Andorra Pulls Out of Venice Biennale Due to Budget Cuts

Andorra's Ministry of Culture has confirmed it will not participate in the Venice Biennale in the medium term, primarily due to budget constraints. The decision, announced two weeks ago, redirects the €500,000 per edition toward other programs. After missing the 2022, 2024, and 2026 cycles, a 2028 return would have required starting from scratch, effectively discarding investments from Andorra's five prior participations between 2011 and 2019.

Artists and veterans of the event expressed resignation rather than surprise. Sam Bosque, who showed work in 2013, acknowledged the financial challenge for a small nation but urged alternatives to maintain international exposure. "Events like the Biennale not only benefit artists but also put the country on the cultural map," he said.

Eve Ariza, whose 2017 installation Murmuri bowls gained significant visibility there, called Venice the strongest showcase Andorra has had. She suggested inverting the model: "If we can't go to Venice, perhaps we can bring Venice to us."

Javier Balmaseda, who participated in 2013 with dissected horses and curated in 2017, questioned the cost argument, estimating €250,000 annually as reasonable if prioritized. He distinguished between commercial fairs like Lyon or Yokohama—where galleries compete regardless of nationality—and curator-driven events like Documenta Kassel or São Paulo Biennial. No other event matches Venice's national pavilion format, he noted, though individual initiatives with public support remain possible.

Francisco Sánchez, part of Andorra's 2011 debut alongside Helena Guàrdia, highlighted Malta's Biennial as a promising alternative. Now in its second edition, it offers €13,000 grants to 50 selected artists from thousands of applicants, with the next in 2028. He criticized Andorra's past open-call selection process, advocating for an international commissioner with networks to choose artists.

Participants emphasized Venice's role beyond economics: showcasing creative vitality, not tourism promotion. Balmaseda warned against expecting quantifiable returns, while all agreed international platforms are essential, given the limited domestic market for professional artists.