The Fortress

For the 61^st edition of La Biennale di Venezia, Dries Verhoeven, in collaboration with curator Rieke Vos, presents The Fortress: a work that takes the contradictions of the Biennale itself as its point of departure. According to Verhoeven and Vos, the Giardini della Biennale, with its thirty national pavilions, reflects a world order from a bygone era, one in which former Western superpowers still take center stage. Countries that in reality are fortifying their borders and rearming stand side by side here, with open doors and in apparent harmony. In this sense, the Giardini is a site of nostalgic wishful thinking—the park sustains the image of an enlightened tradition and a hopeful shared future.

The Fortress addresses self-preservation and protectionism in the face of profound geopolitical uncertainty. The Dutch Rietveld Pavilion, built in the optimistic aftermath of the Second World War, has historically embodied ideals of transparency and progress. Modernist architecture functioned as a spatial expression of democratic openness. Verhoeven’s intervention destabilises this legacy. At fixed intervals throughout the day, the pavilion performs a transformation that symbolically reverses its founding principles. Once a group of visitors has entered the building, steel shutters gradually close across its glass façades. Rattling and grinding, the modernist monument closes itself off from the outside world.

Inside, this steel veil dims the light of the sun-drenched space. What was once bright, transparent and accessible becomes dark and withdrawn. Performers gradually distance themselves from the audience, as if the darkness itself is taking hold. As the symbolic end of the enlightened era approaches, the work suggests that irrational impulses are gaining the upper hand. First comes despair, followed by desolation.

The Biennale takes place from 9 May to 22 November.
From Wednesday to Sunday, the Dutch Pavilion is accessible at 12:00, 13:00, 14:00, 15:00, 16:00 and 17:00. On Tuesdays, the work is presented as a closed sculpture.

For the 61^st edition of La Biennale di Venezia, Dries Verhoeven, in collaboration with curator Rieke Vos, presents The Fortress: a work that takes the contradictions of the Biennale itself as its point of departure. According to Verhoeven and Vos, the Giardini della Biennale, with its thirty national pavilions, reflects a world order from a bygone era, one in which former Western superpowers still take center stage. Countries that in reality are fortifying their borders and rearming stand side by side here, with open doors and in apparent harmony. In this sense, the Giardini is a site of nostalgic wishful thinking—the park sustains the image of an enlightened tradition and a hopeful shared future.

The Fortress addresses self-preservation and protectionism in the face of profound geopolitical uncertainty. The Dutch Rietveld Pavilion, built in the optimistic aftermath of the Second World War, has historically embodied ideals of transparency and progress. Modernist architecture functioned as a spatial expression of democratic openness. Verhoeven’s intervention destabilises this legacy. At fixed intervals throughout the day, the pavilion performs a transformation that symbolically reverses its founding principles. Once a group of visitors has entered the building, steel shutters gradually close across its glass façades. Rattling and grinding, the modernist monument closes itself off from the outside world.

Inside, this steel veil dims the light of the sun-drenched space. What was once bright, transparent and accessible becomes dark and withdrawn. Performers gradually distance themselves from the audience, as if the darkness itself is taking hold. As the symbolic end of the enlightened era approaches, the work suggests that irrational impulses are gaining the upper hand. First comes despair, followed by desolation.

The Biennale takes place from 9 May to 22 November.
From Wednesday to Sunday, the Dutch Pavilion is accessible at 12:00, 13:00, 14:00, 15:00, 16:00 and 17:00. On Tuesdays, the work is presented as a closed sculpture.

Press

“I would like to use art as a space where we can experience our nightmares.”

Chloe Stead in Financial Times (30-04-2026)Read the article

“If you want to understand how our privileged part of the world is handling its nightmares, the Venice Biennale is of indispensable value.”

Q&A in ArtReview (12-05-2026)Read the article

Verontrustende Nederlandse performance op belangrijkste kunsttentoonstelling ter wereld: ‘Smile!’ (★★★★☆)

Anna van Leeuwen in de Volkskrant (06-05-2026)Lees de recensie (in Dutch)

“We zijn onderdeel van een nationale imagocampagne. Tegelijk mogen we de problematische kant daarvan blootleggen.”

Evelyne Coussens in de lage landen (08-05-2026)Lees het artikel (in Dutch)

"Ik hoop dat The Fortress in Venetië functioneert als paard van Troje."

Lucette ter Borg in NRC (28-04-2026)Lees het artikel (in Dutch)

"I wanted to disrupt the comfortable rhythm of pavilion-hopping."

