The Venice Biennale is currently experiencing significant operational disruptions as various participants and funding bodies protest the inclusion of Russia and Israel.

由於許多參與者與資助機構抗議俄羅斯與以色列參展，威尼斯雙年展目前正經歷嚴重的運作中斷。

The current iteration of the Biennale has been characterized by a series of systemic withdrawals. Specifically, the five-member jury resigned nine days prior to the commencement of the event, citing the participation of nations under investigation by the International Criminal Court. Concurrently, the European Commission terminated its financial support to signal opposition to Russian involvement, and seventy artists formally declined prize consideration due to the presence of Israel. These actions have resulted in the vacancy of several national pavilions.

本屆雙年展的特點是一系列系統性的退出。具體而言，五人評審團在活動開始前九天辭職，理由是參與國家中包含受國際刑事法院調查的國家。與此同時，歐盟委員會終止了財務支持，以表達對俄羅斯參與的反對，另有七十名藝術家因以色列參展而正式拒絕接受獎項評選。這些行動導致數個國家館處於空置狀態。

This climate of attrition stands in direct contradiction to the institutional mandate of the Biennale, which emphasizes openness and the rejection of censorship. President Pietrangelo Buttafuoco has asserted that the exclusion of specific nations would undermine the organization's mission to facilitate global convergence. Furthermore, the current state of affairs diverges from the vision of the late curator, Koyo Kouoh, whose theme 'In Minor Keys' sought to prioritize meditativeness and the safeguarding of dignity over the spectacle of conflict.

這種消耗的氛圍與雙年展強調開放與拒絕審查的制度使命直接矛盾。主席 Pietrangelo Buttafuoco 主張，排除特定國家將損害該組織促進全球匯聚的使命。此外，目前的局勢也偏離了已故策展人 Koyo Kouoh 的願景，其主題「In Minor Keys」旨在將冥想與維護尊嚴置於衝突的奇觀之上。

From a critical perspective, the utilization of cultural boycotts is viewed by some as a counterproductive mechanism. Historical precedents, such as the prohibition of German music during the First World War or the recent marginalization of Tchaikovsky in British institutions, suggest that such measures impoverish the audience without diminishing the targeted political regimes. The current shift in the adjudication of the Golden and Silver Lions—now determined by public vote following the jury's resignation—is noted as a vulnerability that may invite external manipulation.

從批判角度來看，有些人認為利用文化抵制是一種適得其反的機制。歷史先例，例如第一次世界大戰期間禁止德國音樂，或近期英國機構對柴可夫斯基的邊緣化，表明此類措施在未能削弱目標政治政權的情況下，反而使觀眾的體驗變得貧乏。目前金獅獎與銀獅獎評選方式的轉變——在評審團辭職後改由公眾投票決定——被視為一個漏洞，可能會招致外部操縱。

The Venice Biennale remains embroiled in a conflict between its foundational principles of dialogue and the political demands of its participants.

威尼斯雙年展仍陷入對話的基本原則與參與者的政治要求之間的衝突之中。