KHALED SABSABI GETS DUMPED
The news late last night came as a shock to the Australian visual arts sector: five days after Creative Australia’s announcement that Khaled Sabsabi would exhibit in Australia’s pavilion at the next Venice Biennale in 2026, they did an about-face. Sabsabi has been publicly dumped. And the current climate in this tiny, under-valued sector of Australian cultural life is in shock.
Why? Because Creative Australia’s decision automatically smells like censorship of the worst kind.
The Creative Australia board’s stated reason for its decision to pull Sabsabi was made on the grounds of “undermin(ing) our goal of bringing Australians together through art and creativity”.
Fair call – one of the MOST IMPORTANT aspects of contemporary visual art has been to bring audiences together in conversations around issues and ideas that are often difficult to have elsewhere.
It’s the aim of most visual artists to offer work that brings us together as communities and a nation. And that’s consistently been the case with Sabsabi’s creative production – his work raises important questions; he refuses to take fixed sides; he urges his audiences to look a little more carefully, to think a little more deeply, to turn to each other and ask, “What do YOU think”? And, importantly, when he’s out of the spotlight he’s a damned fine human being – supporting and caring for and mentoring many members of the community.
Unfortunately, despite its stated intent, this decision may accelerate divisiveness. It’s going to be a difficult road to avoid taking sides and throwing stones.
I have no idea how that decision to dump Sabsabi was finally made, but there are enough people on that Creative Australia board with a record of staunch solid thinking and action to make me think there would have been a whole lot of heartache going on. Some of them are among the best we have in ‘the arts’.
Yet the sector is howling for their dismissal.
This decision seems particularly odd following the success of the award of Venice’s Golden Lion to Australia’s 2024 artist Archie Moore. Archie’s work looked straight down the gun barrel of this country’s history of Aboriginal cultural survival in the face of overwhelming systemic racial aggression. And in response he came up with a galaxy of weeping stars that soared above us over all our collective heads. Those stars twinkled out the names of those past – those lost, those remembered, those half-forgotten. All intertwined like lacework in the history of this culturally bruised nation. They twinkled and glimmered out like a soaring dome of remembrance – an elegy to our enormous failures as a nation, and also of our capacity to face those failures down and work on them together.
And the world responded to that visual prayer. No-one entering Australia’s pavilion was unmoved. And what our nation gains from that is the capacity – for the very first time in that international arena – of being recognised as a place where artists can still dream big. Can still make work with hope and a collective spirit that dares to keep dreaming. Archie’s work has always been critical. Critical and beautiful and sad and hopeful. Khaled’s work had the chance to echo that special spirit that seems so threatened in Australia right now.
Who knows what happened? Who knows why the lights are being shut down in so many of Australia’s visual arts institutions right now? Who knows why the entire nation seems to care so very little for a sector that is being pushed closer and closer to the edge?
But one thing seems sure – if the visual arts sector falls into an ‘us and them’ trap of blame, that spirit of hope and inclusiveness that shines through in the work of artists like Archie, Khaled and many, many more, will be greatly diminished. .... Pat Hoffie
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Spate of resignations follow Creative Australia's decision to drop artist Khaled Sabsabi from Venice Biennale
By Anna Kelsey-Sugg and Bhakthi Puvanenthiran ABC Arts
Topic:Visual Art. 10 hours ago
Creative Australia's shock decision to drop its own selection to one of the world's most prestigious cultural events, the Venice Biennale, has been met with severe backlash including a spate of resignations.
Artists and cultural leaders have strongly criticised Creative Australia, the federal government's arts funding and advisory body, for rescinding its 2026 Biennale invitation to Lebanese Australian artist Khaled Sabsabi and curator Michael Dagostino.
The announcement, made on Thursday, February 13, came less than a week after Creative Australia announced the pair had been selected. Larissa Behrendt was the only board member who was not present for the decision.
In response, Mikala Tai, the head of the organisation's visual arts department, and program manager Tahmina Maskinyar have both resigned.
Lindy Lee, a Creative Australia board member and celebrated artist, has resigned from her board position.
Simon Mordant, twice the Australian commissioner at the Venice Biennale, has also resigned as an international ambassador and major donor to next year's event.
He said he was "appalled" by Sabsabi being dropped.
"When I heard what was happening yesterday, I immediately resigned my role and cancelled my financial support," he told ABC Arts.
"Venice is Australia's most important commission in the art world … [and] there was significant media coverage of the announcement, both locally and internationally.
"There was a question asked in parliament [on Thursday] and that subsequently resulted in an unprecedented move by Creative Australia to rescind the contract.
"I'm not aware that that has ever happened in any country in the world. It certainly has never happened in Australia.
"Obviously, Khaled and Michael are shattered. The art community is aghast."
Artists criticise removal of artist from Venice Biennale
Photo shows Khaled Sabsabi, with dark hair pulled back and grey beard, stands against brown brick wall wearing dark shirt.Khaled Sabsabi, with dark hair pulled back and grey beard, stands against brown brick wall wearing dark shirt.
