{"id":25386,"date":"2026-04-28T17:39:43","date_gmt":"2026-04-28T15:39:43","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=25386"},"modified":"2026-04-30T22:11:46","modified_gmt":"2026-04-30T20:11:46","slug":"%d7%91%d7%99%d7%aa%d7%a0%d7%99%d7%9d-%d7%9c%d7%90%d7%95%d7%9e%d7%99%d7%99%d7%9d-%d7%9e%d7%91%d7%98%d7%99%d7%97%d7%99%d7%9d-%d7%91%d7%91%d7%99%d7%90%d7%a0%d7%9c%d7%94-promising-national-pavilions-at-t","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=25386","title":{"rendered":"\u05d1\u05d9\u05ea\u05e0\u05d9\u05dd \u05dc\u05d0\u05d5\u05de\u05d9\u05d9\u05dd \u05de\u05d1\u05d8\u05d9\u05d7\u05d9\u05dd \u05d1\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 Promising National Pavilions at the Venice Biennale 2026"},"content":{"rendered":"\t\t
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Untitled 2026 (a gathering of remarkable people); Rirkrit Tiravanija, Sophia Al-Maria, Tarek Atoui, Alia Farid, Fadi Kattan<\/strong><\/h5>

\u05d4\u05de\u05d4\u05dc\u05da \u05e9\u05dc \u05e7\u05d8\u05d0\u05e8 \u05d1\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 \u05e9\u05dc 2026 \u05d7\u05d5\u05e8\u05d2 \u05de\u05df \u05d4\u05de\u05d5\u05d3\u05dc \u05d4\u05de\u05e1\u05d5\u05e8\u05ea\u05d9 \u05e9\u05dc \u201e\u05d1\u05d9\u05ea\u05df \u05dc\u05d0\u05d5\u05de\u05d9\u201d \u05db\u05d7\u05dc\u05dc \u05ea\u05e6\u05d5\u05d2\u05d4 \u05e1\u05d2\u05d5\u05e8, \u05d5\u05de\u05e6\u05d9\u05e2 \u05d1\u05de\u05e7\u05d5\u05dd \u05d6\u05d0\u05ea \u05e4\u05dc\u05d8\u05e4\u05d5\u05e8\u05de\u05d4 \u05e4\u05e8\u05e4\u05d5\u05e8\u05de\u05d8\u05d9\u05d1\u05d9\u05ea\u05be\u05d7\u05d1\u05e8\u05ea\u05d9\u05ea \u05d4\u05de\u05d3\u05d2\u05d9\u05e9\u05d4 \u05d4\u05db\u05e0\u05e1\u05ea \u05d0\u05d5\u05e8\u05d7\u05d9\u05dd, \u05e9\u05d9\u05ea\u05d5\u05e3 \u05d5\u05d9\u05d9\u05e6\u05d5\u05e8 \u05d9\u05d3\u05e2 \u05e7\u05d5\u05dc\u05e7\u05d8\u05d9\u05d1\u05d9. \u05d4\u05d0\u05de\u05df \u05d4\u05ea\u05d0\u05d9\u05dc\u05e0\u05d3\u05d9 \u05d4\u05e2\u05db\u05e9\u05d5\u05d5\u05d9 Rirkrit Tiravanija \u05de\u05d5\u05db\u05e8 \u05d1\u05d6\u05db\u05d5\u05ea \u05de\u05d9\u05e6\u05d1\u05d9\u05dd \u05d4\u05e9\u05ea\u05ea\u05e4\u05d5\u05ea\u05d9\u05d9\u05dd \u05d4\u05de\u05e2\u05de\u05d9\u05d3\u05d9\u05dd \u05d1\u05de\u05e8\u05db\u05d6\u05dd \u05e7\u05d4\u05d9\u05dc\u05d4 \u05db\u05d3\u05d5\u05d2\u05de\u05ea \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05e9\u05d1\u05d9\u05e1\u05e1\u05d4\u05d0\u05ea \u05de\u05e2\u05de\u05d3\u05d5 \u00a0Untitled (Free), \u05d1 1992 \u05e9\u05d1\u05de\u05e1\u05d2\u05e8\u05ea\u05d4 \u05d4\u05d2\u05d9\u05e9 \u05e7\u05d0\u05e8\u05d9 \u05d9\u05e8\u05d5\u05e7 \u05d5\u05d0\u05d5\u05e8\u05d6 \u05d1\u05d2\u05dc\u05e8\u05d9\u05d4 303 \u05d1\u05e0\u05d9\u05d5 \u05d9\u05d5\u05e8\u05e7. \u05d1\u05d5\u05d5\u05e0\u05e6\u05d9\u05d4 \u05ea\u05db\u05e0\u05df \u05de\u05d1\u05e0\u05d4 \u05d3\u05de\u05d5\u05d9 \u05d0\u05d5\u05d4\u05dc, \u05e9\u05de\u05d5\u05e7\u05dd \u05d1\u05e9\u05d8\u05d7 \u05d1\u05d5 \u05d9\u05d1\u05e0\u05d4 \u05d1\u05d9\u05ea\u05df \u05d4\u05e7\u05d1\u05e2 \u05d4\u05e2\u05ea\u05d9\u05d3\u05d9 \u05e9\u05dc Qatar \u2014 \u05d4\u05de\u05d3\u05d9\u05e0\u05d4 \u05d4\u05e8\u05d0\u05e9\u05d5\u05e0\u05d4 \u05d6\u05d4 \u05db\u05e9\u05dc\u05d5\u05e9\u05d4 \u05e2\u05e9\u05d5\u05e8\u05d9\u05dd \u05d4\u05de\u05e7\u05d9\u05de\u05d4 \u05d1\u05d9\u05ea\u05df \u05dc\u05d0\u05d5\u05de\u05d9 \u05d7\u05d3\u05e9 \u05d1\u05d2\u05f3\u05e8\u05d3\u05d9\u05e0\u05d9.
