Venice 3231
Italy
In 2026, the Pinault Collection chooses to foreground a multiplicity of perspectives, inviting for the first time four artists to simultaneously occupy Palazzo Grassi and Punta della Dogana in Venice underscoring the polyphonic nature of the collection and its commitment to continuing the openness to the world, that it began developing several decades ago.
From Sunday, March 29, the exhibitions Michael Armitage: The Promise of Change and Amar Kanwar: Co-travellers at Palazzo Grassi and Lorna Simpson: Third Person and Paulo Nazareth: Algebra at the Punta della Dogana offer singular visions that, each in their own way, grapple with personal and collective histories and memories, all the while suggesting resonances amongst each other. In paintings, films, and performances, these artists from East Africa, India, North America, and Brazil give form to an experience of history and our humanity. Grounded in distinct cultural and political realities, their works compose a polyphonic landscape that combines social commitment, poetry, and a heightened awareness of the present.
A rich public program with a calendar of concerts, live performances, talks and screenings accompanies the four exhibitions during spring and autumn in two significant moments: the opening week of the Biennale Arte 2026 and the 83rd Venice International Film Festival. Among the main events are a concert by Nakibembe Xylophone Troupe at Palazzo Grassi, in dialogue with the exhibition by Michael Armitage, two concerts at Punta della Dogana with esperanza spalding and Jason Moran, resonating with the works of Lorna Simpson, a performance by Paulo Nazareth and screenings of moving-image artworks by Amar Kanwar, presented by the artist.
Four publications, in different formats, accompany each exhibition project conceived and curated by the Dutch designer Irma Boom. Among the authors contributing to these projects figure Manthia Diawara, Gabriela de Matos, Hans Ulrich Obrist, Johny Pitts, Philippe Rekacewicz, Salman Rushdie and Ocean Vuong.
