從展覽首日10/19（三）截至10/23（日），連續五天吸引了超過 40,000名 貴賓與公眾參與首屆Paris+ par Art Basel。展會期間，法國總統—艾曼紐・馬克宏 Emmanuel Macron，法國文化部長—莉瑪・阿卜杜勒・馬拉克Rima Abdul Malak與第一夫人—碧姬・馬克宏Brigitte Macron也花費兩個小時參與活動，仔細聆聽畫廊主們的詳細導覽，馬克宏總統更表示：「巴塞爾藝術展（Art Basel）成功在巴黎重塑了一個真正的國際當代藝術博覽會。」
目前歐洲藝術經紀市場已經被英國退出歐盟一事，受到非常多的衝擊與損失，不管是疫情的肆虐導致低迷的收藏市場，或者是各界畫廊參與兩地的積極度與影響力更是不容小覷。英國脫歐對於藝術銷售事後「退稅」已變成一個值得思考取捨的問題。如今巴塞爾藝術公司取得巴黎大皇宮未來7年的營運權，剛剛旋風結束的藝術博覽會—Paris+ par Art Basel，順利奠定巴黎作為當代藝術市場的中心點，有更多的英美畫廊正在逐步規劃於巴黎市中心擴展更多空間。
Art Basel從瑞士巴塞爾首次延伸到藝術文化重鎮法國巴黎Paris，許多藝術大佬、畫廊主、藏家、藝術愛好者，大家都十分期待本週為期4天（10月19至23日）全新藝博會概念《Paris+ par Art Basel 藝+巴黎》。本屆匯集來自30個國家和地區，一共156間畫廊參與展會，61間於法國已有展示空間，95間則分布在世界各地，其中可見許多世界知名長青畫廊的身影，同時也包括初次參展的畫廊空間一同參與。
「一年一度，巴黎藝術盛事大變革」
法國巴黎大皇宮每年重要的檔期：10月份 FIAC（國際當代藝術博覽會） 與11月份 Paris Photo（國際攝影博覽會）皆由博覽會組織公司FIAC（母公司RX France，隸屬英荷RELX集團） 策劃執行，並在歐洲建立亮眼成績與聲望，一直以來以「法國」當代藝術博覽會之姿與瑞士Art Basel和倫敦Frieze三足鼎立。
巴塞爾全球總監馬克・史畢格勒（Marc Spiegler）曾經於媒體訪問表示，2018至2019年可見藝術產業的緊縮困境，該情況因新冠疫情一路延燒至2021年中後，不少資金投注紛紛退出遊戲，靜觀整體市場動盪與其變化。然而，馬克與集團則反其道而行，在大皇宮提出招摽一案時，大動作加入標案，預計於法國巴黎建立一個嶄新的品牌《Paris+ par Art Basel 藝+巴黎》。
主展場設定於巴黎臨時大皇宮（Grand Palais Èphémère）* 以及戰神廣場（Champ de Mars），區分成兩個展區：「藝廊薈萃」（Galleries）匯集140間知名畫廊，作品以現代、當代藝術為主；「新藝初探」（Galleries Émergentes）由評選團隊挑出16間新晉畫廊，推出藝術家個展形式呈現，共156間藝廊參與。
本週在《Paris+ par Art Basel 藝+巴黎》舉行在即，巴黎周邊許多藝文機構也紛紛共襄盛舉，以多樣的合作型態推出不同主題內容與展演形式的活動項目。即使沒有時間前往大皇宮觀展，亦能夠在遊走巴黎街區時，無意間參與「城藝之旅」（Sites）在巴黎著名地標附近展出25件大型雕塑及裝置作品，藝術帶入生活的展演形式以行之有年，這一次在巴黎巴塞爾團隊的規劃下，藝博會與周邊活動能夠如何進行並會帶出多少持續效應？全都是團隊與整個歐洲大陸、巴黎藝術圈，大家期待發現到的！
“This extraordinary renaissance building has traveled through the centuries to great us here, now, in the twenty-first century – not as a mere host for art but as a co-producer of the exhibitions..”
— 奧拉佛・艾里亞森 Olafur Eliasson
一場展覽最需要的是觀展者的實際參與，伴隨著不同形式的反饋，以構成印象深刻的美學體驗。 What an exhibition needs most is the actual participation of the audience, along with different forms of feedback, to form an impressive aesthetic experience.