\u05d1\u05ea\u05d5\u05da \u05d4\u05de\u05d1\u05e0\u05d4 \u05de\u05d5\u05d1\u05d8\u05d7\u05ea \u05d4\u05ea\u05e8\u05d7\u05e9\u05d5\u05ea \u00a0\u05de\u05d2\u05d5\u05d5\u05e0\u05ea \u05e1\u05e8\u05d8 \u05e9\u05dc \u05d4\u05d0\u05de\u05e0\u05d9\u05ea \u05d4\u05e7\u05d8\u05e8\u05d9\u05ea\u05be\u05d0\u05de\u05e8\u05d9\u05e7\u05d0\u05d9\u05ea Sophia Al-Maria; \u05de\u05d5\u05e4\u05e2\u05d9\u05dd \u05d7\u05d9\u05d9\u05dd \u00a0\u05e9\u05dc \u05d0\u05de\u05df \u05d4\u05dc\u05d1\u05e0\u05d5\u05e0\u05d9 Tarek Atoui; \u05e4\u05d9\u05e1\u05d5\u05dc \u05e9\u05dc Alia Farid \u05d4\u05db\u05d5\u05d5\u05d9\u05ea\u05d9\u05ea\u05be\u05e4\u05d5\u05d0\u05e8\u05d8\u05d5\u05be\u05e8\u05d9\u05e7\u05e0\u05d9\u05ea \u00a0\u05d5\u05de\u05d4 \u05e9\u05de\u05d5\u05d2\u05d3\u05e8 \u05db\u05ea\u05db\u05e0\u05d9\u05ea \u05e7\u05d5\u05dc\u05d9\u05e0\u05e8\u05d9\u05ea \u05e9\u05dc \u05de\u05d8\u05d1\u05d7 \u05de\u05d6\u05e8\u05d7-\u05ea\u05d9\u05db\u05d5\u05e0\u05d9 \u05e9\u05dc \u05d4\u05e9\u05e3 \u05d4\u05e4\u05dc\u05e1\u05d8\u05d9\u05e0\u05d9 Fadi Kattan (\u05e9\u05d5\u05d5\u05d3\u05d0\u05d9 \u05ea\u05d6\u05db\u05d4 \u05dc\u05e4\u05d5\u05e4\u05d5\u05dc\u05e8\u05d9\u05d5\u05ea \u05d1\u05e7\u05e8\u05d1 \u05d4\u05de\u05d1\u05e7\u05e8\u05d9\u05dd).
\u05d4\u05d1\u05d9\u05ea\u05df \u05d4\u05e7\u05d0\u05d8\u05e8\u05d9 \u00a0\u05de\u05e1\u05de\u05df \u05de\u05d4\u05dc\u05da \u05d2\u05d9\u05d0\u05d5\u05be\u05ea\u05e8\u05d1\u05d5\u05ea\u05d9 \u05de\u05e9\u05de\u05e2\u05d5\u05ea\u05d9: \u05d4\u05ea\u05d1\u05e1\u05e1\u05d5\u05ea \u05d0\u05e8\u05d5\u05db\u05ea \u05d8\u05d5\u05d5\u05d7 \u05d5\u05de\u05e7\u05d9\u05e4\u05d4 \u05de\u05d0\u05d3 \u05e9\u05dc \u05e7\u05d8\u05d0\u05e8 \u05d1\u05d6\u05d9\u05e8\u05d4 \u05d4\u05d1\u05d9\u05e0\u05dc\u05d0\u05d5\u05de\u05d9\u05ea \u05e9\u05dc \u05d4\u05d0\u05de\u05e0\u05d5\u05ea. \u05d4\u05e4\u05e8\u05d5\u05d9\u05e7\u05d8 \u05d4\u05e0\u05d5\u05db\u05d7\u05d9, \u05db\u05de\u05e2\u05d9\u05df \u201e\u05e4\u05e8\u05dc\u05d5\u05d3\u201d \u05d0\u05d3\u05e8\u05d9\u05db\u05dc\u05d9 \u05d5\u05e8\u05e2\u05d9\u05d5\u05e0\u05d9, \u05de\u05e6\u05d9\u05e2 \u05de\u05d5\u05d3\u05dc \u05e9\u05dc \u05db\u05d5\u05d7 \u05ea\u05e8\u05d1\u05d5\u05ea\u05d9 \u05e8\u05da \u00a0\u05e9\u05e2\u05d5\u05d8\u05e3 \u05d0\u05ea \u05de\u05d5\u05e9\u05d2 \u05d4\u05dc\u05d0\u05d5\u05de\u05d9\u05d5\u05ea \u05d1\u05ea\u05d5\u05db\u05df \u05e8\u05d1\u05be\u05e7\u05d5\u05dc\u05d9, \u05d8\u05e8\u05e0\u05e1\u05be\u05dc\u05d0\u05d5\u05de\u05d9 \u05d5\u05e9\u05d9\u05ea\u05d5\u05e4\u05d9.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Sophia Al-Maria, Tom Eccles, Rirkrit Tiravanija, Tarek Atoui and Ruba Katrib<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 1895 \u2013 2000 \u000b<\/div>

