At the Venice Biennale, everyone’s lining up for the toilets
At the Venice Biennale, everyone’s lining up for the toilets
At the Venice Biennale everyone s lining – The Venice Biennale 2026 opened with a flurry of controversy, from the sudden passing of its lead curator to disputes over international participation and a last-minute departure by the prize jury. Amid the chaos, one unexpected element captured the public’s imagination: a series of portable toilets that became the focal point of the art event’s inaugural week. Staged by Austrian performance artist Florentina Holzinger and curator Nora-Swantje Almes, the toilets transformed the traditional gallery space into a provocative commentary on purity, pollution, and the human condition. The exhibit, dubbed “Seaworld Venice,” was so mesmerizing that visitors queued eagerly to experience its unique blend of art and practicality.
The Controversial Pavilion
Located within the Austrian pavilion—a white cube structure first established in the Giardini della Biennale in 1934—this installation combined functionality with artistic expression. Attendees were directed to urinate into two onsite toilets, which then filtered and recycled the water into a large aquarium. Performers floated in this tank for four hours, breathing through scuba masks, while a nearby room overflowed with brown wastewater. The juxtaposition of cleanliness and filth, symbolizing the tension between human actions and ecological consequences, was the centerpiece of the exhibit.
According to Almes, the work invites viewers to reconsider the systems that govern their lives. “The show challenges the idea of purity as a standard,” she explained, emphasizing the role of patriarchal structures in shaping societal norms. The recycled water, a metaphor for the cyclical nature of environmental crises, underscored the Biennale’s commitment to addressing global issues through art. Yet, the exhibit’s surreal atmosphere also drew comparisons to the surrealism of the 1930s, blending the absurd with the profound.
International Participation and Political Tensions
The 61st edition of the Biennale was marked by political debates, particularly regarding the inclusion of Russia and Israel amid the ongoing wars in Ukraine and the Middle East. While the U.S. and Russian pavilions faced mixed reception, the Israeli building remained locked and empty, with a smaller satellite show held outside the main Giardini. Russia’s absence from the event in 2022 and 2024, following its invasion of Ukraine, was reversed this year after organizers approved its return. This decision sparked fierce criticism, with the European Commission threatening to withdraw a $2 million grant unless Russia’s participation was rescinded by May 11.
During the preview days, the Austrian pavilion was a magnet for visitors, contrasting sharply with the quiet of the U.S. and Russian spaces. The U.S. pavilion, which featured the sculptures of Alma Allen, seemed to lack the same buzz, despite the prominence of its artist. Organizers of the American exhibit faced scrutiny for their disorganized selection process, which left some questioning the quality of the presentation. However, once open, the space revealed its historical legacy, having showcased works by iconic figures like Louise Bourgeois and Jasper Johns, and more recently, the acclaimed Simone Leigh.
Leigh, who won the Golden Lion prize in 2022 after becoming the first Black woman to represent the United States at the Biennale, was a highlight of the 2026 edition. Her absence from the Austrian pavilion’s center stage was notable, yet her presence in the U.S. space added depth to the narrative of American artistry. Meanwhile, the Russian pavilion’s inclusion stirred protests, including a brief but energetic demonstration led by Pussy Riot and the Ukrainian feminist group FEMEN. Their efforts highlighted the ideological divides shaping the event, turning the Biennale into a stage for political discourse as much as artistic innovation.
Other Notable Exhibitions
While the Austrian pavilion dominated headlines, the Biennale’s official venues—the Giardini and the Arsenale—offered a diverse array of experiences. The Giardini, a historic site for national pavilions, was abuzz with activity, but the Arsenale, a sprawling industrial complex, provided a different atmosphere. In the Gallerie dell’Accademia, a museum bordering the Grand Canal, a separate exhibition by Marina Abramović titled “Transforming Energy” drew visitors into a meditative experience. The interactive show, led by young facilitators in white coats, encouraged participants to slow down and engage with the art in a deeply personal way.
Outside the main venues, Venice itself became a cultural hub, with events and installations spilling into the city’s historic streets. The floating city transformed into a living canvas, where the Biennale’s themes of transformation and impermanence resonated with the surrounding environment. While some pavilions drew large crowds, others remained underwhelming, creating a curious contrast. The Israeli exhibit, for instance, was left unoccupied, raising questions about its relevance in the current geopolitical climate. Yet, this absence did not detract from the overall vibrancy of the event, which continued to challenge visitors with its eclectic mix of art, activism, and spectacle.
The Biennale’s opening week was a testament to the power of unconventional art. Portable toilets, once mere necessities, became symbols of a deeper conversation about humanity’s relationship with nature. The “Seaworld Venice” installation, with its aquatic elements and performers navigating the water, evoked imagery of a post-apocalyptic world where survival is both a struggle and a triumph. While some critics questioned the effectiveness of the exhibit, its popularity underscored its success in engaging audiences in a novel way.
As the Biennale enters its second half, the initial frenzy of interest may give way to a more measured appreciation of the art. Over the next six months, more than half a million visitors are expected to explore the works of 100 artists across 31 permanent pavilions and other exhibition spaces. The event’s ability to blend controversy with creativity ensures that it remains a defining moment in the art world. Whether through the recycled waters of the Austrian pavilion or the quiet introspection of Abramović’s performance, the 2026 Biennale has already left an indelible mark.
Throughout the week, the atmosphere in Venice shifted from the clamor of the opening days to a more reflective tone. The Giardini and Arsenale, once overshadowed by the Austrian exhibit, began to showcase their own strengths. While the portable toilets stole the spotlight, the broader scope of the Biennale—its political significance, artistic diversity, and cultural resonance—remained undeniable. For many, the event was a reminder of art’s ability to provoke, challenge, and unite, even in the face of division and uncertainty.
CNN’s Fiona Sinclair Scott reported on the unfolding drama, highlighting the Biennale’s role as both a celebration and a battleground for contemporary ideas. The portable toilets, though seemingly mundane, became a powerful metaphor for the event’s core themes. As visitors moved through the galleries, they encountered a world where the line between art and life blurred, and where every exhibit, no matter how small, had the potential to redefine meaning.
