The 61st Venice Biennale has commenced amidst significant institutional instability and geopolitical tension, characterized by the mass resignation of its awarding jury and widespread protests regarding national representation.

第61屆威尼斯雙年展在顯著的機構不穩定與地緣政治緊張中開幕，其特點是評審團集體辭職以及針對國家代表權的大規模抗議。

The structural integrity of the Biennale has been compromised by the collective resignation of the awarding jury. This action followed the jury's determination to exclude from prize consideration any nation whose leadership is subject to International Criminal Court investigations, specifically targeting Russia and Israel. Consequently, the traditional 'Golden Lion' awards have been suspended and replaced by a popular vote among attendees, a transition that some participants characterize as a degradation of the institution's professional standing.

雙年展的結構完整性因評審團集體辭職而受損。此舉源於評審團決定將任何領導層受國際刑事法院調查的國家排除在獎項考慮之外，特別是針對俄羅斯與以色列。因此，傳統的「金獅獎」已被暫停，取而代之的是由參與者投票決定，部分參與者將此轉型視為機構專業地位的下降。

Stakeholder positioning remains highly polarized. The Russian pavilion's inclusion, defended by Biennale president Pietrangelo Buttafuoco on the basis of Italy's diplomatic relations, has resulted in the forfeiture of €2 million in European Union funding. This decision precipitated confrontations involving activists from Pussy Riot and FEMEN, who attempted to obstruct the pavilion's operations. While the Russian Ambassador to Italy, Alexey Paramonov, framed the participation as a commitment to cultural dialogue, the pavilion's accessibility is restricted to a brief preview period, with subsequent access limited to video documentation.

利益相關者的立場依然高度兩極化。雙年展主席 Pietrangelo Buttafuoco 基於義大利的外交關係而為俄羅斯館的納入辯護，導致失去了200萬歐元的歐盟資金。這一決定引發了來自 Pussy Riot 和 FEMEN 激進分子的對抗，他們試圖阻礙展館的運作。儘管俄羅斯駐義大利大使 Alexey Paramonov 將此次參與框架為對文化對話的承諾，但展館的開放僅限於短暫的預展期，隨後僅限於影片紀錄。

Parallel tensions are evident regarding the Israeli pavilion, which has faced opposition from approximately 200 art professionals citing the state's actions in Gaza. Conversely, the Iranian pavilion remains closed following a decision by Tehran. Other national representations have experienced internal friction; for instance, the Australian pavilion's artist, Khaled Sabsabi, was reinstated after an initial revocation of his appointment due to a 2007 work featuring Hassan Nasrallah. This instance highlights the ongoing tension between state-funded representation and individual artistic expression.

以色列館也面臨同樣的緊張局勢，約200名藝術專業人士以該國在加薩的行動為由表示反對。相反地，伊朗館在德黑蘭的決定後維持關閉。其他國家代表也經歷了內部摩擦；例如澳洲館的藝術家 Khaled Sabsabi，在因一件2007年涉及 Hassan Nasrallah 的作品而被撤銷任命後，隨後被恢復。這一案例突顯了國家資助的代表權與個人藝術表達之間持續存在的緊張關係。

These developments have prompted a broader discourse on the obsolescence of the nation-state model within globalized art. This trend is mirrored in other cultural spheres, such as the Eurovision Song Contest, where several nations have abstained in protest of Israel's participation. In contrast, the Cannes Film Festival has maintained a relative absence of political volatility, potentially due to its function as a commercial marketplace rather than a competition of national representatives. Furthermore, the Academy Awards have recently modified their international feature category to credit directors rather than countries, suggesting a systemic shift toward individual attribution over national identity.

這些發展促使人們對全球化藝術中「民族國家模式」是否過時進行更廣泛的討論。這種趨勢也反映在其他文化領域，例如歐洲歌唱大賽，數個國家為抗議以色列參與而棄權。相比之下，坎城電影節則相對缺乏政治波動，這可能是因為其功能是一個商業市場，而非國家代表的競賽。此外，奧斯卡金像獎最近修改了國際長片類別，將其歸功於導演而非國家，顯示出系統性地從國家認同轉向個人歸屬。

The Biennale currently operates without a professional jury, with the event's focus shifting from artistic merit to the contentious nature of national representation in a globalized era.

雙年展目前在沒有專業評審團的情況下運作，活動焦點從藝術價值轉向全球化時代國家代表權的爭議性。