The awards of the International Jury have been presented with the following motivations:

Golden Lion for Best National Participation to Australia:
In this quietly powerful pavilion, Archie Moore worked for months to hand-draw with chalk a monumental First Nations family tree. Thus 65,000 years of history (both recorded and lost) are inscribed on the dark walls as well as on the ceiling, asking viewers to fill in blanks and take in the inherent fragility of this mournful archive. Floating in a moat of water are redacted official State records, reflecting Moore’s intense research as well as the high rates of incarceration of First Nations’ people. This installation stands out for its strong aesthetic, its lyricism, and its invocation of shared loss for occluded pasts. With his inventory of thousands of names, Moore also offers a glimmer of possibility for recuperation.

Special mention as National Participation to Republic of Kosovo:
Small yet potent, Doruntina Kastrati’s installation refers to feminized industrial labor and the wearing down of working women’s bodies. Referencing both the walnut shells used in factory-made Turkish delight as well as the medical parts used to replace worker’s knees as they make these sweets, Kastrati’s elegant sculptures invite viewers to interact with them. A vibrating soundscape travels up through the floor, resonating both in our bones and echoing a larger arena of feminist activism.

Golden Lion for the Best Artist in the International Exhibition Stranieri Ovunque – Foreigners Everywhere to Mataaho Collective:
The Maori Mataaho Collective has created a luminous woven structure of straps that poetically crisscross the gallery space. Referring to matrilinear traditions of textiles with its womb-like cradle, the installation is both a cosmology and a shelter. Its impressive scale is a feat of engineering that was only made possibly by the collective strength and creativity of the group. The dazzling pattern of shadows cast on the walls and floor harks back to ancestral techniques and gestures to future uses of such techniques.

Silver Lion for a Promising Young Artist in the International Exhibition Stranieri Ovunque – Foreigners Everywhere to Karimah Ashadu:
Karimah Ashadu with her video Machine Boys and related brass sculpture, Wreath, upends gendered assumptions about the gaze and what is considered proper to commemorate. With a searing intimacy, she captures the vulnerability of young men from the agrarian north of Nigeria who have migrated to Lagos and end up riding illegal motorbike taxis. Her feminist camera lens is extraordinarily sensitive and intimate, capturing the bikers’ subcultural experience as well as their economic precarity. Masterfully edited to draw out yet subtly critique the performance of masculinity on display, her sensual attention to surfaces of machine, flesh, and cloth reveals the rider’s marginal existence.

Two Special Mentions are awarded to the following artists:

Samia Halaby has been a longstanding artist, teacher, and activist who the jury wishes to honor with a special mention. Her commitment to the politics of abstraction has been married to her unwavering attention to the suffering of the people of Palestine. Her gorgeously rendered modernist painting in the “Nucleo Storico” of Foreigners Everywhere, entitled Black is Beautiful, suggests not only the sovereignty of the imagination but also the importance of global solidarities.

La Chola Poblete engages in critical play with histories of colonial representation from a trans Indigenous perspective. Her multivalent art - including watercolor, fabric, and photography - resists the exoticization of Indigenous women while she insists on the power of sexuality. She approaches Western religious iconography and indigenous spiritual practices with a trans and queer flair, inverting power relations with pieces that refer to ancestral knowledge from South America.

La artista brasileña de origen italiano Anna Maria Maiolino (biografía) y la artista turca afincada en París Nil Yalter (biografía) son las galardonadas con los Leones de Oro a la Trayectoria de la 60ª Exposición Internacional de Arte de la Bienal de Venecia - Stranieri Ovunque - Extranjeros en todas partes

El curador Adriano Pedrosa declaró:
"Esta decisión es especialmente significativa dado el título y el marco de mi exposición, centrada en artistas que han viajado y emigrado entre el Norte y el Sur, Europa y más allá. En este sentido, mi elección recae en dos extraordinarias y pioneras que también son emigrantes y que encarnan en muchos sentidos el espíritu de Stranieri Ovunque - Extranjeros en todas partes: Anna Maria Maiolino (Scalea, Italia, 1942, vive en São Paulo, Brasil), que emigró de Italia a Sudamérica, primero a Venezuela y después a Brasil, donde vive actualmente; Nil Yalter (El Cairo, Egipto, 1938, vive en París, Francia), artista turca que emigró de El Cairo a Estambul y finalmente a París, donde reside".

Ambas artistas participarán por primera vez en la Bienal de Arte de 2024: Maiolino presentará una nueva obra a gran escala que continúa y despliega su serie de esculturas e instalaciones en arcilla; Yalter mostrará una nueva reconfiguración de su innovadora instalación Exile is a hard job junto con su icónica obra Topak Ev colocada en la primera sala del Pabellón Central en los Giardini.

(De informaciones de prensa. © Trad. del inglés: Universes in Universe)

Julia Bryan-Wilson, Presidenta del Jurado (EE.UU.)
Professor of Contemporary Art and LGBTQ+ Studies at Columbia University. Her curatorial credits include Cecilia Vicuña: About to Happen (with Andrea Andersson) and Louise Nevelson: Persistence. She is the author of Art Workers: Radical Practice in the Vietnam War Era; Fray: Art and Textile Politics (winner of the ASAP Book Prize, the Frank Jewett Mather Award, and the Robert Motherwell Book Award); and Louise Nevelson’s Sculpture: Drag, Color, Join, Face. Bryan-Wilson was a 2019 Guggenheim Fellow.

Alia Swastika (Indonesia)
Curator and researcher/writer that expands her practices in the last 10 years on the issue and perspectives of decoloniality and feminism, where she involved with different projects of decentralization of art, rewriting art history and encouraging local activism. She works as the Director of Biennale Jogja Foundation in Yogyakarta, Indonesia. She continues her researches on Indonesian female artists during Indonesia’s New Order and how the politics of gender from the regime influenced the practices of artists from that period. She is now part of curatorial team of Sharjah Biennale 16 in 2025.

Chika Okeke-Agulu (Nigeria)
Director of the Program in African Studies, Director of Africa World Initiative, and Robert Schirmer Professor of Art & Archaeology and African American Studies, Princeton University. Okeke-Agulu is Slade Professor of Fine Art, University of Oxford (2023), and a Fellow of The British Academy. He is editor of Nka: Journal of Contemporary African Art and author of El Anatsui. The Reinvention of Sculpture (2022). He is on the advisory board of the Hyundai Tate Research Centre, Tate Modern.

Elena Crippa (Italia)
Italian curator based in London. Since 2023, she has been Head of Exhibitions at London’s Whitechapel Gallery. She was previously Senior Curator of Modern and Contemporary Art at Tate Britain, where her exhibitions explored transnational and transcultural intersections and engaged with art from a global perspective. Her shows at Tate included All Too Human (2018), Frank Bowling (2019) Paula Rego (2021) and the 2022 commission Hew Locke: The Procession.

María Inés Rodríguez (Colombia)
Colombian-French curator, currently Director of the Walter Leblanc Foundation in Brussels and Artistic Director of Tropical Papers. With a profound commitment to fostering a dialogue between artistic production and historical, political, and social contexts on both local and global levels, she has consistently championed the interconnectedness of art and its broader cultural implications. She was the Director of the CAPC Musée d'art Contemporain, Bordeaux, Curator at Large at MASP, São Paulo; Chief Curator at the MUAC in Mexico City, as well as at the MUSAC in Spain and guest curator at the Jeu de Paume in Paris.

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