As the sweltering summer fades, it’s time to revisit the Venice Biennale and its national pavilions, according to our critics Hrag Vartanian and Aruna D'Souza.

Vartanian argues that national pavilions are crucial for smaller nations to centre their artistic conversations. He highlights Ecuador's pavilion as an example of resilience and storytelling, with a 26-minute video by Tawna that explores the struggles faced by Indigenous people in non-heteronormative sexualities.

D'Souza agrees but criticises the prioritisation of the artist over bureaucratic roles. The Democratic Republic of Congo's pavilion is praised for its multi-faceted approach, featuring works by nine artists from the DRC and its diaspora, including a sculpture made from recycled rubber by Patrick Bongo that reflects on environmental degradation.

The conversation underscores the complex interplay between art, identity, and political context at this global exhibition. Vartanian defends national pavilions as essential for representation, while D'Souza advocates for a more artist-centric approach.