Khaled Sabsabi’s name might initially bring thoughts of controversy; last year, he was removed as the artist for the Australian pavilion at the Venice Biennale, only to be reinstated following public outcry and an independent review. However, like many contributors to what is often termed the Olympics of the art world, this incident is only a fragment of his broader narrative.
This week, critic Aruna D’Souza engaged in a dialogue with Sabsabi, discussing migration’s trauma, a 132-foot-long artwork inspired by a dream, and the Sufi teachings that inform his two pieces in Venice. One of these works is featured in the late curator Koyo Kouoh’s exhibition, In Minor Keys, which Editor-in-Chief Hakim Bishara praises as “a solid hymn to the billions who carry melancholy and riotous joy in the same heart.”
Elsewhere in the art world, Jasmine Weber explores Betye Saar’s collection of Black dolls at the New York Historical, while John Yau delves into the unique realms of Larissa Borteh’s canvases. Meanwhile, the news cycle continues to produce headlines reminiscent of the Onion. For instance, a film adaptation of the notorious Louvre heist is in the works, and a New York gallerist has controversially decided to use AI to colorize Ansel Adams’s renowned black-and-white photographs. What could possibly go awry?
If this isn’t enough to make you want to disconnect and visit some exhibitions, consider this: a new study suggests that engaging with art and cultural heritage — whether by taking photographs or wandering through galleries — can actually extend your lifespan. Let this artistic spirit enrich your upcoming weekend. Happy reading, and if you haven’t already, please consider supporting our fearless and critical art journalism by becoming a Hyperallergic Member.
—Lakshmi Rivera Amin, associate editor
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Khaled Sabsabi’s Art of Collective Becoming
Last year, Lebanese-born, Sydney-based artist Khaled Sabsabi was selected to represent Australia at the 2026 Venice Biennale. However, within a week, the government reversed this decision, alleging that a blurred image of a former Hezbollah leader in a 2007 video indicated Sabsabi’s support for terrorism and antisemitism. In response, Koyo Kouoh, the curator of the biennale’s main exhibition, In Minor Keys, invited Sabsabi to participate. This led to an outcry from the arts community and an independent review, ultimately resulting in Sabsabi being reinstated to Australia’s pavilion.
His two installations — “khalil” in In Minor Keys and “conference of one’s self” in the Australia pavilion — employ painting, sound, and moving images to explore themes of identity and collectivity, inspired by his personal experiences and interest in Tasawwuf (Sufi) teachings.
Aruna D’Souza met with Sabsabi to discuss his work in Venice and the process behind it.
Read the full interview
News
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From Our Critics
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How Betye Saar Set Black Dolls Free
Approaching her 100th birthday, an exhibition at the New York Historical celebrates Betye Saar’s promised donation of her doll collection to the institution. | Jasmine Weber
Read More
Opinion
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- In Memoriam — This week, we pay tribute to Paula Kamps, a painter of rare sensitivity, Tess Jaray, a luminary of abstraction, and Ben Morea, a counterculture icon.
- A View From the Easel — Kevin Callahan reflects on three years in his studio after losing his partner of 39 years and moving to a new home. He continues to find joy in painting and drawing under the California sun.
- Required Reading — A record-breaking World Cup mural in Mexico City, the Gen Z of 19th-century France, van Gogh and AI, and more.
From the Archive
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