The Biennale of Sydney has been plunged into a deep political and social crisis following the opening night of its 25th edition at the White Bay Power Station. What was envisioned as a landmark celebration of global contemporary art was instead marred by what New South Wales Premier Chris Minns described as “horrid rhetoric” delivered by a visiting performer. During the “Lights On” concert on Friday night, New York-based artist Zubeyda Muzeyyen, who performs under moniker DJ Haram, reportedly used her set to broadcast a series of inflammatory remarks that have since drawn fierce condemnation from government leaders and community organizations alike.

According to reporting by The Guardian, the controversy centered on the artist’s claim that a “Zio-Australian-Epstein empire” was actively working to silence dissenters. Critics and Jewish community leaders were quick to point out that the language invoked long-standing antisemitic tropes by linking the Jewish community to the disgraced financier Jeffrey Epstein. The timing of the rhetoric was particularly sensitive for the city, following a devastating terror attack at a Hanukkah event in Bondi just months prior, a context Premier Minns cited when calling the DJ’s language “distressing” and “inflammatory” in comments shared by The Guardian.

The fallout from the opening night has extended beyond verbal condemnation into tangible institutional consequences. The global financial firm PricewaterhouseCoopers (PwC), a major corporate sponsor of the Biennale, announced it would withdraw its support from the event, citing its commitment to an inclusive environment free from hate speech. Meanwhile, the NSW Jewish Board of Deputies has lodged a formal complaint with the police, leading to an active investigation into whether the performance breached state racial hate laws. David Ossip, president of the board, described the event as a misuse of a publicly funded platform, asserting that the rhetoric used was “pure antisemitism” rather than legitimate artistic expression.

The controversy has also renewed scrutiny of the Biennale’s leadership and its artistic direction under Sheikha Hoor Al Qasimi, the President of the Sharjah Art Foundation and daughter of the ruler of Sharjah. Appointed as the Artistic Director for the 25th edition, Sheikha Hoor Al Qasimi had already faced significant pushback from various community groups prior to the festival’s launch. Some critics argue that the selection of artists for Rememory reflects a strong political bias.

In response to the growing pressure, the Biennale of Sydney organizers have launched an internal review of the incident, though they maintained they were blindsided by the artist’s specific remarks. In a statement provided to The Jewish Independent, a spokesperson for the festival emphasized that while the Biennale provides a platform for diverse and provocative voices, all participants are required to adhere to a strict code of conduct. Despite the uproar, Premier Minns has ruled out the immediate withdrawal of state funding, saying that using financial cuts as a “cudgel” could perversely draw more attention to the rhetoric.