Sean Burns in Frieze (29-04-2026)Read the article

"De Biënnale is geen neutrale plek."

Annette Embrechts in De Volkskrant (01-05-2026)Lees het artikel (in Dutch)

"The national pavilions represent a world order belonging to the past."

Leonardo Castiglione in Interni Magazine (22-04-2026)Read the article

"Ik word blij als er iets op het spel staat."

Brenda van Osch in Het Financieele Dagblad (08-01-2026)Lees het artikel (in Dutch)

Statement in support of ANGA

We are honored to be realizing a work in the Dutch Pavilion at the 61st Venice Biennale. At the same time, it is deeply troubling that Israel is granted a national pavilion at this edition. A state that has been credibly accused of genocide is given the opportunity to art-wash itself—ironically in the Sale d’Armi (The Armory).

We therefore support the Art Not Genocide Alliance (ANGA) in its effort to prevent Israel’s participation in the Biennale.

With pavilions for Russia and the warlike United States as well, this year’s exhibition might become a surreal time capsule, a stubborn continuation of the past, detached from reality. Or perhaps a spot on representation of a world where might makes right.

Studio Dries Verhoeven will be present in Venice, loud and clear. We believe one should always seize the opportunity to speak through art, as long as one is free to do so and can operate independently of the interests of the country one represents.

The desire to make an artwork about the obstinate preservation of a bygone time has only grown stronger.

We hope for a politically resonant edition of La Biennale.

Read more on the ANGA website.

Credits

concept Dries Verhoeven & Rieke Vos
curator Rieke Vos
dramaturgy Hellan Godee, Miguel A. Melgares
performers (alternating) Jennie Bergsli, Melyn Chow, Maarten Heijnens, Jana Jacuka, Dengling Levine, Diane Mahín, Maya Mertens, Marlen Pflüger, Marie Popall, Lisen Pousette, Olivia Rivière, Harald Stojan, Misty Superdeluxe.
An inspiration for the performance is the work HA (2025) by Jana Jacuka. All performative material is developed in co-creation with the performers and rooted in their individual practices.
artistic assistant & tour manager Maarten Heijnens
performance advisor Jana Jacuka
stylist Peteris Viksna
head of production Ellen van Bunnik (‘n More)
technical director Roel Evenhuis
production assistant Nicoletta Barbata
exhibition installation Gunnar Bech, Titus Duitshof, Hans Jansen, Pieter Jurriaanse, Michael Klinkenberg, STS de Kwakel, Landstra Ontwerp en Uitvoering, Studio Kunstwerk
voice advisors Robin van Beek (Vocal Center), Iris Goessens (Vocal Center), Dennis Kox (ENT-doctor), Marcel Swerissen (Vocal Center)
acoustics Bertolani Buildings
acoustics advice Theateradvies bv
photography Willem Popelier
graphic design Tariq Heijboer
online design Das Buro
online communication Roselyn Flach
design plaque Sjoerd van Heumen
production plaque Gieterij Dereu

Publication
authors Maurits de Bruijn, Bas Heijne, Eelco van der Lingen, Eric Otieno Sumba, Dries Verhoeven, Rieke Vos
(final) editing Milo Vermeire (Mondriaan Fonds), Eleonoor Jap Sam (Jap Sam Books)

Mondriaan Fund
commissioner Eelco van der Lingen
project leader Noura Habbab
communications Esther Schussler, Emily Saunders, Cordelia Apold
executive manager Madelon van de Pas

Dries Verhoeven and Rieke Vos wish to thank: Thijs de Fooij, GNS Brinkman, Lise van den Hout, Sarah de Jonge, Ine Legerstee, Marian Muilerman, Lisanne Notermans, Francine Prak, Sergio Rigoletto, Ankie Schellekens, Hedwig Sinnema, Talitha Stijnman, Technical Advisory Pollemans BV, Teylers Museum, Cheyenne Vankan, Martijn Verhoeven, Han van Wieringen, Klaartje Wouters, Pieter Zeeman.

The Fortress is supported by: Amsterdam Art, an anonymous donor, Bertolani Buildings, Fonds 21, Fonds Podiumkunsten, Gemeente Utrecht, Gieskes Strijbis Fonds, Otrias, Silicon Theatre Scenery B.V., VandenEnde Foundation.

driesverhoeven

Works

Press

Statement in support of ANGA

Credits