The question remains whether an alternative biennial model can exist within an art system that structurally absorbs and standardizes difference. The answer is no.
Again and again, the works return to what is ancient, universal and enduring: symbols, cosmologies and archetypes that precede cultural, national and even linguistic divisions.
Amid protests, geopolitical tensions and the contradictions of the Biennale’s own structure, the most compelling pavilions leaned into ancestral knowledge and collective imagination as alternative ways of understanding coexistence in a fractured world.