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Click Here<\/div><\/div><\/a><\/div>
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\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\tNext slide<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05e9\u05e8\u05d9\u05d3\u05d9\u05dd \u2013 \u05d0\u05e8\u05db\u05d9\u05d1 \u05e9\u05dc \u05d6\u05d9\u05db\u05e8\u05d5\u05df \u05d2\u05dc\u05d5\u05d1\u05dc\u05d9 Oriol Vilanova\u00a0 Los restos: An Archive of Global Memory<\/strong><\/h5>

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\u05dc\u05d0\u05d5\u05e8\u05da \u05d9\u05de\u05d9 \u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4, \u00a0\u05d1\u05d0\u05d6\u05d5\u05e8 \u05e9\u05d1\u05d9\u05df \u05d4\u05d2’\u05e8\u05d3\u05d9\u05e0\u05d9 \u05d5\u05d4\u05d0\u05e8\u05e1\u05e0\u05dc\u05d4 , \u05d9\u05e2\u05e8\u05d5\u05da \u05d5\u05d9\u05dc\u05d0\u05e0\u05d5\u05d1\u05d4 \u05d2\u05dd \u05de\u05d9\u05e6\u05d2\u05d9\u05dd \u05e9\u05db\u05d5\u05ea\u05e8\u05ea\u05dd The Phantom of Liberty . \u05e9\u05dd \u05d4\u05de\u05d9\u05e6\u05d2 \u05dc\u05e7\u05d5\u05d7 \u05de\u05e1\u05e8\u05d8 \u05e1\u05d5\u05e8\u05d0\u05dc\u05d9\u05e1\u05d8\u05d9 \u05e9\u05dc \u05dc\u05d5\u05d0\u05d9 \u05d1\u05d5\u05e0\u05d5\u05d0\u05dc \u05de 1974 \u05d1\u05d5 \u05d2\u05dc\u05d5\u05d9\u05d5\u05ea \u05de\u05e9\u05de\u05e9\u05d5\u05ea \u05db\u05e7\u05d8\u05dc\u05d9\u05d6\u05d8\u05d5\u05e8 \u05dc\u05e2\u05dc\u05d9\u05dc\u05d4 \u05de\u05d5\u05e8\u05db\u05d1\u05ea. \u05de\u05e1\u05e7\u05e8\u05df !<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Oriol Vilanova, Los restos, 2026, installation detail<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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<\/a>Three Promising National Pavilions at the 2026 Biennale <\/strong><\/p>

Discussion of the art itself has been largely pushed aside amid the political storms surrounding the Russian, Israeli, and American pavilions. At stake is the enduring question of the relationship between nationalism, politics, and art within a Biennale structured around nation-states\u2014and yet, art remains its very core.<\/p>

Taiwan Pavilion, Palazzo delle Prigioni<\/strong><\/p>

Li Yi-Fan, Screen Melancholy<\/em><\/p>

Working with game engines, Li employs real-time rendering and improvisation to probe\u2014often through dark humor\u2014the fraught relationship between technology and the human in the internet age. In Screen Melancholy: Li Yi-Fan<\/em>, a video unfolds within a simulation of the Li\u2019s Screen Melancholy <\/em>in the very building in which it is exhibited, enacting a meta-doubling: the real translated into the virtual, the virtual projected back into the real.<\/p>

