A journey inside the machinery of art

I Saw It All.
I Remember Almost None of the Art.

Seeing the art was only half the problem. The other half was wanting to be seen.

In May 2026, I arrived in Venice with a pass around my neck, an Excel schedule on my screen and an impossible plan: see everything, interview everyone and miss nothing. Within days, the art was competing with protests, invitations, hierarchies, dead batteries, sore feet, the pressure to publish and my own desire to belong.

Built from handwritten pizzini, recordings, photographs, messages and direct encounters, I Saw It All moves between literary reportage, memoir and art criticism. Marina Abramović, Judy Chicago, Pussy Riot, dissident artists, national pavilions and people standing outside official frames become part of a self-critical account of how attention, power and visibility shape what we believe we have seen.

This is not a guide to the best artworks at the Venice Biennale 2026. It is a book about what surrounds the art, what competes with it and what remains after the images begin to blur. It asks what we fail to notice while trying to prove that we were there, and whether visibility ever becomes consequence.