When science meets artistic aesthetics, it is conceivable that it could become a dialogue that cannot be stopped, nor needs to be demonstrated or dissected, because their combination will produce wonderful products beyond imagination. The mysterious vortex is slowly moving through the artist’s meticulous plan, one by one, being cleverly created and verified in front of your eyes.
冰島丹麥裔藝術家｜奧拉佛・艾里亞森Olafur Eliasson，首次在義大利最大個展就選在佛羅倫斯當代藝術博物館-斯特羅齊宮Palazzo Strozzi舉辦，以雕塑和大型裝置藝術創造沈浸式體驗與空間聞名全世界，從千禧年代發跡至今在各國知名博物館皆可以看到他的展覽足跡，Netflix上熱門紀錄片《Abstract: The Art of Design》第二季第一集更是專門介紹這位「光之魔術師」。
Icelandic Danish-born artist | Olafur Eliasson, whose largest solo exhibition in Italy for the first time was held at the Palazzo Strozzi one of the important contemporary art museums in Florence, is famous for his sculpture and large-scale installation art creation immersion experience and space, and his footprints can be seen in well-known museums around the world since the millennium. Also, the first episode of the second season of the popular documentary “Abstract: The Art of Design” on Netflix is dedicated to this “Magician of Light”.
Just before now 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WColour spectrum kaleidoscopo 2003, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
Spanning between light, shape, color, time, and space, Olafur Eliasson attempts to reconstruct the present and the past by weaving natural elements throughout the exhibition landscape.
Tomorrow 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
藉由標題「在你的時間裡」(Nel tuo tempo) 可以很直接地理解到整個展覽是以「觀眾」作為核心，建立觀眾與裝置之間的對話，促使其成為作品的一部份。打破博物館/美術館與觀眾之間的規範與界限，一直是藝術家Eliasson創作歷程中主要的研究導向之一；不再以博物館為導向，不過度解釋說明作品，為其建立一個既定的思考方向，而是聚焦於觀眾本身，打造一種身歷其境的體驗裝置，豐富觀者的所有視覺感官。
Through the title of the exhibition “In your time” (Nel tuo tempo), we could directly understand that the entire exhibition is centered on the “audience”, establishing a dialogue between the audience and the installation, and promoting it to become part of the work. Breaking the norms and boundaries between museums and audiences has always been one of the main research directions in artist Eliasson’s creative process; no longer museum-oriented, not overly interpreting the works, but creating a predetermined thinking direction for it. Instead, focusing on the audience itself creates an immersive experience device that enriches all the visual senses of the viewer.
Walking into the 16th century, the historical corridor comes into the huge oval vortex floating in the air, simulating the movement of ocean waves, resembling a figurative sound wave, which is following your wandering steps, replacing the appearance of it passing through the light to reach your pupils.
《Under the water》2022 鋼架、 印花紡織品、再生聚丙烯捆紮帶、單頻燈 steel frame, printed textile, recycled polypropylene strapping, monofrequency lights 11x8m 由藝術家提供 courtesy of the artist
Entering the main exhibition hall on the second floor, the window structure that is previously wrapped in the past, was deliberately included in the work by the artist this time. The light penetrated the glass window surface at that time, and the fine glass craft patterns between the filter panes, the bubble holes were wrapped into the glass structure, and the “traces of time” that could not be seen by the naked eye were once again covered with sunset-like colors to show the elegant and psychedelic posture of the aristocracy in the renaissance.
《Triple seeing survey》2022 投射燈，壁掛 3 spotlights, wall mounts 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Tomorrow》2022 投射燈，壁掛，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Just before now》2022 投射燈，壁掛，鏡面箔，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
After passing through the projection screen installation, the works in rooms 6, 7, 9, and 10 are the installations that best reflect the natural environment issues in the entire exhibition.
Among them, Room 9 brings out the artist’s most classic and famous work “Beauty”. Through the elements of water and spotlights, a seemingly simple installation is created. In the dark room, the water spray reverberates with the focused light, which is refracted into the pupils of the audience and awakens ” Rainbow”; as the artist puts it: “it is a matter of fluctuating back and forth between two positions: seeing the rainbow, not seeing the rainbow, seeing and not seeing.” No one can see the same rainbow formation, walking into the mist of water and becoming part of beauty.
