Khaled Sabsabi is finally at the Venice Biennale, and his presence marks a triumphant end to a year of turmoil. The Australian artist, representing his country at the world's largest art exhibition, has not one but two works on display, a significant achievement given the controversy that surrounded his initial selection.
A Controversial Journey
Wesley Enoch, chair of Creative Australia, read a message from Arts Minister Tony Burke at the opening of Sabsabi's exhibition, 'conference of one's self', at the Australian Pavilion on Wednesday. 'The horrible questioning of Khaled is over,' Enoch said, referencing the uproar that followed Creative Australia's decision to rescind Sabsabi's appointment in February 2025. The decision sparked widespread criticism from the artistic community, leading to Sabsabi's reinstatement in July 2025.
Double Exhibition: A First for Australia
Sabsabi's work is not confined to the Australian Pavilion. He is also exhibiting in the Arsenale, the Biennale's second major venue, making him one of only three artists in the Biennale's 131-year history to do both. His piece 'khalil' was invited by the late curator Koyo Kouoh after the controversy erupted. Curator Michael Dagostino noted that Sabsabi never withdrew his hand from Creative Australia. 'His palm always remained open,' Dagostino said at the opening.
The Artworks: 'One Body with Two Limbs'
Sabsabi describes his Biennale works as 'one body with two limbs.' Both are monumental multimedia installations featuring droning meditative sound and digitized paintings that serve as screens for abstract moving images. Inspired by his practice as a Tasawwuf (Sufi) seeker, the works are potent and commanding. 'Khalil' is the first piece visitors encounter in the Arsenale, while 'conference of one's self' occupies the Australian Pavilion.
Sensory Elements and Symbolism
The scent of black oud wood lingers in 'khalil,' while the black matte walls of 'conference of one's self' are covered with lustrous script inspired by Ilm al-Ḥurūf, the Sufi science of letters and numbers. 'The script is about the dimensions of mysticism that can be used as amulets,' Sabsabi explained. 'It was important to me to hold that in the pavilion as a kind of protection.'
A Win Beyond Competition
Despite the Golden Lion prize being unavailable due to jury resignations, Sabsabi remains unfazed. 'For me, being here is already a win,' he said. 'To realise both works is a first for Australian art. We can take some inspiration from that. Some heart from that. I'm not disappointed. Our experience has galvanised the sector.' The Venice Biennale opens on 9 May, and Sabsabi's exhibition runs until 22 November.
