Australia’s Censorship Controversy: The Failed ‘Foreign Power’ Defence

Key Takeaways:

• The cancellation of artist Gabrielle Goliath’s work for the 2026 Venice Biennale by Arts and Culture Minister Gayton McKenzie was allegedly due to a "foreign power" pushing its own "geopolitical message" about Israel’s actions in Gaza.
• However, evidence suggests that Qatar Museums, the supposed "foreign power," had lost interest in purchasing Goliath’s work before McKenzie interfered.
• The conversation between Qatar Museums and the organizing team for the South African Pavilion was a common practice in the art world, with many pavilions being funded by a range of parties.
• Goliath’s work, "Elegy," is a three-suite piece engaging with femicide, LGBTQI+ killings, and the killing of women and children in Gaza, and has been in development for over a decade.
• McKenzie’s claims of "foreign capture" appear to be a red herring, and his actions have been criticized for censorship and interference.

Introduction to the Controversy
The cancellation of artist Gabrielle Goliath’s work for the 2026 Venice Biennale by Arts and Culture Minister Gayton McKenzie has sparked controversy and debate. McKenzie claimed that his decision was a "patriotic" act intended to protect the South African Pavilion from being hijacked by a "foreign power" pushing its own "geopolitical message" about Israel’s actions in Gaza. However, evidence obtained by Daily Maverick suggests that this claim is a red herring, and that the supposed "foreign power," Qatar Museums, had lost interest in purchasing Goliath’s work before McKenzie interfered.

The Conversation Between Qatar Museums and the Organizing Team
According to a chronology of events, a representative of Qatar Museums had conversations with the organizing team for the South African Pavilion in early December about purchasing the artwork or works selected by South Africa. This conversation was initiated in November 2025 during the G20 Summit in Johannesburg, when no artist had yet been selected. Following the selection committee’s internal confirmation of Goliath as South Africa’s sole representative, the conversation between the organizing team and the Qatar Museums representative resumed on December 8. However, already on December 11, the Qatar Museums representative expressed reservations about funding a solo work at the Venice Biennale, and there was no further movement on that conversation until the organizers informed the Qatar Museums representative on January 4 that Goliath’s work had been cancelled by McKenzie.

Goliath’s Work and the Allegations of "Foreign Capture"
Goliath’s work, "Elegy," is a three-suite piece engaging with femicide, LGBTQI+ killings, and the killing of women and children in Gaza. The work has been in development for over a decade and has been consistently described by Goliath as a "work of mourning and repair" rather than being about violence. The allegations of "foreign capture" appear to be a red herring, as Goliath has been independently developing and conceptualizing her work for years. Furthermore, the conversation between Qatar Museums and the organizing team was a common practice in the art world, with many pavilions being funded by a range of parties.

The Implications of McKenzie’s Actions
McKenzie’s actions have been criticized for censorship and interference. The minister’s narrative betrays his lack of understanding of the arts economy and the workings of Biennale pavilions. The cancellation of Goliath’s work has also raised questions about the role of government in the arts and the importance of artistic freedom. As political commentator Steven Friedman pointed out, South Africa has been "far more active" than Qatar regarding Gaza and Palestine, and Goliath’s work is actually "closer to the country’s foreign policy position on Gaza" than McKenzie, who Friedman described as a "right-wing Zionist."

Qatar’s Soft Power Approach to Diplomacy
Qatar has been known for its soft power approach to diplomacy and reputation-washing in both the sports and arts and culture spheres. The country owns the Paris Saint-Germain Football Club in France and is a major funder and collector of art from around the world, including South Africa. The Museum of Islamic Art in Doha bought Irma Stern’s work "Arab Priest" in 2011 and loaned it back to South Africa’s Iziko National Museum in 2019. The National Museum of Qatar owns an edition of William Kentridge’s "The World on its Hind Legs" sculpture, while Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the sister of the current emir, has visited the Goodman Gallery in Johannesburg.

Conclusion
In conclusion, the cancellation of Gabrielle Goliath’s work for the 2026 Venice Biennale by Arts and Culture Minister Gayton McKenzie appears to be a result of misinformation and a lack of understanding of the arts economy. The allegations of "foreign capture" are unfounded, and the conversation between Qatar Museums and the organizing team was a common practice in the art world. The implications of McKenzie’s actions are far-reaching, and the importance of artistic freedom and the role of government in the arts must be carefully considered. As the art world continues to grapple with the complexities of funding and censorship, it is essential to prioritize transparency, accountability, and the protection of artistic freedom.