《Beauty》1993 聚光燈、水、噴嘴、木頭、軟管、幫浦 spotlight, water, nozzles, wood, hose, pump 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
Triple window 1999, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WSolar compression 2016, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WRed window semicircle 2008, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W24 glass spheres 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
The essence of art originates from everyday life, and inextricable relationship between science and nature has shown their complementary roles in many fields, while there are still phenomena that cannot be explained and demonstrated.
Artificial lighting installations and various media: color, water vapor, space, mirrors, with the progress of outdoor daylight, changes in the surrounding environment affect everyone’s participation experience, fully immersed in the installation situation, resulting in a dialogue structure between perspective and time points.
《Firefly double-polyhedron sphere experiment 》2020 不銹鋼、彩色濾光玻璃、玻璃鏡面LED燈、電機、油漆 stainless steel, collour-effect filter glass, gllass mirror LED light,motor , paint 170cm 由藝術家提供 courtesy of the artist
Our understanding of artistic creation depends on the knowledge content of the individual and the fermentation between life experiences. When facing contemporary art, most audiences are overly relying on reading the introduction, the existence of audio-guide, it is undeniable that in the field of conceptual art, a complete analysis and understanding of the motives and ideas of artistic creation is the core; however, the connection between the viewer and the work, that process of viewing experience, is the product of introspection after consumption, which could be video, photo, could be oral feedback, it could be an internal experience connection, or it could be a memory of the moment with companions.
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
The “Olafur Eliasson : Nel tuo tempo” exhibition brings together nearly 20 pieces of important installations over the years and news in 2022. With the strong assistance of the Fondazione palazzo strozzi, the practice artist’s insistence on shared experience and interactive installations is displayed in different exhibition types. The concept of state-of-the-art mainly focuses on the sensory experience of the audience, trying to transcend the spatial boundaries and physical limitations, and make the exhibition area a meeting point of all elements.
Olafur Eliasson：Nel Tuo Tempo｜奧拉佛・艾里亞森：在你的時間裡 展覽構思｜Studio Olafur Eliasson 策劃推廣｜Fondazione Palazzo Strozzi 斯特羅齊宮基金會 展期｜2022年9月22日(四) 至2023年1月22日(日) 地點｜Palazzo Strozzi斯特羅齊宮, Firenze 時間｜週一至五10點-晚間8點，週四10點-晚間11點 購票｜全票15歐，優待票12歐（以及其他更多優惠票價，詳情請至官網 https://www.palazzostrozzi.org/en/tickets-opening-hours/ ）
▎outstanding sculptor ｜ Fabio Viale cooperates with the Arezzo city hall to launch a solo sculpture exhibition named “AURUM” , a new exhibit concept: Exploratory Urban Show ▎
“I have always wanted “MARBLE” could become a recognized creative material in contemporary history. Breaking down “preconceived ideas” has always been a feature of my creations, and is also the source of my energy and passion for continuing to create.”
— 法比歐・維亞萊 Fabio Viale
親眼所見亦非真實，唯有近距剖析方能體悟 what you have seen might not be real, only taking a closer look could truly understand the truth.
該展由Guido d’Arezzo基金會與阿雷佐市政府聯合規劃，攜手Le Nuove Stanze文化協會合作舉辦。不將展演空間限制於密閉空間，而是將整座城市帶入擴大展演場域，藝術作品分佈在博物館和城市空間的不同地點 – 從市立現代美術館（Galleria Comunale d’Arte Moderna e Contemporanea） 到 美第奇堡壘（Fortezza Medicea），從聖依納爵堂（Chiesa di Sant’Ignazio）到阿雷佐主教座堂（Arezzo Cathedral ） 。通過雕塑作品地點的安排設置，大幅提升公眾與城市之間的連結度，透過適當的規劃與引導，建構出一場古典與當代共存發酵的「探索式城市展演」。
The exhibition is jointly planned by the Guido d’Arezzo Foundation and the city hall of Arezzo, in cooperation with the cultural association Le Nuove Stanze. Instead of confining the exhibition space to narrow spaces, it brings the whole city into an open displayed area, with works of art distributed in different locations in the museum and urban space – from the Galleria Comunale d’Arte Moderna e Contemporanea to the Fortezza Medicea, from Chiesa di Sant’Ignazio to Arezzo Cathedral (Duomo). Through the arrangement and set on the location of the sculpture works, the connection between the public and the city is greatly enhanced.
