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Australia’s Largest Arts Festival to Open With Wave of Anti-Israel Artists, Led by Controversial Creative Director
A view of Sydney, Australia. Photo: Reuters/David Gray.
The 25th edition of the Sydney Biennale, Australia’s largest arts festival, opens to the public on Saturday and will feature a slew of artists with anti-Israel views similar to those expressed by the festival’s artistic director, Emirati princess and curator Hoor Al-Qasimi.
The 25th Biennale of Sydney, which will take place from March 14-June 14 across multiple venues, receives taxpayer funding and support from the federal government of Australia, the state government of New South Wales, and the City of Sydney. However, several of the festival’s other partners and sponsors may be problematic for supporters of Israel.
Qatar Museums and Rubaiya Qatar, a new nationwide contemporary art quadrennial that will debut in November 2026, are the festival’s “major strategic” sponsors, according to the event’s website. Qatar has a long history of aligning itself with Hamas and the Muslim Brotherhood, providing a home for the senior leaders of both organizations.
Hamas and the Muslim Brotherhood are both internationally designated terrorist organizations. In the US, Hamas has carried the label for years, and the Trump administration has, in recent months, proscribed branches of the Muslim Brotherhood in Africa and the Middle East.
The festival’s “major partners” include the global property developer Arada, co-founded by Al-Qasimi’s brother-in-law, Sheikh Sultan bin Ahmed Al Qasimi. When the partnership was announced in November 2025, it caused significant concern among the Jewish community. Another partner of the festival, the Barjeel Art Foundation, is controlled by the princess’s family.
“There were grave concerns that the appointment of Hoor Al Qasimi would result in one of our flagship cultural institutions becoming a tool of ideology and exclusion,” Alex Ryvchin, co-chief executive of the Executive Council of Australian Jewry, said last year, as cited by The Australian Financial Review. “The announcement that Al Qasimi’s family is now financially sponsoring the festival increases those concerns significantly, given that the family has a record of villainizing Israelis and calling for their boycott. The immense creative and financial power the family now exerts over the festival is alarming and risks undermining the spirit of the festival.”
Al Qasimi is the daughter of the ruler of Sharjah, one of seven emirates that comprise the United Arab Emirates. She is also the founder, president, and director of the Sharjah Art Foundation, an independent public arts organization in the UAE. She has a history of making anti-Israel comments and declaring “Free Palestine.”
When she was the artistic director of Japan’s Aichi Triennale in 2025, she said, “I didn’t imagine we would be witnessing a genocide live-streamed through our phones … this ongoing violence that can no longer be ignored … we all live under the same sky and none of us are free until all of us are free.” She also talked about “ongoing ethnic cleansing, and genocides.”
In October 2023, shortly after the Hamas-led Oct. 7 massacre in southern Israel, she signed an open letter that voiced support for “Palestinian liberation.” The same open letter called for an end to Israel’s “human rights violations and war crimes” and “escalating genocide” in the “occupied and besieged Gaza Strip.” It further talked about “oppression,” “occupation,” and the “collective punishment of Gaza civilians,” but made no mention of the deadly rampage on Oct. 7 in which Hamas-led terrorists killed 1,200 Israelis and kidnaped 251 hostages.
Al Qasimi father also reportedly once said that “the Zionist presence in Palestine is a cancerous growth within the heart of the Arab nation.” Sheikha Jawaher Bint Mohammed Al Qasimi additionally “criticized the UAE’s cooperation with Israel in the education field,” according to The Middle East Monitor.
The Australian Financial Review reported that several donors and sponsors withdrew their support from the 2026 Sydney Biennale in response to Al Qasimi’s appointment. Al Qasimi’s decision to pick mostly pro-Palestinian artists for the Sydney Biennale also prompted the Carla Zampatti Foundation to withdraw funding for the festival, according to The Australian. In January 2026, Sydney Biennale ambassador Bhenji Ra cut ties with the festival after she faced criticism from the Jewish community over social media posts, including one message she shared that said, “Genocidal death cults do not have the right to exist.”
THE ARTISTS
The theme for this year’s Sydney Biennale is “Rememory,” a term adopted from Toni Morrison’s Pulitzer Prize-winning 1987 novel Beloved to describe “how we become subjects and storytellers of our collective present through events of the past.”