Artists shortlisted to represent Australia at the Venice Biennale have spoken out against Creative Australia's decision to pull Lebanese Australian artist Khaled Sabsabi from the role.
Senator Hanson-Young, Greens spokesperson for the Arts, is calling for a full independent inquiry into the crisis, including "how this decision was made, who was involved and how much it has cost the Australian taxpayer".
"It's an appalling capitulation that has put arts policy in Australia into crisis," she told the ABC.
"It has undermined the entire integrity and credibility of the newly formed Creative Australia.
"Artistic expression must be free from political interference and intimidation."
Questions around artistic freedom
The question in parliament related to work of Sabsabi's from nearly 20 years ago, including one featuring assassinated Hezbollah leader Hassan Nasrallah, and another depicting the September 11 attacks.
In Question Time on Thursday, Senator Claire Chandler, shadow minister for science and the arts, asked Foreign Minister Penny Wong: "Why is the Albanese government allowing a person who highlights a terrorist leader in his artwork to represent Australia on the international stage at the Venice Biennale?"
Senator Wong replied that she was not aware of the details of Sabsabi's appointment and past artwork until then.
"I agree with you that any glorification of the Hezbollah leader Nasrallah is inappropriate," she said.
Mordant considers criticism of these works irrelevant to his 2026 Biennale proposal.
"Venice is a place where issues of today are debated and discussed," he said.
"Khaled's [Biennale] project was in total relevance to issues of today."
Khaled Sabsabi for Arts Week
National Association for the Visual Arts executive director Penelope Benton said in a statement Creative Australia's decision was the result of "political and media pressure" and "an outrageous overreach" on the part of the government.
She called it a "devastating and terrifying moment for artistic freedom in Australia".
"This is not just about one artist or one exhibition; it is about whether Australia upholds the right of artists to critically engage with history, politics, and the urgent issues of our time," Benton said.
In a statement to the ABC, Arts Minister Tony Burke said he was not involved in Creative Australia's decision, but: "I was shocked to see [on Thursday] some of the works which are online."
"By law I don't have the power to direct Creative Australia and did not," he said.
'Hugely embarrassing moment'
Sasha Grishin, art critic and emeritus professor of art history at Australian National University, said Sabsabi's works had been mis-characterised in parliament, including the works showing the September 11 attacks, titled Thank You Very Much.
"It's only wilful ignorance that could possibly interpret them as a glorification of terrorism," he said.
"The phrase 'thank you very much' in the 9/11 piece is a quotation from George W Bush, the US president, during the attacks, saying the phrase during a press conference, and the clip of the president saying this is included in Sabsabi's video.
"Are any of those pieces promoting terrorism or defending terrorism? No, not remotely."
A man standing in front of a blue painting smiles gently
Sabsabi said his intention for his Biennale work was for it to be "inclusive" and "nurturing", and to "bring people together". (ABC Radio Sydney: Declan Bowring)
He believes the decision to drop Sabsabi and Dagostino is "a hugely embarrassing moment for Australian art".
"The board of Creative Australia has let down the Australian arts community like never before," he said.
International ramifications
Cherine Fahd, an artist and associate professor of visual communication at the University of Technology Sydney, condemned Creative Australia's decision as "grotesque".
"I'm disgusted, to be honest, absolutely disappointed, disgusted, ashamed. It's not the role of Creative Australia to censor Australian artists," she said.
She believes Sabsabi's work being debated in parliament is an example of "the Labor government and the Liberal [Party] us[ing] Arabs, Middle Eastern people born and bred in this country, or who have come here as migrants, as children, as some kind of weird toy scapegoat to play politics with".
Fahd, who is Lebanese Australian, said she built her artistic career with support from the Australia Council for the Arts (now Creative Australia) and its "robust, peer-reviewed process".
"That's what we look to at Creative Australia," she said.
Mordant believes there will be significant international repercussions from the Creative Australia decision.
"This issue is being discussed very broadly outside of Australia," he said.
"I've had many calls from artists and curators around the world expressing a great deal of dismay. This is not a little isolated issue that's going to wash away in Australia.
"It's got massive ramifications."
Grishin expects further industry upheaval to follow.
"Despite the outstanding calibre of some of the [Creative Australia] board members, I cannot see it as viable for them to continue on the board of Australia's most significant federal arts funding organisation," he said.
He also argued that the judging panel were either "incompetent in endorsing Khaled Sabsabi and his very credentialed curator Michael Dagostino as Australia's entry at the [Biennale], or they're incompetent now in withdrawing this nomination less than a week later".
"So this is really a blow for the reputation of Australian art."
The ABC approached Creative Australia and Senator Chandler for comment.
