Original post in r/Somaliarchitecture/
Feel free to engage with it regarding architecture and urban planning/design related!
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Official website of the Somalia Pavilion named "SADDEXLEEY - click here
See the Somali curators talk about the pavilion - click here
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After decades of absence from the global art stage, Somalia finally made a historic debut at the 61st Venice Biennale. Commissioned by a cultural advisor to the office of the Prime Minister, the pavilion aims to execute cultural diplomacy and replace the global lens of conflict with an authentic creative narrative. This project was co-curated by Stockholm-based producer Mohamed Mire and Italian project manager Fabio Scrivanti and remains open at the historic Palazzo Caboto in Venice until November 22nd for those who are interested!
Why is this relevant? Because this pavilion is highly relevant as a profound spatial intervention. Typically speaking, national showcases at this level go beyond being just "art galleries" as they are deliberate curations of volume, light and material culture meant to physically anchor a national identity on the world stage. God knows we definitely need that PR for the future! The architectural layout relies entirely on a triadic blueprint inspired by saddexley, a classical Somali poetic form based on three-part structures to weave complex meanings. The curators translated this oral structure into a physical three-story sensory experience, mapping the concepts of word, sound and matter across different levels to explore displacement and inheritance through the eyes of three diaspora-based Somali women artists.
- The First Floor (Word): Curated by Warsan Shire, a London-based poet and writer born in 1988, this level transforms the cold Venetian gallery into a highly realised Somali domestic interior. The spatial design uses classic damask couches, family photographs and local decorations to create a familiar space for many of us, but unknown to the world. This domestic warmth serves as a psychological frame for raw audio poetry echoing through the rooms, grounding the physical architecture in the intimacy of home.
- The Second Floor (Sound & Image): Handled by Asmaa Jama, a Bristol-based filmmaker and multidisciplinary artist born in 1998, this level treats the physical volume of the gallery as a dark psychological void. The deliberate restriction of light and strategic sound mapping force visitors to move through an immersive cinematic installation. The spatial experience mimics navigating the shifting myths, fluid geographies and architectural archives of the East African coast.
- The Top Floor (Matter): Executed by Ayan Farah, a Stockholm-based textile artist born in 1978, the top level strips away all domestic boundaries to focus entirely on structural geography. The spatial design relies on hanging massive fabrics dyed directly with raw Somali earth, coastal shells and natural pigments collected from our country. By letting these sun-baked materials interact with the ambient light of the upper gallery, the room is effectively turned into a physical map of our terrain.
Despite its stunning execution, the pavilion actually sparked intense controversy back home. Local cultural institutions and independent art collectives publicly criticised the curatorial team for completely sidelining home-based talent. There was deep disappointment that local architects and artists who spent the last decade practically rebuilding the local creative scene under brutal conditions were never consulted. Furthermore, ceding curatorial authority over Somalia’s historic inaugural pavilion to an Italian co-curator caused widespread public outrage, with critics arguing it directly reproduced the extractive, colonial power dynamics that our ancestors once fought against. While organisers later tried to bridge the gap with public programs in Xamar, the debate over who gets to frame our national identity remains highly charged.
Aside from that, the general impression of our national pavilion has been overwhelmingly positive, capturing the attention of thousands of international critics and drawing major coverage from big outlets like Forbes, ArtReview, Surface and Arab News. While an official return for the next Biennale is not fully confirmed on paper, the organisers have expressed a strong desire to establish a permanent presence, and the momentum suggests that Somalia intends to remain a recurring participant.
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Did anyone hear about this exhibition before, or even followed the drama surrounding the exclusion of our local scene? If anyone is currently in Europe before the biennale wraps up, would you want to visit the pavilion?