‘I do not stand for terrorism’: Sacked artist breaks silence, vows to fight for reinstatement

Australia’s sacked Venice Biennale representative Khaled Sabsabi says the controversy has plagued him with sleepless nights, anxiety and nightmares, and vowed to keep fighting for his reinstatement.

The Lebanese-born western Sydney artist said his cancellation was triggered by a fundamental misunderstanding that two of his historical works celebrated terrorism, which he called a “ridiculous” accusation when both critiqued war and media representations of ideology.

Artist Khaled Sabsabi, who had his invitation to participate in the Venice Biennale revoked by Creative Australia, with his work at Barangaroo Metro Station in Sydney.Credit: Janie Barrett

“Anyone who knows me or my work understands what I stand for,” he said when asked if he had ever promoted terrorism through his work.

“I do not stand for terrorism, racism, antisemitism, Islamophobia, xenophobia, or any form of hate.

“I believe every race, ethnicity, faith, gender has the right to exist and co-exist. I’m an artist, not a politician, and my work for over 35 years is about finding ways to converse through complexity. That accusation is ridiculous.”

Sabsabi was speaking for the first time since his controversial dumping on February 13.

Then, the Creative Australia board made the unprecedented decision to revoke Sabsabi’s invitation to Venice, six days after the artist’s selection and just hours after questions were raised in parliament about his back catalogue.

A still from Sabsabi’s video installation You (2007), showing then-Hezbollah leader Hassan Nasrallah.

Sabsabi confirmed the board did not consult him during its deliberations that evening, and that he and curator Michael Dagostino were asked to withdraw their candidature from Venice rather than be sacked. When they refused, a media statement was released minutes later.

The board’s unanimous decision triggered protests, petitions and high-profile resignations, including that of philanthropist Simon Mordant and the board’s artistic representative, Lindy Lee. The unprecedented outpouring of support from artists, curators and the community was overwhelming and greatly appreciated, Sabsabi said.

But the about-face placed a “cloud of suspicion” over his career. Monash University last week postponed an upcoming show featuring his work.

“The Venice Biennale is one of the biggest platforms in Australian art,” he told this masthead. “To be selected and then have it withdrawn was devastating. It was heartbreaking and has caused ongoing anxiety. It’s had a serious impact on my career, my wellbeing and my family’s wellbeing.

“I have over 60 bodies of work with thousands of objects – cherry-picking and misrepresenting works is offensive and damaging.”

Presenting at the Australian Pavilion at the Venice Biennale is a pinnacle of art world recognition for Australian artists.

Last Friday, Sabsabi and Dagostino launched a crowdfunding campaign to bring the artist’s planned multimedia work to Venice, at an off-site venue.

“Besides reinstatement, I have a burning desire to make this work, more than ever to emphasise its importance to our collective and shared history,” he said. “The work is about bringing all people of faith, ethnicity, gender together to reflect and contemplate these troubled times we live in.”

Artist Khaled Sabsabi, right, with curator Michael Dagostino.Credit: Steven Siewert

Sabsabi’s family migrated to Australia from war-torn Lebanon in 1976. His parents opened one of the first Arabic video stores in Granville. He started as a hip-hop artist and has been an adherent of Sufism – the Islamic tradition of mysticism – since 2002, with spirituality a central theme of his art practice.

His biggest public commission is seven circular three-metre-wide sculptures of trees mounted on a sandstone wall, inspired by the so-called Tree of Life, and four copper bands circling the concourse columns at the Sydney Metro stop at Barangaroo.

Of the two disputed works that triggered his sacking, the September 11 video montage Thank You Very Much? was a critique – not an endorsement – of war, he said.

“It was inspired by my work with refugee communities and the acknowledgment that no weapons of mass destruction were found in Iraq. It’s also about the long-term devastation caused by warfare,” he said.

The film work titled You, features an address by the assassinated leader of Hezbollah, in which Hassan Nasrallah’s profile gradually replicates across the screen. It has been in the MCA’s collection since 2009 and predates Australia’s declaration of Hezbollah as a terrorist organisation.

“It reflects on the 2006 Lebanon and Israel War and the devastation I witnessed firsthand,” he said. “The video reflects how singular ideologies expand and replicate. It’s not an endorsement of anyone – it’s a critique of how images and messages spread and distort. It’s been shown to over 80,000 people with no complaints.”

Sabsabi also defended his own participation in a boycott of the Sydney Festival after it accepted a $20,000 sponsorship from the Israeli embassy to co-fund a Sydney Dance Company production. He has been accused of double standards.

“They are very different contexts. I withdrew from the Sydney Festival in 2021 because I am a Lebanese Muslim Australian with Palestinian family. I stand with the Palestinian people, their cause and for self-determination. My actions weren’t a criticism or attack on artists; it was about the funding and the financial support of the Israeli government.”

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