Out of the 83 artists and collections from 37 countries being featured in the 25th Sydney Biennale, more than half are Arab and Muslim and no Israeli artists are included the lineup. The only Jewish talent participating is New York-based Iraqi-American artist Michael Rakowitz, who has publicly made anti-Israel comments. In 2017, Rakowitz described his art as a form of “sumud,” an Arabic term meaning resilience, to “not allow Zionism to loot everything from the imagination, to keep alive the reality of what the Middle East was like before.”
French-Lebanese artist, DJ, and embroiderer Nasri Sayegh is also featured in this year’s Biennale, and he previously posted on social media that “Jewish supremacy is a disease.”
Richard Bell, an Australian artist showcasing his work in the festival, posted content on social media that has accused Israel of “genocide” in Gaza and been critical of Israeli Prime Minister Benjamin Netanyahu. In an Instagram Story on Wednesday, he shared a video from Middle East Eye of an economics professor accusing Israel and the United States of a “mass murder of civilians” in Iran, and indiscriminately “carpet bombing Tehran.”
In August 2025, Bell shared a message on Instagram that said in part, “colonial societies target children because they want to take away the future … it is happening in Gaza, where children are being starved to death.” He previously created a large painting in the shape and colors of the Palestinian flag and the piece was titled “From the River to the Sea,” a slogan that is widely interpreted as a call for the destruction of Israel and for it to be replaced with “Palestine.”
Aysenur Kara is an “emerging Turkish artist” featured in this year’s Sydney Biennale who “aims to use her material conceptions to platform those facing genocide in Gaza right now,” according to a description provided on the festival’s website. The festival additionally said that another one of its presenters, Palestinian artist Khalil Rabah, uses his work “to articulate the very real situation of occupation experienced by Palestinians.”
A series of photographs by Iranian photographer Hoda Afsha being featured in the Sydney Biennale depicts indigenous children who had been in the juvenile justice system and was inspired by the fate of children during the “genocide in Palestine.” In late October 2023 – the same month as the Hamas terrorist attack in Israel – the award-winning Melbourne-based photographer posted on Instagram that she wants “Zionists out of our cultural spaces.”
Palestinian-Australian artist Feras Shaheen will put on the dance performance “Blocked Duwar” at the Campbelltown Arts Centre as part of the 2026 Sydney Biennale. In September 2025, the Tasmanian-based artist compared Jewish businessmen to Nazis in a social media post. He uploaded a photo that said, “Treat your local Zionist like you treat your local Nazi: Equality.” The message was featured over images of neo-Nazi Thomas Sewell, and Jewish arts philanthropist John Gandel and former Biennale donor and board member Morry Schwartz.
Photo: Screenshot
Schwartz responded to Shaheen’s social media post in an open letter last year to Kate Mills, chairman of the Biennale of Sydney. “I’m sure you’ll agree with me that a line has been crossed,” Schwartz wrote. “To equate John Gandel and me with Nazis is shocking. The Biennale will not survive this if you don’t act immediately.”
The offensive social media post has not been taken down by Shaheen.
Schwartz told The Australian Financial Review Magazine he had withdrawn his support for the Sydney Biennale, worried that its artistic director might turn the event into a “hate-Israel jamboree.”
Jewish leaders were given the opportunity to preview the Biennale of Sydney but declined the offer after being frustrated that the festival’s senior figures took no action against “objectionable” social media posts by artists included in the event, The Daily Telegraph reported this week.
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The ‘godfather of denim’ was an Italian designer whose Jewish father was murdered at Auschwitz
(JTA) — Adriano Goldschmied became known as the “godfather of denim” for elevating jeans from casual wear to a luxury staple. His own father’s story was equally riveting.
Goldschmied, who died April 5 at 82, following a battle with cancer in a hospital in Castelfranco Veneto, Italy, credited himself with founding or developing at least 50 brands, including Diesel, AG, Replay, Gap 1969, A Golde and Goldsign.
He was just an infant in 1944 when his Italian Jewish father was arrested by the Nazis.
Goldschmied’s mother, Sofia, was in hiding with his sister at the time of his birth on Nov. 29, 1943, in Vico Canavese, Italy. The Nazis had invaded Italy just months earlier.
