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Venezia ✨ La Biennale d’Arte 2026

In Minor keys, by Koyo Kouoh
The music continues.

Otobong Nkanga, Nigeria
Wrapped the four columns and beautiful meditative garden

Sohrab Hura, India
Scenes drawn from quotidian life but also from the world of politics. Sense and nonsense collide. His pastel are like snapshots with annotations on the wall like an open diary.

Vera Tamari, Palestine
The materiality of her canvas is very interesting; stitched fabric, collage, tulle.

#biennale #contemporary #koyokouho #art #venicebiennale

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في موسم قطاف الزيتون، نرى بأعيننا المستوطنين وهم يقتحمون مدننا وقرانا، ونسمع عن اعتداءاتهم في الأخبار، وتصلنا صورها ومقاطعها من مكان إلى آخر: يهاجمون أهلنا، ويقتلعون أشجار زيتوننا، ويرفعون لافتات تقول إنّ "لا مستقبل في فلسطين"، وإنّ وجودنا في أرضنا مؤقّت.

وفي مواجهة هذه الصور، يحضر الزيتون في الفنّ الفلسطيني واقفًا، شاهدًا على زمن أطول من عمر الاستعمار. شجر عاش قبله وسيعيش بعده، تعاقبت على أرضه احتلالات، وقامت إمبراطوريّات ثمّ رحلت، وبقي الزيتون وبقي أهله. وفي جذوره الضاربة في عمق الأرض ما يكفي ليقول إنّ الزمن أطول من الاحتلال، وإنّ أصحاب الأرض أبقى من كلّ محاولات اقتلاعهم.

فيرا تماري، شجرة زيتون جديدة (1)، 2015.
كولاج وألوان مائيّة ووسائط متعدّدة على ورق، 27 × 34 سم.
مجموعة مؤسّسة دلّول للفنون.

As the olive harvest comes round again, Israeli settlers storm our towns and villages. Reports, images, and videos keep coming in from one place after another: they attack our people, uproot our olive trees, and put up signs declaring that there is “No future in Palestine”, a message that our presence on our land is only temporary.

Against all these images, the olive tree stands in Palestinian art, a witness to a history that predates colonialism and will outlast it. These trees were here before and will remain after. Occupations have come and gone, empires risen and fallen. The olive trees remain, and so do we, the people of these olive groves. Their roots, deep in the earth, remind us that time outlasts occupation, and that the people of this land remain rooted in the face of all attempts at uprooting.

Vera Tamari, New Olive Tree (1), 2015.
Collage, watercolours and mixed media on paper, 27 × 34 cm.
Dalloul Art Foundation Collection.

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“Then the mother comes: she doesn’t judge, she looks at you with her embrace, with the eye of love and compassion. In that embrace, another gaze opens, not a pathos, but a quiet refuge, for the human capacity to shed a tear.”

When things get difficult, we often turn to our mother… or our father. With Minor Keys as its central theme, this year’s Venice Biennale saw artists turning towards intimate stories. Not grand narratives, nor sharply drawn lines. Instead, in response to these extraordinarily difficult geopolitical times, artists often turned towards parenthood, reproduction and Mother Earth. And, in keeping with this, fertility — both in the sense of human reproduction and the sowing of crops. Kudos to @linebraedder ’s recently concluded exhibition in Vejle for anticipating this connection.

In a way, my own trip to Venice was an escapist getaway from motherhood for two days. But it was wonderful to be confronted with the power of love, nurture and care — as something that binds the world together.

And yet, as @carolinenymarkz also pointed out during our trip, there is something deeply problematic about the expectation that mothers should save everything. Clean up after the naughty children. Smooth things over after the grumpy father. The idealisation of motherhood can also be dangerous in an era of tradwives, where tradition and the nuclear family become extensions of a particular political agenda.

Now I am in the airport, and I can’t wait to smell my daughters’ hair and kiss their tiny cheeks.

1) Tabita Rezaire 2) Edouard Duval-Carrié 3+16) Ei Arakawa-Nash 4) Josephine Alacu 5) Lydia Ouhramane 6) Tuan Andrew Nguyen 7) Sohrab Hura 8) Sung Tieu 9) Nina Katchadourian 10)Buhlebezwe Siwani 11) Wangechi Mutu 12) Chiara Camoni 13) Vera Tamari 14) Maja Malou Lyse 15) quote Pedja Djaković

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The RASAM newsletter is now live. Edition 01: Our Guide to the Venice Biennale

Subscribe at rasam.art or via the link in bio to read about exhibitions that inspire us, artists to watch, market insights, collecting perspectives, and the cultural moments shaping our world.

