In 2015, for the first time, the word Grenada appeared on the list of national participants at the Venice Biennale, the oldest and most closely watched international art exhibition in the world. For an island of little more than a hundred thousand people, with no national gallery in the European sense and a small community of working artists, that was an unusual step, and it has been repeated at most editions since.
The pavilions have generated pride, curiosity and some argument. This explainer sets out what a Venice pavilion is, who has represented Grenada, how the participation has been organised, what it has achieved and what questions it has raised about who gets to speak for a country's art.
What a national pavilion actually is
The Venice Biennale is held, as the name suggests, roughly every two years. Alongside a large central exhibition chosen by an appointed curator, it hosts national participations: countries officially invited, or applying, to present their own exhibitions. Some long-established nations own permanent buildings in the Giardini gardens. Most newer and smaller participants rent space elsewhere in the city, in palazzos, warehouses and church buildings, for the months the Biennale runs.
Each national participation needs an official commissioner, usually linked to the government or a cultural body, and a curator who shapes the show. The country is responsible for funding, though costs are often shared with sponsors, galleries and private supporters. Being listed as a national participant brings visibility: the pavilion appears in the official catalogue, maps and press materials, and art professionals from around the world pass through Venice in the opening weeks.
For a small state, a pavilion is therefore as much cultural diplomacy as art exhibition. It places the country's name among nations whose art establishments are far larger, and it gives local artists a line on their CV that opens doors elsewhere.
Grenada's editions so far
2015, the debut. Grenada's first official pavilion, at the 56th Biennale, presented Grenadian artists Oliver Benoit and Asher Mains alongside Maria McLafferty. It was framed as an introduction of contemporary Grenadian art to an international audience.
2017. The second participation had Susan Mains, a painter and long-standing figure in Grenada's art community, as commissioner, with an open call to artists leading to a selection process run by the curator.
2019. The 58th Biennale pavilion, curated by the Italian curator Daniele Radini Tedeschi, featured a mix of Grenadian, diaspora and Italian artists, including Grenadian-born artists such as Billy Gerard Frank and Shervone Neckles.
2022. With Susan Mains again commissioner and Radini Tedeschi curating, artists chosen with the Ministry of Culture included Oliver Benoit, Billy Gerard Frank, Ian Friday, Asher Mains, Susan Mains, Angus Martin and Samuel Ogilvie.
2024. The pavilion again combined Grenadian and Italian contemporary artists, with sculpture and photography by Jason deCaires Taylor, creator of the underwater sculptures off Grenada's west coast, at its centre.
Who are the Grenadian artists involved
The core group of Grenadian artists who have appeared in Venice is small and interconnected, which says something about the size of the art scene. Susan Mains has painted in Grenada for decades and has been central to organising the island's participation. Asher Mains works in painting and community-based projects and has been one of the most visible younger Grenadian artists internationally. Oliver Benoit, who appeared in both the 2015 and 2022 pavilions, has likewise been a long-standing presence in Grenadian art.
Other participants have come from the diaspora or have strong links abroad. Billy Gerard Frank, born in Grenada and based in Britain, works across film, photography and installation. Shervone Neckles, of Grenadian heritage, works in New York. Ian Friday, Samuel Ogilvie and Angus Martin, who joined the 2022 selection, have been active in Grenada's visual art community, and the mix of island-based and diaspora names has become a feature of the participation.
Jason deCaires Taylor is not Grenadian, but his underwater sculptures at Moliniere Bay, installed from 2006, made him one of the artists most associated with Grenada worldwide, and his inclusion reflects that link.
The debates it has raised
Participation has not been without controversy. A recurring question, raised about several small-nation pavilions in Venice and not only Grenada's, is how many of the exhibiting artists should come from the country itself. When a pavilion includes foreign artists with no obvious connection to the nation, critics ask whether the exhibition is really presenting that country's art or simply using its name to give other artists a Venice platform. Defenders reply that international collaboration is normal in contemporary art and that partnerships make participation financially possible for countries with tiny culture budgets.
