The Venice Biennale, Eurovision and Cannes are framed as artists representing their nations. But in a fractured world, national identity seems increasingly futile

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Are the arts being drowned out by politics? A few days before the biggest week of the year in Europe’s cultural calendar, that impression may be hard to avoid. The Venice Biennale opens its doors to the public on Saturday, but talk in the run-up to the world’s largest contemporary event has focused little on the works that will go on display inside the national pavilions, and a lot on which pavilions are going to open their doors, or shouldn’t.

The building housing the Russian national representation was open for press previews on Tuesday, pumping out techno, for the first time since the full-scale invasion of Ukraine. It’s a decision the biennale president, Pietrangelo Buttafuoco, seems to have made against the wishes of the Italian government that appointed him, and could cost the festival €2m in EU funds for a breach of its ethical standards. Russia has not participated in the past two editions due to its war in Ukraine. Its pavilion’s doors will be closed to the public when the biennale opens fully on 9 May, which a Ukrainian official told the Guardian was a “meaningful step”, after the biennale’s jury resigned en masse in April, in objection to entries from countries whose leaders are subject to international arrest warrants.