Khaled Sabsabi, a prominent Lebanese Australian artist and curator, has been reinstated as Australia’s representative for the 2026 Venice Biennale after a tumultuous few months. Sabsabi was surprised and honored to receive the invitation to the prestigious event this past February, 2023. Creative Australia’s board of directors revoked that invitation less than a week later. The board cited concerns over a potential “prolonged and divisive debate” regarding some of Sabsabi’s past works, which sparked significant controversy and public discourse within the arts community.
Sabsabi’s art practice extends over 35 years, and in that time, he’s produced powerful video, mixed media and installation art. Like many of his previous amazing works, he’s using this one to address sensitive topics. Particularly striking are his 2006 paintings of the 9/11 attacks and a 2007 painting of late Hezbollah leader Hassan Nasrallah. The board explicitly pointed to these works collectively as major influences on their decision. Given all this, they made the decision to pull him from representing Venice Biennale.
Creative Australia’s Apology
Creative Australia’s acting chair, Wesley Enoch, took to the stage to denounce the encroachment in a very public display in a statement delivered last week. He expressed regret for the board’s actions and acknowledged a series of “missteps, assumptions, and misunderstandings” that led to Sabsabi’s removal. Enoch’s reminder to us all was to participate in this thoughtful and hopeful dialogue that our community so badly needed.
“I want to apologise to them for the hurt and pain they’ve gone through in this process,” – Wesley Enoch
Enoch knew what board members came to realize, “With thorough consideration, the board reached its decision. He hadn’t understood the deeply damaging impact it would have on Sabsabi and her arts sector peers. He pointed out why these events led to an overall recommitment. Moving forward, they will have tougher conversations around messaging and risk assessments baked into their decision-making process.
“Though we will be stronger as a sector because of it, I know it’s come at a personal cost, not just to them, but also to a whole range of people in the arts sector,” – Wesley Enoch
Enoch urged self-interrogation and constant improvement from within Creative Australia. He noted that the fast-paced environment of today’s art world requires a reconsideration of traditional practices. He upheld the importance of sustained civic involvement and reform as a way to make sure our representation truly reflects our national values.
A Positive Outlook
Sabsabi, along with fellow artist Michael Dagostino, shared their surprise and relief to be reinstated and appreciation for the support received. Both artists said they were thrilled with the result. Communities view it as a valuable opportunity to make positive progress and improvements after having suffered through a tragic and trying period. They’re looking forward to immersing themselves in their project over the next few weeks.
“This decision has renewed our confidence in Creative Australia and in the integrity of its selection process,” – Khaled Sabsabi and Michael Dagostino
In addition to inspiring artists, Sabsabi pointed out the importance of this moment for the artistic field at large. He did mention interestingly that it provides a feeling of conclusion and cultivates hope for the possibility of doing more in the future.
“In the coming weeks, we will recommit ourselves fully to this project. Through the process of creating and sharing new work, we hope to begin a path of healing and renewal,” – Khaled Sabsabi and Michael Dagostino
Community Reactions
The reinstatement has produced mixed reactions among the arts community. In 2017, Julian Leeser, former federal representative for Australia’s arts sector, wrote about how terrible it is for representatives to fail to reflect national values. Federal Environment Minister Tony Burke was on the same page. I commend the Creative Australia board for their open-mindedness in being prepared to re-look at their original decision.
“The Creative Australia board have done what a lot of boards often don’t want to do [by reviewing their decision],” – Tony Burke
Multi-disciplinary artist and activist Lindy Lee offered their perspective on the issue, arguing that there had been a misreading of Sabsabi’s work from the outset. In so doing, she emphasized the need for transparency and interpretation when encountering deep artistic forms of protest.
“The board acted on a misunderstanding about that work in the beginning,” – Lindy Lee