His father, Livio, had joined the Italian resistance after the Nazis took over. When he tried to visit his wife, daughter and newborn son, he was apprehended en route. One of six people with his last name deported by the Nazis via Milan’s central station, he was ultimately sent to Auschwitz, where he was killed several months later.
According to a testimony made by a survivor to Yad Vashem, Israel’s Holocaust center, Livio was denounced by a midwife and received permission to visit his son briefly after his arrest. The testimony, which cannot be independently verified, said he had rejected an offer to move to the United States to work with the physicist Enrico Fermi because he would not have been able to bring his family, and had also declined an opportunity to escape from the train that took him to Auschwitz.
Following the war, Goldschmied moved with his mother to Trieste. He later spent a stint pursuing skiing in the 1960s in Cortina, the ski resort in the Southern Alps.
He did not speak readily about his family’s Holocaust history, and unlike his sister, he did not connect with his Jewish heritage. Diana was responsible for installing Stolpersteine, small memorials embedded in sidewalks documenting the Jews who lived at that address before the Holocaust, to commemorate their family members who were murdered.
“Like my father, my brother was a man of great intelligence and extraordinary intuition,” Diana told the Italian-Jewish news outlet Moked. “However, he did not want to talk about our family history. I think memory was working inside him, though.”
Goldschmied got his start in fashion in the 1970s, when he launched his shop, King’s Shop, in Cortina d’Ampezzo, and started a denim line, Daily Blue.
“That first production was going to a fabric store in my hometown, buying crazy fabrics for a very high price and going through manufacturing with my tailor,” Goldschmied told Women’s Wear Daily in 2023. “The product was extremely expensive, and in some way, I created a premium denim by accident.”
In 1981, Goldschmied went on to found the Genius Group, a collective that backed emerging labels like Diesel, Replay and Goldie.
Among Goldschmied’s innovations throughout his career were the development of the stonewash technique, experimenting with Tencel fibers, creating super-stretch denim and pioneering sustainable production methods as early as the 1990s.
“He was the architect of a global staple,” Mariette Hoitink, the co-founder of House of Denim, told Women’s Wear Daily. “Adriano didn’t just design jeans; he orchestrated the greatest transformation in the history of apparel. He was the singular force who elevated denim from rugged workwear into a global fashion staple.”
Goldschmied is survived by his wife, Michela; his daughters Sara, Marta and Glenda; two grandchildren; and his sister.
“Adriano and I led very separate lives,” Diana told Moked. “I rediscovered my Jewish identity. He took a different path, but everyone carries the past within them.”
This article originally appeared on JTA.org.
The post The ‘godfather of denim’ was an Italian designer whose Jewish father was murdered at Auschwitz appeared first on The Forward.
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Not Stupidity — Something Worse: Why the ‘Israel Controls America’ Myth Keeps Spreading
US President Joe Biden and Democratic presidential candidate and US Vice President Kamala Harris react onstage at the Democratic National Convention (DNC) in Chicago, Illinois, US, Aug. 19, 2024. Photo: REUTERS/Kevin Lamarque
In a recent post, Donald Trump took aim at Tucker Carlson, Megyn Kelly, Candace Owens, and Joe Kent, calling them “low IQ” and “losers,” and asking — between Carlson and Kent — “who is dumber?”
It was vintage Trump: blunt, theatrical, and calibrated to dominate a news cycle with a single line. He has long relied on that instinct — to compress a dispute into something sharp enough to stick. But beneath the spectacle sits a more serious issue.
The problem is not intelligence. Many of these figures are clearly relatively smart. The problem is that they — along with a growing chorus of voices on the political left such as Ana Kasparian, Cenk Uygur, and Mehdi Hasan — continue to advance a claim that collapses under minimal scrutiny. Strip away the stylistic differences, the accents, and the partisan framing, and the argument is identical: “Israel controls the United States,” or in its updated form, “Benjamin Netanyahu controls Donald Trump.”
That claim has resurfaced repeatedly over the years, sometimes dressed in more sophisticated language, sometimes stated outright. What makes its latest iteration notable is not merely its persistence, but where it is now being voiced.
