specifically aimed at addressing the challenges of our time. Our commitment to this initiative remains firm, as we believe it to be a legitimate, valuable, and necessary effort, especially in the current historical moment.”
When asked about her stance on the war in Ukraine, Victoria Mikhelson told ARTnews, “Scuola Piccola Zattere embodies my values entirely. I believe the most effective tools to counter the growing prevalence of violence are dialogue and the establishment of cultural contact zones. This is why I fundamentally oppose cultural boycotts, both as a concept and a strategy, as they create greater divides, misunderstanding, and mistrust—factors that exacerbate conflict. Providing a space for open exchange, discussion, and free expression is inherently humane and must always be encouraged, not stifled. Despite the challenges, my team and I have poured our hearts into making Scuola Piccola Zattere a lasting platform for cultural practitioners.”
On the matter of Scuola Piccola Zattere being financed through her personal assets, Victoria added, “These are resources I have owned since before the conflict began in 2022. My intention has been to dedicate my efforts and resources to the art field for the benefit of the city that welcomed me a decade ago—a city that holds a vital place on the cultural map.”
In 2023, reports indicated that Victoria received dividends amounting to 6.3 billion rubles (approximately $57.5 billion) from her shares in Novatek.
Scuola Piccola Zattere Advocates for Dialogue and Transparency Amid Ongoing Debates
Scuola Piccola Zattere noted that the institution’s accounts had been reviewed and approved by Italy’s financial authority, the Guardia di Finanza.
The artistic director of Scuola Piccola Zattere, Irene Calderoni—an Italian curator who also works with Turin’s Fondazione Sandretto Re Rebaudengo—has extensive experience in the art world. In 2010, Calderoni co-curated the exhibition “Modernikon: Contemporary Art from Russia” alongside Francesco Bonami in collaboration with the V-A-C Foundation. Many of the Russian artists featured in that show have since left Russia after being targeted for opposing the war in Ukraine.
“Modernikon, which took place 15 years ago, gave me the opportunity to connect with numerous Russian artists. Together, we explored the intersection of artistic practices, political challenges, and spaces for freedom,” Calderoni wrote in an email to ARTnews. “The issues we discussed back then have become even more pressing with the outbreak of the war, though they were already present at the time. What has changed is that the avenues for exchange and engagement with the outside world, which were beginning to open, have now been closed once again. I hope that this process can be revived and that opportunities for dialogue will expand instead of diminishing.”
When asked about her collaboration with Victoria Mikhelson during the ongoing conflict, Calderoni stated that she “acknowledges and respects [Victoria’s] right to self-determination” and aligns with the European Union’s position of “clear condemnation” of the war.
“I remain hopeful for a peaceful resolution to the conflict through diplomatic and dialogic means,” Calderoni added.
Francesco Manacorda, former director of V-A-C’s Venice operations and now head of Castello di Rivoli Museo d’Arte Contemporanea in Turin, commented to ARTnews that discussions surrounding Scuola Piccola Zattere should be rooted in “open and honest terms of engagement.”
“I’ve seen that Victoria has clearly expressed her opposition to all forms of violence and her intention to create a space in Venice dedicated to dialogue,” he shared in a WhatsApp message. “These are positive steps, and the transparency regarding the source of the funding (her own) is crucial for allowing individuals to make informed decisions about engaging with the project or not. At this stage, it’s more about personal choices than advocating for a widespread boycott.”
So far, there have been no significant calls for a boycott of Scuola Piccola Zattere.
Selena Mattei
| ArtMajeur Magazine