Photography: @gazellastudio
Artists: @danaawartanistudio @lubaina.himid @aminaagueznay tamari_vera @schoukairhala #walidraad @thekaderattia
Curators: @ese_onojeruo @antoniamcarver @meriemberrrada

#BiennaleArte2026 #InMinorKeys #ArtConsultancy #ArtAdvisory

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⁨ ⁨ يستضيف البيت الأزرق ضمن
برنامج “في ذكرى خالد شومان” أعمالًا فنية مُنتقاة من مجموعة خالد شومان الخاصة للفنانين أكرم زعتري، ليلى الشوا، عريب طوقان، معتز نصر، فيرا تماري.

يمكنكم الإطلاع على الأعمال عن قرب في دارة الفنون من الساعة 10 صباحًا حتى 7 مساءً، أيام السبت إلى الخميس حتى نهاية تشرين الأول.

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Selected works from the Khalid Shoman Collection are on view in The Blue House as part of ‘In Remembrance of Khalid Shoman’.

Works by artists Akram Zaatari, Laila Shawa, Oraib Toukan, Moataz Nasr and Vera Tamari are currently on display.

You can view these works at Darat al Funun, every Saturday-Thursday, between 10 AM - 7 PM until 31 October.⁩⁩⁩

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VERA TAMARI

artista palestinese residente a Ramallah.

#Closeup
Stitched fabric collage, ink, crayon

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Vera Tamari

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Gaza, 2 May 1980.

From Palestinian Visual Art in the Occupied Territory, by Nabil Anani and Issam Bader, published by Gallery 79, #Ramallah, 1984.

On 2 May 1980, a group of Palestinian artists gathered in Gaza to discuss a question that extended beyond their individual practices: how could artists organise, support one another, and sustain a cultural movement under occupation?

The meeting led to the formation of a preparatory committee tasked with laying the foundations for an artists' association. Among its members was Sliman Mansour, alongside Issam Bader, Ibrahim Saba, Khalil al-Dahdah, and Ismail Ashour.

The discussions addressed not only the structure of the proposed association, but also the conditions facing Palestinian artists and their ability to continue producing and exhibiting their work.

A subsequent meeting on 20 June brought together 23 artists and elected a new administrative body that included Sliman Mansour ( @sliman.mansour) and Nabil Anani ( @na.anani), alongside Issam Bader ( @issam.bader1948), Khalil al-Dahdah, Vera Tamari ( @tamari_vera), Amal al-Rishq and Kamel al-Mughanni.

These photographs preserve a remarkable moment: artists who would become central figures in Palestinian art history sitting together, discussing not simply their own work, but the collective future of Palestinian art.

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فلسطين في العالم: معارض يمكنك زيارتها في شهر أيلول.

Palestine around the World
Exhibitions you can visit in September.

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Sliman Mansour was the first artist I met in Palestine on my first trip there in 2004. He met our University of Colorado group in Jerusalem and later came to our exhibition and presentation in Bethlehem. I can never explain how much his work has influenced me, and so many other Palestinian artists. He always was incredibly generous with his time, his thoughts and his willingness to help artists that came after him. Yes, he is a legend, but also just an incredible family man and friend. I can’t imagine a world in which he isn’t in it. Rest in power, and may peace and blessings be in the sweetness of after. My condolences to his family, and all that loved him. 🇵🇸💔✨🕊️

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We lost a giant today - beloved artist Suleiman Mansour. My friend, collaborator, mentor on this road since we met 30 years ago. What an honor to have walked with you down these paths together in Palestine from exhibitions and our Art Academy to Made in Palestine in 2002 in Texas to Sharjah and so much more . In deep pain amd loss tonight. But then I remember your warm heart and that smile - that smile that always made me feel really happy and know that all was well with the world. Rest in Peace comrade. All my love and condolences to your family and the artists you moved mountains with Nabil, Tayseer and Vera ❤️❤️❤️

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The land remembers. 🌵

Cactuses still stand where hundreds of Palestinian villages once did.

We’re bringing back this incredible story that came up in our episode with pioneering artist Vera Tamari @tamari_vera

Watch the full episode for the full conversation, and check out The Flowers Stand Silently, Witnessing by @theos_perspective

Voiceover narration by @afafshawwabibi

Cover: @palmuseum - The Mohammad Batrawi Collection

#PalestinianLand #PalestinianVillages #PalestinianArt #VeraTamari

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