Portugal’s ‘Greenhouse’ Shatters Venice Biennale Records
The Portugal Pavilion at the 60th International Art Exhibition of the Venice Biennale has shattered attendance records, drawing 83,800 visitors to its “Greenhouse” project. The Directorate-General for the Arts (DGArtes) announced the historic milestone today following the prestigious contemporary art festival’s closure on Sunday.
A ‘Creole Garden’ in Venice
Housed in the Palazzo Franchetti, “Greenhouse” transformed the historic space into a vibrant “creole garden.” The installation blended soundscapes and sculptures with a dynamic public program featuring dance performances, workshops, readings, and participatory events.
Led by a trio of women artists—Mónica de Miranda, Sónia Vaz Borges, and Vânia Gala—the project marked the first time the Portuguese representation was entirely conceived by three women from diverse backgrounds in visual arts, history, and choreography. Their work explored complex themes of identity, culture, and belonging, placing the intersections of ecology, art, and politics at the center of the national pavilion.
Global Impact and Diverse Audiences
“Professionals, students, researchers, families, and the general public from all over the world make up the group of 83,800 visitors,” DGArtes stated. The project’s collaborative nature was reflected in its public program, which hosted curators and artists from a wide array of nations, including Angola, Brazil, Nigeria, Saudi Arabia, and the United States.
While the exhibition in Venice has concluded, its legacy continues. A catalog published by Skira, launched last week in Venice, is scheduled for a Portuguese debut at Cinema Batalha in Porto on December 10.
A Historic Year for the Biennale
The 60th Venice Art Biennale, curated by Brazil’s Adriano Pedrosa under the theme “Foreigners Everywhere,” closed with a total of 700,000 visitors—the second-highest attendance in the event’s history. Only the 2022 edition saw higher numbers with 800,000 attendees.
According to DGArtes, 59% of the Biennale’s visitors were international, while 41% were Italian. Notably, one-third of the total audience consisted of young people under the age of 26.
Curator Adriano Pedrosa used the closing ceremony to highlight the increased visibility of artists from the Global South, as well as indigenous, queer, and self-taught creators. The exhibition featured 331 artists and 86 national participations, including the historic debuts of Benin, Ethiopia, Tanzania, and Timor-Leste. Timor-Leste’s inaugural project by artist Maria Madeira focused on the harrowing and heroic struggle of Timorese women for independence.
Award Winners
The Biennale concluded with several major honors. Australia took home the Golden Lion for Best National Participation, while the Mataaho Collective won for Best Participant. Golden Lions for Lifetime Achievement were presented to artists Anna Maria Maiolino and Nil Yalter.
Image: Pexels – Alex Qian
