Monument to an unknown person by Ersan Mondtag at the German pavilion

As part of the German pavilion, Thresholds, this performance piece embodies the story of the artist’s grandfather, Hasan Aygün. He came to West Berlin from Central Anatolia in the 1960s, made a living through working in the Eternit asbestos factories, and died as a result of this work

Refugee Astronaut by Yinka Shonibare inside the main Arsenale exhibition space

Shonibare introduces a life-sized nomadic astronaut adorned with ‘African’ fabric, equipped to navigate ecological and humanitarian crises. Carrying a mesh sack filled with worldly possessions, the figure symbolises the challenges of displacement. Originating from Shonibare’s contemplation of space as a potential refuge, the artwork serves as a cautionary tale on environmental negligence and capitalism, challenging the unsustainable pursuit of perpetual growth

Come, Let Me Heal Your Wounds by Dana Awartani at Arsenale

This large-scale sculptural textile work by Awartani is made from strips of silk which she rips – representing bomb damage in Gaza – before painstakingly darning the tears. You can read more about this artwork here

kith and kin by Archie Moore at the Australian pavilion

Moore won the Golden Lion award at this year’s Biennale, the first time that an Australian artist had received this accolade. With kith and kin, Moore transformed the Australian pavilion with an expansive, genealogical chart spanning 65,000 years. You can read more here

Artist Glicéria Tupinambá (right) with her niece Jessica at the Brazil pavilion

Tupinambá is the first indigenous artist to represent Brazil solo at the Biennale. The installation Okará Assojaba was composed of nets, feather mantles and letters

Jeffrey Gibson, US pavilion

A Mississippi Choctaw of Cherokee descent, Gibson is the first Native American to represent the US solo at the Biennale. Gibson mixes western modernism and Native American craft in his vibrantly hued paintings and sculptures

Monument to the Restitution of the Mind and Soul by Yinka Shonibare at the Nigerian pavilion

This work examines Britain’s Benin expedition of 1897, which led to the looting of thousands of valuable spiritual and cultural artefacts. A small percentage of the stolen treasures are remade in clay

John Akomfrah, representing Great Britain

Here we see Akomfrah, photographed inside the British pavilion. Read more about his story here

Posters for the Ukrainian pavilion

This image was taken just off Via Giuseppe Garibaldi, near the Arsenale, where the Ukrainian pavilion is situated

INDO & VINDO by Anna Maria Maiolino, inside the main Arsenale exhibition space

Maiolino was one of two winners of this year’s Golden Lion for lifetime achievement. Her installation consisted of a sculpture of unfired clay that appears like tendrils or intestines and is draped over a bench-like structure. Because this clay is not fired, it will eventually dry out and disintegrate

The Belgian Pavilion

French artist Thierry Geoffroy gets things ready

The Fondazione Prada

Here we see Christoph Büchel’s show Monte di Pietà (pawnshop)

A retrospective of Indian painter MF Husain at Magazzini del Sale

This was organised by India’s leading private art museum, the Kiran Nadar Museum of Art in New Delhi. For the exhibition an interactive virtual reality display makes up the majority of the show, powered by the team behind the commercially successful Van Gogh Experience

Holy See pavilion

In collaboration with the Ministry of Justice, the project entitled With My Eyes is being presented at the Giudecca women’s prison until 24 November. You can read more here

Austrian pavilion

A rehearsal for Swan Lake, 2024, with Oksana Serheieva, who performs live three times every day from 20 April to 5 May. The pavilion was designed by Anna Jermolaewa, who was born in Leningrad and has lived in Vienna since 1989. Jermolaewa covers a broad spectrum ranging from her personal migration experiences to forms of non-violent resistance against authoritarian regimes

The Swiss pavilion

Showing here are the sixth and seventh chapters of Guerreiro do Divino Amor’s monumental Superfictional World Atlas saga: The Miracle of Helvetia and Roma Talismano. Through his studies and research in experimental architecture, the artist questions the relationship between urban space and collective imagination, between architecture and ideology, and between political propaganda and national identity

Israeli pavilion

The artist and curators decided to close the pavilion until ‘a ceasefire and hostage release agreement’ had been reached. Read more here

German pavilion

This undoubtedly has the longest queues of the whole Biennale