Institute of Art Lagos

South Africa’s official pavilion at the 61st Venice Biennale has become one of the biggest art world flashpoints of early 2026. Once seen as a bold platform for critical cultural dialogue, the pavilion has now been scrapped by government authorities, igniting fierce debates about artistic freedom, censorship, and political pressure.

Two questions now dominate conversations among artists, curators, critics and cultural institutions worldwide:

1. Why was Gabrielle Goliath dropped, and why did her gallery sever ties?
2. If the pavilion is still planned to go ahead, who will now curate and represent South Africa?

Here’s the latest in-depth analysis, with verified facts and thought context.

What Happened to Gabrielle Goliath and Her Gallery?

South African artist Gabrielle Goliath, internationally known for her powerful performances and installations, was originally selected to represent South Africa at the Venice Biennale with her proposed project Elegy, a long-term work addressing femicide, queer identities, colonial violence, and humanitarian crises.

Meanwhile, in early January 2026, the South African Minister of Sport, Arts and Culture, Gayton McKenzie, abruptly cancelled the pavilion submission. He cited concerns over certain aspects of Goliath’s work that referenced the deaths of women and children in Gaza, which he labelled “highly divisive” and politically sensitive.

This decision has been widely criticized as government censorship and interference in an independent curatorial process. Observers note that Goliath, along with her assistant curator Ingrid Masondo and team member James Macdonald, were selected by a transparent process led by renowned curators and arts professionals, a process terminated only after the artist’s proposal became politically contentious.

As a result of this controversy:

• Goliath has announced plans to approach the South African High Court, claiming the cancellation was unlawful and unconstitutional, citing South African laws.
• She has also appealed to President Cyril Ramaphosa to intervene and reverse the decision.
• In a move that shocked many in the global art community, Goodman Gallery, which had represented her for over a decade, dropped her from their roster. The gallery cited financial reasons, but analysts believe the timing reflects broader pressure in the art market tied to the pavilion controversy.

This combination of state action and gallery separation has fueled passionate debate: is South Africa policing artistic expression, or protecting national interests from controversial geopolitical issues?

If the Pavilion Is Still Happening, Who Will Curate and Represent South Africa?

Despite intense backlash, the South African government insists the country will still participate at the 2026 Venice Biennale. Officials from the Department of Sport, Arts and Culture (DSAC) have confirmed continued involvement and are exploring alternative ways to deliver a national presence at Venice.

Here’s the latest Update on what’s next:

 DSAC’s Official Statement and New Plans

According to an official release from DSAC (published in late 2025), South Africa planned to participate at the Biennale in partnership with Art Periodic South Africa (A°P): a non-profit organization tasked with managing the pavilion’s delivery, artist selection, and curatorial direction.

DSAC’s new vision is to move toward a sector-driven, collaborative model rather than a purely government-led process.

Art Periodic had issued an open national call for exhibition proposals, with a submission deadline of late November 2025, before the Goliath controversy erupted.

The department emphasized its aim to reflect South Africa’s artistic excellence, cultural diversity and creative leadership on the global stage.

However, sources report that since the cancellation of Goliath’s work, DSAC has been approaching other artists to pitch new work for the pavilion, raising questions about whether a new team is being assembled behind the scenes.

No Official Replacement Named Yet

At the time of writing, no new artist or curator has been officially announced to replace Goliath and Masondo. South Africa’s pavilion still has no confirmed lead artist, curator, or theme going into Venice. Government statements have been vague, only affirming participation and promising that the pavilion will showcase artists who “promote our country.”

This uncertainty has triggered a broader conversation within the arts community about institutional autonomy versus state control, and who gets to shape national representation at one of the world’s most prestigious art events.

Global Reactions and Broader Implications

The cancellation has drawn criticism from civil society organizations and cultural commentators, who warn of abuse of executive authority and threats to freedom of artistic expression. Some groups have written to the South African Cabinet calling for urgent intervention.

International art institutions and commentators are watching closely, noting that national pavilions at the Venice Biennale are supposed to be platforms for creative exploration that transcend political interference. Decisions like this could set a troubling precedent for how countries engage with global cultural exchange.

Whether South Africa ultimately presents a pavilion at Venice 2026 remains in flux. One thing is clear: the controversy surrounding Gabrielle Goliath’s cancelled exhibition has forced a critical conversation about art, politics, and national identity on the global stage.