“All art is propaganda,” wrote George Orwell, “but not all propaganda is art.” Upon this subtle distinction rests the success or failure of whatever art we see at the Venice Biennale. 

The Most Serene Republic’s exercise in art-world Olympics is propaganda by design. A garden of national pavilions – small buildings in various styles as you might find in a zoological park – presents exhibitions that compete with one another for a “Golden Lion for Best National Participation.” Here, in the murky parkland of the Giardini in the city’s eastern Castello district, nationalist and anti-nationalist passions mix with art-market imbroglio into a sordid spectacle. Just how bad will it be this year? To discover the answer is why we keep coming back.   

The 61st iteration of this Italian job, which opens May 9 and runs through November 22, is already shaping up to be a casino totale – which we might translate as “hot mess.” On April 30, days before the opening, the five-person jury behind the Golden Lion prize, led by Solange Farkas, a Brazilian curator of no repute, announced their resignation. The cause? They had previously declared that they would not consider the pavilion of any country whose leaders were being investigated by the International Criminal Court. Such a denunciation would include Putin’s Russia. But of course their real target was the Israel pavilion and its artist, Belu-Simion Fainaru. 

Having not seen them, I cannot comment on Fainaru’s drip sculptures. Rose of Nothingness, the name of his Venice installation, reportedly consists of a commercial irrigator that pours water on the pavilion floor. What we can already say is that the work has inadvertently revealed, like much else in globalized culture, the art world’s tender embrace of anti-Semitism. For the antifadists, even the river to the puddle must be free.  

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It tells us something about our state of affairs that the most high-profile contretemps at this year’s Biennale does not involve Donald Trump. Nevertheless, this has not prevented the New York Times and its bigly art reporter Zachary Small from going after the American presentation. “With Trump Novices, Can the US Win the ‘Art Olympics?’” asks a headline of April 19. “After........

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