“Gold has a seductive power that goes beyond its beauty: it is just like a siren’s song, you could feel its attractive power while you work. it’s existence like marble, which could pull me out of time, to transcend its perfection to openly reveal its dangerousness. “
Fabio Viale, born in Cuneo, Italy in 1975, currently lives in Turino. He began to learn to sculpt marble at the age of 16, and his boundless enthusiasm and hobby for the material led him to design architectural elements and sculpture creations for the Monumental Cemetery of Milan at a young age.
His creations reveal the predicaments and limitations faced by the material “marble” in the artistic context of the past few centuries, he attempts to capture the fusion of historical classics and modern thinking to extend different aspects of the product. Fabio Viale’s exhibition experience has spread all over the world, and its footprints have expanded beyond Italy, China, and Russia to the United States. Recently, it has returned to European countries for public exhibitions. he could be hailed as an international contemporary art creator.
Aurum is translated as “gold” in Latin. In the 16th century, the uprising of Arezzo, Italy, was the name of the city of gold. Precious metal processing technology has accumulated and developed from the Renaissance to the modern industrial period. Many excellent goldsmiths are all craftsmen. All came from this ancient city, and the jewelry products born here were transported to Florence and the Curia Romana in the Renaissance, and the production of religious jewelry also began.
The artist uses “gold” as a medicinal guide to establishing a multi-faceted dialogue space. This time there are nearly 50 sculptures are displayed in this exhibition, each of which is secretly injected with a gram of gold, ingeniously introducing the exhibition theme “gold”. As mentioned above, this kind of flexible and malleable material is inseparable from the history of Arezzo. The creative thinking and material of the work itself are a kind of “conflict minerals”, which the artist experimentally and deliberately established. Communication and dialogue, invisibly linking the time with the viewers, religious myths, object forms, social values, cultural history, and the contradictory reality of today, each reflects a different dimension of human nature towards social criticism and self-reflection.
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at (from un to low, from left to right) Duomo, Fortezza Medicea, Arezzo 2022. photo by Gogo.W
Fabio Viale’s creations are full of suggestive and provocative creative concepts. On the way to exploring the context of classical art and contemporary art, Viale refers to a large number of documents, art classics, modern social viewpoints, etc. The contradictory relationship between them stimulates the difference between classical art and negative stereotypes, and unscrupulously explores the conflicting connection between beauty and evil, he tries to overturn the public’s established impression of “tattoo”, and at the same time explores the possibility of multi-faceted understanding.
Fabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.WFabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.WFabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.W
He chooses daily objects to build up his marble universe | paper bags, paper airplanes, tires, wooden boxes, etc., all carved out of marble. After Viale’s ingenious carving technology, what our eyes see is not what we think, the real existence begins to challenge your brain, and a new creative dimension is born.
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
“I have always sought out new solutions, often creating more innovative methods for materials from a technical point of view, and at the same time I want to make “marble” a recognized creative material in contemporary history. I committed to breaking the “preconceived” stereotypes, It has always been a feature of my work, it shows the duality of the work of art, which is the source of my energy and passion for continuing to create.”
Whether it’s recreating classic sculptures, recreating exotic material structures, or transcending intuitive prejudices, genres, and artistic genres, it becomes an alternative medium. The possibilities of marble sculpture have been raised to another level by the outstanding hands of Fabio Viale.