The narrative, tinged with surrealism, follows an eyeball attempting to find its way home, unfolding in the guise of a tutorial-like sequence. Three-dimensional printed sculptures populate the space, echoing dismembered body parts of the digital protagonists while simultaneously functioning as seating\u2014once again dissolving the boundaries between \u201creal\u201d and \u201cvirtual.\u201d A visit to Li\u2019s exhibition in Berlin in the summer of 2025 remains vividly etched in my memory.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Li Yi-Fan, Screen Melancholy (screenshot), 2026, 60min, video installation <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05e8\u05e6\u05d0\u05ea \u05de\u05d5\u05e7\u05dc\u05d8\u05ea : \u05d4\u05db\u05e0\u05d4 \u05dc\u05e7\u05e8\u05d0\u05ea \u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 \u05d1\u05d5\u05d5\u05e0\u05e6\u05d9\u05d4 2026 <\/div>
\u05d3\"\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9 \n \u05d4\u05e8\u05e6\u05d0\u05d4 \u05de\u05e7\u05d9\u05e4\u05d4 (1:30) \n\u05dc\u05d4\u05d6\u05de\u05e0\u05d4 \u05dc\u05d7\u05e6\u05d5 \u05db\u05d0\u05df<\/div>
Click Here<\/div><\/div><\/a><\/div>
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\u05d3\"\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9 \n \u05d4\u05e8\u05e6\u05d0\u05d4 \u05de\u05d5\u05e7\u05dc\u05d8\u05ea - \u05ea\u05de\u05d5\u05e0\u05d4 \u05de\u05e7\u05d9\u05e4\u05d4 \u05e9\u05dc \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d5\u05ea \u05d4\u05de\u05d1\u05d8\u05d9\u05d7\u05d5\u05ea \u05d1\u05d9\u05d5\u05ea\u05e8 \u05dc\u05d4\u05d6\u05de\u05e0\u05d4 \u05dc\u05d7\u05e6\u05d5 \u05db\u05d0\u05df <\/div>
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Qatar Pavilion, Giardini<\/strong><\/p>

Rirkrit Tiravanija, Sophia Al-Maria, Tarek Atoui, Alia Farid, Fadi Kattan, Untitled 2026 (a gathering of remarkable people)<\/em><\/p>

Qatar\u2019s move at the 2026 Biennale departs from the traditional model of the \u201cnational pavilion\u201d as a closed exhibition space, proposing instead a performative-social platform centered on hospitality, sharing, and the production of collective knowledge. Rirkrit Tiravanija is renowned for participatory installations that foreground community, notably Untitled (Free)<\/em>, in which he served green curry and rice at the 303 Gallery in New York City.<\/p>

In Venice, he has conceived a tent-like structure on the site designated for Qatar\u2019s future permanent pavilion\u2014the first new national pavilion to be built in the Giardini in over three decades. Within it unfolds a heterogeneous program: a film by Sophia Al-Maria; live performances by Tarek Atoui; sculptural work by Alia Farid; and a Middle Eastern culinary program by Fadi Kattan\u2014which will no doubt prove especially popular with visitors.<\/p>

The Qatari pavilion signals a significant geocultural shift: a long-term and expansive positioning of Qatar within the international art arena. The current project, functioning as both architectural and conceptual prelude, proposes a model of soft cultural power\u2014one that envelops the notion of nationhood in a polyphonic, transnational, and collaborative framework.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Sophia Al-Maria, Tom Eccles, Rirkrit Tiravanija, Tarek Atoui and Ruba Katrib<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Spanish Pavilion, Giardini<\/strong><\/p>

Oriol Vilanova, Los restos: An Archive of Global Memory<\/em><\/p>

The Spanish Pavilion is conceived as a kind of museum of accumulated memory, built from a vast collection of postcards that Oriol Vilanova has gathered from flea markets over more than two decades. These remnants of the era of pre-digital tourism are presented without hierarchy or linear narrative.<\/p>

Here, in Venice\u2014where everyday life is inseparable from tourism\u2014Vilanova reflects on the economies that mediate memory: Who constructs memory? Which images are deemed worthy of remembrance? What is sent back home, and what ultimately forms our archive of places?<\/p>

Throughout the Biennale, in the space between the Giardini and the Arsenale, Vilanova will also stage performative interventions titled The Phantom of Liberty<\/em>, a reference to the surrealist film of that name. In the film, postcards serve as a catalyst for a complex narrative\u2014an apt and intriguing point of departure<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Oriol Vilanova, Los restos, 2026, installation detail<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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