This weekend, Kamala Harris, speaking at a Democratic fundraiser in Detroit, said that Donald Trump had been “pulled into this war” by Benjamin Netanyahu. That phrasing carries a clear implication: that the president of the United States — the commander-in-chief of the most powerful military in the world — is not acting independently but is being maneuvered into conflict by a foreign (Jewish) leader.
When this idea circulates on the fringes, it is dismissed. When amplified by pundits chasing attention, it’s often ignored. But when it’s echoed, even cautiously, by a former vice president and major presidential candidate, it crosses a different threshold. At that point, the claim can no longer be dismissed as noise. It has been normalized.
This is not a new idea. It is one of the oldest political accusations in circulation, and it is remarkably easy to test against reality. Only last week, Trump effectively dictated that Israel must accept a temporary ceasefire with Hezbollah — an outcome widely opposed within Israel, where many believe the campaign should be completed and remain skeptical that the Lebanese state will ever disarm Hezbollah. If Israel were directing American policy, that outcome would not occur.
Historically, the “Israel controls America” claim has appeared in different ideological forms but with identical substance. On the far-right, figures such as David Duke have advanced it explicitly. On the far-left, figures like Cynthia McKinney have repackaged it in political language. The wording changes, but the core allegation remains the same: that American power is not sovereign, but subject to external — specifically Jewish — control, echoing Henry Ford and his “International Jew” conspiracy theories of the 1920s and 1930s.
The argument collapses as soon as one examines scale and structure. The United States is a $27 trillion economy with unmatched global reach across military, financial, technological, and diplomatic domains. It maintains a permanent seat on the UN Security Council and leads a network of alliances that spans continents. Israel’s economy, by contrast, is approximately $700 billion. Its military is highly capable, but it is not a global force. It does not control sea lanes, command multinational coalitions, or set the terms of global finance. The disparity is not marginal; it is foundational.
This asymmetry is not unique. The United States maintains deep strategic relationships with many smaller allies such as South Korea, Qatar, Saudi Arabia, and Kuwait. In fact, the United States fought a war to liberate Kuwait in 1991, sustaining approximately 150 American combat fatalities in the process. Yet, almost no one claims Kuwait controls Washington, or that Saudi Arabia dictates US foreign policy. Only one small ally is routinely described in those terms.
The historical record reinforces the absurdity of this Israel “controls” America trope.
In 1956, despite repeated attacks on Israel from the Sinai and Egypt-controlled Gaza, Dwight D. Eisenhower forced Israel to withdraw from Sinai following the Suez Crisis; Israel complied. In 1982, Ronald Reagan pressured Israel to halt operations in Beirut, facilitating the evacuation of Yasser Arafat and the PLO leadership to Tunisia. In 1991, George H. W. Bush asked Israel not to respond to Iraqi Scud missile attacks to help preserve the US-led coalition; Israel absorbed 39 Scud strikes, 13 deaths, and stood down.
In 2015, Barack Obama advanced the Iran nuclear deal despite sustained Israeli opposition. Under Joe Biden, Israeli operations in Rafah were delayed for months under US pressure despite Israeli hostages being held there and its centrality to Hamas’ military infrastructure.
More recently, on June 24, 2025, as a Trump-negotiated ceasefire was taking effect, Iran launched multiple ballistic missiles at Beersheba, killing four Israelis. Israel prepared a large retaliatory strike. Trump intervened and effectively ordered Israel to turn its planes around.
This is what an unequal alliance looks like: coordination, pressure, and at times outright constraint. It is not a relationship where the far smaller country exercises “control.”
So why does the claim persist? Not because it is analytically persuasive — but because it is emotionally effective. Political narratives built on grievance often prefer simple explanations to complex realities.
It is easier to attribute outcomes to hidden manipulation than to acknowledge the interplay of strategic interests, risks, and constraints that define foreign policy decision-making.
There is also a deeper historical layer. For centuries, European political culture absorbed and transmitted variations of the same vile accusation: that Jews operate behind the scenes, exercising covert and pernicious influence over institutions and leaders.
So, when modern commentators repackage that idea — whether in the language of “influence,” “lobbying,” or outright “control” — it does not enter a neutral environment. It lands on fertile soil, reinforcing a long-established and familiar narrative.
