El maestro ucraniano Sergei Loznitsa comparó las sanciones europeas de la Bienal de Venecia con "castigos en el jardín de infancia"

Sergey Loznica, one of Ukraine’s most respected filmmakers, has sharply criticized the European Commission’s decision to withdraw funding from the Venice Biennale due to the opening of Russia’s pavilion. The move, which he described as “punishment in the garden,” reflects his frustration with what he sees as a superficial response to geopolitical tensions. The decision came after months of controversy over the Biennale’s stance on Russian participation, particularly following Russia’s ongoing invasion of Ukraine. The dispute gained momentum earlier this year when the Biennale, a prestigious international art exhibition, allowed Russia’s pavilion to reopen its doors for the first time since 2022. This decision sparked widespread criticism, especially from Ukrainian artists and activists who viewed it as a tacit endorsement of Moscow’s actions. Loznica, known for his documentary work on Ukrainian history and politics, was among the vocal critics. He argued that the Biennale’s focus on artistic expression should not come at the expense of political accountability. Born in Belarus and raised in Ukraine, Loznica has long identified with the cultural legacy of the former Soviet Union. Despite living in Germany for many years, he still considers himself part of that broader historical narrative. His work often explores themes of identity, conflict, and resistance, themes that have become increasingly relevant in light of recent global conflicts. His acclaimed documentary Maidan (2014), which chronicled the Euromaidan protests, exemplifies his commitment to documenting real-world struggles through cinema. In a statement released ahead of the Biennale’s opening, Loznica expressed his personal stance on visiting Russia’s pavilion. He stated that he would never set foot inside it, calling the situation more about distraction than meaningful action. He questioned whether the presence of the Russian pavilion could truly halt the war, arguing instead that the EU had failed to implement effective economic sanctions against Moscow. “The question I ask myself is: can the existence of this Russian pavilion stop the war, or not?” he reflected. Loznica pointed to specific data highlighting the continued flow of Russian energy exports to Europe. According to reports from the Agency for Energy Regulators, the volume of natural gas imports into Europe rose by 17% compared to the same period in 2025. With a ban on Russian gas imports set to take effect in 2027, he emphasized that this issue carries far greater weight than debates over the inclusion of the Russian pavilion. “Cutting off funds for the Biennale is punishment, just like the kind given out in the garden,” he remarked. Russia’s pavilion, named Tree Rooted in the Sky, was accessible only during preview periods before the official opening of the Biennale. From May 9th onward, it was closed to the public. The European Commission confirmed last month that it had withdrawn its annual donation of two million euros to the Biennale Foundation. While the financial cutbacks will affect certain non-core activities such as the Biennale College and Venice Production Bridge programs, they will not directly impact the main exhibition. The controversy has also spilled over into the Venice Film Festival, which is held concurrently with the Biennale. Although the film festival operates under separate institutional authority, it is likely to feel the effects of the financial restrictions. The festival’s lineup includes several politically charged works, including Loznica’s new documentary Imperium, which does not qualify for competition. Other notable entries include French director Alexandre Smia’s geopolitical thriller Jupiter, in which Russian President Vladimir Putin survives an assassination attempt and seeks revenge against Ukraine. Meanwhile, Ukrainian filmmaker Andrej Kutsyla will present an animated documentary titled Letters from a Silent Country, depicting the political repression in Belarus. As the events unfold, the debate surrounding the Biennale’s role in global politics continues to intensify. Whether the financial decisions will lead to lasting change or merely serve as symbolic gestures remains unclear. What is clear, however, is that the intersection of art and politics is becoming ever more complex, and deeply consequential.