The Neo Art Magazine

In a decision that has stirred hot debate, Creative Australia has decided to cancel Khaled Sabsabi’s nomination in representing the nation during the Venice Biennale of 2026. This cancellation, effective since February 13, 2025, has created waves in the discourse surrounding freedom of expression, censorship, political meddling, and the purpose of art in society.

There is a controversy surrounding the selection of Khaled Sabsabi.

Initially, Australia was set to be represented by Khaled Sabsabi, a Sydney-based multimedia artist who emigrated from Lebanon. His appointment was seen not only as a step toward recognizing the multicultural nature of Australia’s art industry but also its willingness to embrace diversity on a global scale. Reflections on identity, migration, and conflict featured in Sabsabi’s pieces are inspired by his life as a refugee during Lebanon’s civil war.

Sabsabi’s selection was viewed with joy from different stakeholders in the art community. The Chief Executive Officer of Creative Australia praised the nomination and noted that the multifaceted Sabsabi would ensure Australia engages in deep and meaningful conversations with the rest of the world. The collaboration also includes Michael Dagostino, the curator of Sydney University’s Chau Chak Wing Museum, who is anticipated to present an impressive exhibition in Venice.

The Delayed Turnaround

Despite the announcement, Creative Australia changed its mind less than a week later. The organization raised concerns around Sabsabi’s previous works, especially those depicting the September 11 attacks and Hezbollah leader Hassan Nasrallah, arguing that they could generate unnecessary public debates and completely tear down the support base for the arts. “The debate that is poised to take place is around the 2026 selection outcome, which, from where we sit, will greatly jeopardize support for the Australian artistic community. It will deeply divide the community and, as a result, put at risk the aim of bringing Australians together to create art and creativity,” Sabsabi claimed.

The combination of heavy media pressure and public and political debate led to this decision. An article written in The Australian drew focus to Sabsabi’s video installation ‘You,’ which contains cut videos of Nasrallah and the 2007 video work ‘Thank you very much’ done in 2006, which places images of the 9/11 attack. These pieces of art were termed as inappropriate due to their highly insensitive nature and suggested intense debate in parliament and public over whether Sabsabi should be allowed to represent Australia on such a large international stage.

Certain Situations in Art Freedom Where the Public’s Feelings Might Be Hurt

Most people get into arguments because systems either want to have artistic freedom or do not consider the feelings of the public. Sabsabi’s work often disputes established narratives and attempts to provoke fundamental discussions on troubling socio-political matters. Supporters argue that his artwork is constructive as it promotes understanding and dialogue, while antagonists claim that some artworks are offensive in that they glorify controversial characters and events.

The debate surrounding the 2007 installation “You” is particularly heated. The piece includes a portrait of Nasrallah where beams of light shine out of his eyes and mouth, hinting to suggest godly light. A Western cultural fear of difference is said to be depicted by the artwork as well as the role that the media plays in the public eye.

Critics take that the artwork adores a terrorist figure, with other people thinking about the responsibilities of an artist, especially when dealing with such delicate issues. Both sides of the debate focus on different aspects of the function of art: should it provide soft, comforting tissue or painful, sharp objects to push and provoke?

Voluntary Exits Massa Labeled Resignation

Withdrawing Sabsabi has had dire consequences within Creative Australia and the rest of the arts community. The head of the visual arts department, Mikala Tai, resigned from Creative Australia as part of what she called “a stand in anger with anger,” along with Sabsabi and Dagostino. Tai voiced immense frustration with the organization and their dealings, especially the failure to engage the artist.

Moreover, the leading sponsor of the arts, Simon Mordant, resigned from the position of ambassador and cut all funding for Australia’s participation in the Australia Biennale. Mordant said the Australian pavilion should be an “open motif” to show sympathy for Sabsabi, who has no materials.

Another expressive artist and member of the board of directors of Creative Australia, Lindy Lee, also resigned from the board, claiming dissent to the decision made by the board to withdraw Sabsabi’s nomination. The resignations of these cultural leaders are manifestations of the internal conflicts within the arts community over questions of artistic freedom, censorship, and cultural politics—issues that have in reality become fundamental in Australia. The voluntary resignation of these leaders demonstrates one’s personal will but also expresses the dependence of Creative Australia’s decision on the configuration autonomy of the artistic practice in Australia.

Responses from the public and community

Along with raising money for Sabsabi and Dagostino, other arts communities have come forward in their support. An open letter signed by over eight hundred artists, educators, writers, and culture-based workers was put forth, condemning the withdrawal as an act of censorship and calling for the reinstatement of the two. The letter sought freedom from outside forces and emphasized the need to sustain independence in artistry.

An additional letter from the shortlisted teams of the 2026 Biennale for Creative Australia implored them to reconsider placing their withdrawal. The letter details how Sabsabi was selected through a tough and unbiased selection process, and it goes on to explain how the decision to withdraw support would only serve to damage the claim of freedom of expression and artistic excellence.

Public and Political Reactions

Negative publicity does not sound good, and the government is getting worried about this issue. Questions were raised in federal parliament regarding antisemitic attacks surfacing in Australia and how that affects the selection of Sabsabi. Penny Wong, the foreign minister, accepted the criticisms and stated that they are monitoring the situation.

Opinions on the matter remain split. Some argue that the withdrawal was necessary in order to avoid potential idolization of problematic individuals, whereas others view this move as surrendering to political forces that compromise the independence of cultural institutions. This divide points to larger social controversies regarding the balance between freedom of speech and the nature of art as a medium for dissent.