Since World War II, the claim hasn’t changed — only its migration from the margins into the mainstream. And once it crosses that threshold, it stops being rhetoric and starts shaping behavior.
As it did in Germany after World War I, if a significant number of people come to believe that their government has been captured, that their leaders are not acting independently but are controlled by a nefarious external force, the range of conclusions and actions they will justify or rationalize expands dramatically. History offers no shortage of examples of where that logic can lead.
Trump attempted to reduce this to a punchline. But this is not a matter of tone. It is a warning sign. And this time, it is coming from closer to the political center than it has in a very long time.
Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.
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War or No War, India Stands With Israel
FILE PHOTO: Indian Prime Minister Narendra Modi addresses the nation during Independence Day celebrations at the historic Red Fort in New Delhi, August 15, 2020. Photo: REUTERS/Adnan Abidi/File Photo
In today’s global climate, Israel is a country many are expected to avoid. Turn on the international media — from CNN, to European and Indian broadcasters — and one narrative dominates: Israel as aggressor and pariah, Israel as a place defined by war, or worse, apartheid. Add to this the open hostility of regimes like the Islamic Republic of Iran, Turkey, and a growing hostility among Western leaders, such as Italian Prime Minister Meloni suspending defense cooperation.
The message is clear: Stay away from Israel.
And yet, in the midst of missile fire, media hostility, and geopolitical pressure — they came anyway.
A group of Indian workers, recruited through an Indian manpower agency, chose not to be deterred. Their arrival in Israel a few days ago is more than a labor story. It is a quiet but powerful act of defiance against a global narrative increasingly detached from reality. When I received photos of the team from the Israel-Jordan border, proudly waving the Indian and Israeli flags, my heart was happy.
Their journey was anything but straightforward.
After receiving their visas, these men and women left their jobs in India, stepping into uncertainty. Then came the cancelled flights, closed routes, and more than a month of waiting as airlines suspended operations to Israel. Many may have reconsidered at this juncture.
They did not.
Instead, they flew to Amman, waited again, and then endured long hours of land travel and layered security checks on both sides of the Jordanian-Israeli border before finally entering Israel.
Since the October 7 attacks, Israel has faced an acute labor shortage, especially in sectors such as construction, caregiving, and general services, which were once filled by Palestinian workers. India, with its vast labor pool and long history of global migration, is uniquely positioned to help fill this gap. Following Prime Minister Modi’s historic visit in February, just before the Iran-Israel/US conflict escalated, Israel and India strengthened ties through key Memoranda of Understanding in defense, technology, agriculture, research, and labor.
One visible outcome is the arrival of Indian workers who choose to come to Israel, to see and experience the country for themselves despite the weight of propaganda, fear, and misinformation.
They also came after weeks of watching missile barrages over Israeli cities on their television screens. They came despite a steady stream of coverage portraying Israel as unsafe, unstable, and morally suspect. They came knowing that public opinion in parts of India, influenced by global narratives, has grown more critical of Israel.
I recently interviewed an Indian caregiver documenting life under Iranian missile fire — daily fear, resilience, and routine. Her videos have gone viral in India. Alongside support, she also faces hostility from those echoing distorted narratives, but equally sparks curiosity and a deeper desire to understand Israel.
Together with others working to strengthen Israel-India relations, I recently shared a reel on Instagram about Indian workers arriving via Jordan. The response has been overwhelming from both sides: messages from India expressing support and genuine interest in a country often misunderstood, and Israelis warmly welcoming the new arrivals.
What we are seeing is the rise of a people-to-people alliance. One that is less visible, less celebrated, but potentially more enduring. An alliance that is built on shared values: resilience, pragmatism, and the instinct to move forward despite adversity.
At a time when parts of the international community are distancing themselves from Israel, the arrival of these workers offers another perspective on alliance.
If Israel is wise, it will recognize this as an opportunity to invest in these relationships, amplify these voices, and allow a narrative to emerge not from above, but from those who have seen the country firsthand.
At a moment when the nation is misrepresented, and misunderstood, the decision of these workers from India to come to work in Israel carries meaning beyond economics.
In difficult times, we know who stands with us.
Paushali Lass is an Indian-German intercultural and geopolitical consultant, who focuses on building bridges between Israel, India, and Germany.