Fabio Viale Aurum｜法比歐・維亞萊・黃金 策劃人｜Lorenzo Cinatti 展期｜即日起，至 2022年9月30日地點｜阿雷佐市五個地點＞Galleria Comunale d’Arte Moderna e Contemporanea 、Fortezza Medicea、Chiesa di Sant’Ignazio、Arezzo Cathedral(Duomo)、San Domenico 時間｜週一至五11點–晚間7點，週六日/國定假日10點–晚間8點，週二休館 購票｜全票8歐，Arezzo市民享有優待票價售票處｜Galleria Comunale d’Arte Moderna e Contemporanea 以及 Fortezza Medicea
MOMA被認為是全世界現代藝術收藏內容最好的博物館之一，館藏超過20萬件絕無僅有的藝術品。梵谷經典之作《 星夜 The Starry Night 》就是MOMA的中流砥柱，只要網路可以觸及的地方，大家一定看過深藍色天空與橘黃色星光閃閃躍動的《星夜》，或者是對於 Don McLean 演唱的Vincent 感到熟悉。
活動起源於2005年，由法國文化部首次舉辦，爾後受到歐洲各國巨大的迴響，各城市舉足輕重的博物館、美術館也都紛紛跟進並延伸出許多活動共襄盛舉。每年【歐博夜】都會吸引大量的觀眾前去觀賞展覽、參與活動，同時也受益於聯合國教科文組織（UNESCO）、歐洲委員會（Conseil de l’Europe）、法國國際博物館協會（ICOM）以及眾多文化機構和媒體合作夥伴的贊助與合作。
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
Exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WExhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WExhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
《The Three Pietàs of Michelangelo : No one thinks of how much blood it costs 》｜米開朗基羅的三聖殤：無人知曉的血汗 地點｜Opera del Duomo Museum 主教座堂博物館 策展人｜Barbara Jatta (梵蒂岡博物館館長), Sergio Risaliti (佛羅倫斯現代美術館館長), Claudio Salsi (米蘭斯福爾扎城堡館長), Timothy Verdon (佛羅倫斯主教座堂博物館館長) 展期｜即日起，至 2022年8月1日 時間｜每日9:00至晚間7:45 注意｜從 8 月 6 日起，參觀 Opera del Duomo 博物館必須出示國際Covid 健康證明（英文版）或綠色通行證Green Pass。 購票｜請點我，博物館連結
#誰是多納太羅 Donatello？ 本名 Donato di Niccolò di Betto Bardi（1386－1466），也譯為多納泰洛，15世紀義大利佛羅倫斯知名雕刻家，可以說是文藝復興初期寫實主義與復興雕刻的推手，對當時其藝術發展有深遠的影響。並與同時期的著名藝術家們並駕其居，如拉斐爾、米開朗基羅、菲利波・布魯內萊斯基、馬薩喬、喬瓦尼・貝利尼等。
多納太羅《David》,1440 , 青銅, 高158 cm, 巴杰羅美術館館藏 (Museo Nazionale de Bargello, Florence)。 photo credit： Steven Zucker, CC BY-NC-SA 2.0)
該展覽公開超過130件藝術品，其中包含雕塑、繪畫和素描等傳統藝術媒材的作品，當中更是有許多創作是從未對外展示過，作品取自近60個博物館與藝文機構（如巴黎羅浮宮、紐約大都會博物館等）。《多納太羅・文藝復興展（Donatello・Il Rinascimento）》在斯特羅齊宮和巴杰羅美術館 (Museo Nazionale del Bargello) 同時於兩處舉辦，提供關於這位堪稱「復興大師之父」的人物，其對於美學表現風格和透視技法的轉變，與其創作脈絡和觀念如何影響著後世們的比較關係。
《Donatello・Il Rinascimento》｜多納太羅・文藝復興展 地點｜斯特羅齊宮（Palazzo Strozzi）/ 巴杰羅美術館（Museo Nazionale del Bargello） 推動策劃｜斯特羅齊宮 (Palazzo Strozzi) 、巴杰羅美術館 (Museo Nazionale del Bargello) 贊助單位｜佛羅倫斯市政府、托斯卡尼省會、佛羅倫斯商會組織、斯特羅齊基金會合作夥伴。 合作單位｜德國柏林國家博物館 (Staatliche Museen)、英國倫敦維多利亞與亞伯特博物館 (Victoria and Albert Museum)、公家機關-宗教建築基金 (F.E.C. – Fondo Edifici di Culto) 展期｜即日起，至 2022年7月31日 時間｜每日9:00至晚間7:45 購票｜斯特羅齊宮（詳情請點），巴杰羅美術館（詳情請點） ※ 免費導覽活動：斯特羅齊宮提供每週兩次同時段，透過預約票卷申請，免費的導覽活動，每週三晚間6:00-7:30，以及每週日下午3:00-4:30。（詳情請點）