There are also domestic questions. Some Grenadians have asked whether public money and attention spent in Venice might do more good at home: in art education, gallery spaces or support for younger artists. Others argue that international recognition raises the status of art locally and attracts outside support that would not otherwise come.
These are fair arguments, and neither side is obviously right. They are worth knowing about because they shape how the pavilions are received in Grenada itself.
What the pavilions have changed at home
Measuring the effect of a Venice pavilion is difficult, but several outcomes are visible.
- Profile for individual artists. Several participants have gone on to wider exhibitions and residencies, and Venice is frequently cited in their biographies.
- A reason to organise. Preparing open calls and selection exhibitions has brought Grenadian artists together and created local shows that might not otherwise have happened.
- Attention from abroad. Art writers and curators who would never have looked at Grenadian art have encountered it in Venice.
- Debate about infrastructure. Participation has sharpened discussion about the lack of a dedicated national gallery and the need for archives, collections and professional training.
- Diaspora connection. Including diaspora artists has acknowledged that much Grenadian creativity happens in London, New York and Toronto as well as on the island.
How to see Grenadian contemporary art without going to Venice
Most people interested in Grenadian art will encounter it at home, not in Italy. Small galleries and studios in St George's and around the south of the island show local work, and some artists open their studios by appointment. Exhibitions are often announced through local media and social media at short notice, so keeping an eye on cultural listings is the best approach. The Grenada National Museum in St George's focuses on history rather than contemporary art, but it is useful context for understanding the themes artists return to.
Visitors should also look at public and community art: murals, sculpture and the underwater installations at Moliniere Bay, which are visible to snorkellers and divers with licensed operators. Carriacou has its own tradition of painting, most famously in the work of Canute Caliste.
Buying directly from artists, rather than through souvenir outlets, puts money where it supports creative careers. Ask about the work, the materials and the artist's background; most are happy to talk.
Pitfalls when reading about the pavilions
Coverage of Grenada's Venice participation varies a great deal in quality, and a few confusions recur. The first is between the official national pavilion and the many collateral events and private exhibitions that take place in Venice at the same time. Only the official participation, organised through a commissioner recognised by the Biennale, is the Grenada pavilion; other shows featuring Grenadian artists may be excellent but are separate.
The second confusion concerns nationality. Lists of exhibitors mix Grenadian citizens, artists of Grenadian heritage born abroad and international artists invited by the curator. Press releases do not always make these distinctions clear, so it is worth checking individual biographies before drawing conclusions about how Grenadian a given edition was.
Third, dates and line-ups sometimes change between announcement and opening. Artists withdraw, venues shift and curatorial teams evolve. When citing who represented Grenada in a given year, rely on the official catalogue or statements from the Ministry of Culture rather than early announcements or social media posts.
Frequently asked questions
When did Grenada first take part in the Venice Biennale?
Grenada's first official national pavilion was at the 56th Venice Biennale in 2015, presenting Oliver Benoit, Asher Mains and Maria McLafferty. The island has since participated at subsequent editions, including 2017, 2019, 2022 and 2024.
Who organises Grenada's pavilion?
Each national pavilion has an official commissioner and a curator. Painter Susan Mains has served as commissioner, working with Grenada's Ministry of Culture. Italian curator Daniele Radini Tedeschi curated several editions, including 2019, 2022 and 2024.
Why do some Grenada pavilions include foreign artists?
Small-nation pavilions in Venice often involve international partnerships, partly for funding and logistics. This has led to debate, here and elsewhere, about whether a national pavilion should present mainly that country's own artists. Supporters see collaboration as normal in contemporary art.
Is Jason deCaires Taylor Grenadian?
No. He is a sculptor of British and Guyanese heritage best known for underwater sculpture parks. His installation at Moliniere Bay off Grenada's west coast, begun in 2006, made him closely associated with the island, and his work featured in the 2024 Grenada pavilion.
Does Grenada have a national art gallery?
There is no large dedicated national gallery of the kind found in bigger countries. The Grenada National Museum in St George's focuses on history. Contemporary art is shown in smaller private galleries, artist studios and occasional exhibitions, so check local listings.