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Open Letter
Re: The Withdrawal of Australia’s 2026 Venice Biennale Representatives
14 February 2025
Yesterday evening, Creative Australia announced that it will not proceed with the artistic team selected to represent Australia at the 2026 Venice Biennale. This decision, reportedly made unanimously by its Board, was said to be justified by concerns over “prolonged and divisive debate.”
The Board’s full statement reads:
The Board of Creative Australia has made the unanimous decision not to proceed with the artistic team chosen for the Venice Biennale 2026.
Creative Australia is an advocate for freedom of artistic expression and is not an adjudicator on the interpretation of art. However, the Board believes a prolonged and divisive debate about the 2026 selection outcome poses an unacceptable risk to public support for Australia's artistic community and could undermine our goal of bringing Australians together through art and creativity.
Creative Australia will be reviewing the selection process for the Venice Biennale 2026.
Based on currently available public information, we believe this decision raises serious concerns for Australia’s cultural sector.
The withdrawal of a previously approved artist from Australia’s most prestigious international arts presentation sets a concerning precedent for artistic freedom and sectoral independence. If public pressure and political sensitivities of the day can determine—apparently within a matter of hours—Creative Australia’s support for artists after selection, what does this mean for future appointments, funding decisions, and the autonomy and credibility of Australian artists on the world stage?
This letter is an appeal to the arts sector, legal experts, and all those committed to the independence of Australian cultural institutions. The implications of this decision extend far beyond a single artist or event—they strike at the heart of the functions Creative Australia is legislatively bound to uphold.
What Led to Creative Australia’s Decision?
According to media reports, the decision to withdraw Australia’s selected representative at the 2026 Venice Biennale follows a brief but mounting political and media controversy surrounding the selection of artist Khaled Sabsabi. While Creative Australia stated that its decision was not based on an interpretation of specific works, media reports and statements made during Parliamentary Question Time suggest that concerns were raised over Sabsabi’s past works, including a video installation featuring the late Hezbollah leader Hassan Nasrallah and a piece referencing the September 11 attacks.
Competent cultural commentators will no doubt have more to say about the interpretation of the works in question. It suffices to say here that Sabsabi is an award-winning Australian artist whose work spans over three decades. He has exhibited nationally and internationally, including at previous editions of the Sharjah Biennial and the Biennale of Sydney. His selection was made on artistic merit through a rigorous process, and was widely celebrated across Australia’s arts community.
The selection process for the Venice Biennale is among the most competitive and prestigious in Australian contemporary art. It is overseen by an independent expert panel, appointed for their expertise and international standing. This year’s industry advice panel included Anthony Gardner (Professor of Contemporary Art History at the University of Oxford), Dunja Rmandić (Director of Mornington Peninsula Art Gallery), Elaine Chia (CEO of the Naomi Milgrom Foundation), Mariko Smith (Curator at the Australian Museum), Wassan Al-Khudhairi (Chief Curator at the Contemporary Art Museum St. Louis). Creative Australia’s selection of Sabsabi and curator Michael Dagostino was the result of robust consideration and feedback from the industry advice panel of their proposal.
How Does This Decision Align with Creative Australia’s Mandate?
Creative Australia operates under the Creative Australia Act 2023, which mandates it to among other things support artistic excellence, uphold freedom of expression, foster diversity in Australian arts practice, recognise and reward significant contributions in the arts, and promote understanding of the arts. We understand these statutory functions form the basis of its decision-making responsibilities.
We do not see how Creative Australia’s justification for withdrawing Australia’s representation—concerns over “prolonged and divisive debate”—fulfils its statutory functions under the Act.
In their statement, Creative Australia assert that they advocate for freedom of artistic expression but distance themselves from adjudicating the interpretation of art. This is incoherent at best—their decision effectively acts as an interpretation of the political acceptability of the selected artist’s work. It amounts to artistic censorship.
The decision was made with astonishing haste—within half a day of political controversy, without any apparent attempt to fulfil its statutory function of promoting understanding of the arts. They capitulated immediately, without a whisper.
If Creative Australia cannot even stand by its expert-led selection for a matter of hours, abandoning its own process at the first sign of pressure, then what does that say about its commitment to artistic excellence and freedom of expression?
It is in the public interest to understand what political pressure was applied on Creative Australia and how it influenced the decision.
We stand in support of Creative Australia staff, who were not responsible for this decision. They should be supported in advocating for institutional integrity and should not feel that resigning is their burden to bear in expressing solidarity or protest.
We also stand in support of the independently selected artistic team. Consistent with the open letter signed by the other shortlisted artists for the 2026 Venice Biennale, we call for their reinstatement—an essential step in upholding the integrity of Creative Australia’s statutory functions and commitment to artistic independence.
— The Editors
If you would like to add your name to this letter, please sign via the following form
Memo is a recent recipient of Creative Australia funding
A previous version of this letter incorrectly stated that Dunja Rmandić is currently employed by the Art Gallery of Western Australia. It also stated that the industry advice panel selected the artistic team, whereas we are advised this decision ultimately resided with Creative Australia upon the advice of the industry panel.
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