Abstract : Swiss artist Christoph Buchel is known for intensely political and provocative works that challenge artistic and societal assumptions by inviting the active participation of the viewer. A master of subversion, he disturbs boundaries between art and life so well that his installations often become stages for the actual artwork, namely their reception and the controversy around them. Looking at Buchel’s 2015 Venice Biennale installation entitled THE MOSQUE: The First Mosque in the Historic City of Venice, this essay aims to investigate the concept of subversion using Jacques Rancière’s writing on aesthetics and politics. I wish to investigate the possible aesthetics and politics at play in THE MOSQUE, by discerning the ways in which it can create what Rancière calls dissensus. Dissensus is a new configuration of the perceptible, a reworking of the configuration of the real, and can therefore be interpreted the ultimate act of subversion. I will argue that THE MOSQUE is a manifestation of the layering of cultures and ideas that have shaped Venice and, more broadly, given rise to some of the most urgent societal questions of our contemporary age. It provides a space that goes beyond mere reflection and mystification, and it has the potential to reconfigure the possible and subvert modes of doing and thinking. Throughout the Venice Biennale, THE MOSQUE invited the public, including the citizens of Iceland, to reflect upon the different cultural, historical, and sociopolitical systems defining our relationship to one another, and encouraged conversation about the opportunities and challenges such relationship entails.