⧪ 舊宮（Palazzo Vecchio）・朱塞佩・佩利扎・達・沃爾佩多(Giuseppe Pellizza da Volpedo)《 第四階級 Il Quarto Stato 》
Il Quarto Stato Giuseppe
從5月1日國際勞動節那天開始，佛羅倫斯・舊宮（Palazzo Vecchio）成為朱塞佩・佩利扎・達・沃爾佩多（Giuseppe Pellizza da Volpedo）《第四階級 Il Quarto Stato 》暫時的所在地。佛羅倫斯市政府與米蘭市政府的合作，與米蘭二十世紀博物館借出這件富涵義社會價值議題與勞工權利平等的作品，作品將對大眾開放至6月30日。
#誰是Giuseppe Pelliza 朱塞佩・佩利扎，他出生於1868年7月28日 義大利沃爾佩多（北義亞歷山德里亞省的一個城市）。在家鄉的技術學院 Castelnuovo Scrivia 學習繪畫的基礎，隨後到米蘭就讀布拉雷美術學院 Accademia di Brera，並先後在數間藝術學院成為學徒。可以看作是為以社會和政治議題為繪畫核心的畫家。
#最有名的作品 他最著名的作品就是 《 第四階級 Il Quarto Stato 》，這件作品是義大利社會主義的象徵，描繪了正在準備集結罷工的工人們。這件作品耗時4年才完成，之前更是繪製 《飢餓大使 Ambasciatori della fame》與 《La Fiumana》兩件作品，皆可以看作是第四階級的前期作品。
#il Quarto Stato （義文：第四階層/層級/等級）在法國大革命期間，被用於形容社會底層較為貧窮民眾的代稱；隨著工業革命的發展，19世紀至20世紀的前幾十年，“第四階層”一詞被用作無產階級的代名詞，指的是受過教育卻對社會絕望的工人階層。
《第四階級 Il Quarto Stato》｜朱塞佩・佩利扎(Giuseppe Pellizza da Volpedo) 地點｜舊宮（Museo di Palazzo Vecchio） 合作單位｜佛羅倫斯市政府、米蘭市政府、米蘭二十世紀博物館（Museo del 900)、佛羅倫斯 Museo Novecento 展期｜即日起，至 2022年6月30日 購票｜全票 €12.5，優待票 €10，免費。（詳情請點）
5月18日至7月31日，斯特羅齊宮將與倫敦當代數位藝術博物館（Museum of Contemporary Digital Art，簡稱：MoCDA）合作，一次把所有目前世界上最知名的數位藝術家們（Refik Anadol、Anyma、 Daniel Arsham、 Beeple、 Krista Kim 和 Andrés Reisinger）的創作帶到佛羅倫斯這座古典世界裡頭！將觀眾帶入一個由數位藝術家創造的多媒體沈浸式展演，來一場穿梭於新媒體裝置與加密藝術構成的冒險旅程，探索這個正在全世界發燒的藝術革命風潮。
Refik Anadol, Machine Hallucinations: Nature Dreams at Galerie König, Berlin. Photo: Roman Maerz.Beeple, Everydays：The First 5000 Days, 2007-2021, Photo Credit:Beeple.
「國際論壇」則由總召集人｜派翠克佛洛雷斯 Patrick D. FLORES（菲律賓大學藝術研究系藝術研究教授，曾多次擔任韓國雙年展策展人之一、2019年新加玻雙年展藝術總監），以及資深策展人｜徐文瑞、國立高雄師範大學跨領域藝術研究所教授｜吳瑪悧，擔任各場次主持人，並規劃邀請國內外學者、藝術家一同參與，試圖以「論壇」為方法，從各個面向重新思考威尼斯雙年展中的台灣館，並回應當今世代的關鍵議題，鼓勵觀點共存、解放已固化的知識面，將其導向開放性結局。
國際論壇召集人｜派崔克・佛洛雷斯 Patrick Flores, Convener of International Forums。（臺北市立美術館提供）
在義大利的外國人一般來說是持有TS，另一種則是 TS-CNS：Tessera Sanitaria della Carda Nazionale dei Servizi，為另一種帶有晶片的健康卡，同時包含身份識別數據。如果要將其用作身份驗證工具，則必須在授權「藥局 Farmacia 」和 櫃檯開卡後才有辦法作為智慧型卡片使用。
1 歐元 
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