一场艺术展之旅的历史记录和全攻略｜那不勒斯艺术展_百万个冷知识

Hello我们，我是竹加，PerhapsXD

那时满怀希望...历史记录一点儿小东西，撷取上周五去义大利看第59届那不勒斯国际性表演艺术表演艺术展的许多经典作品和小小的全攻略：）

有关表演艺术展

本届表演艺术展主题名为梦之乳(The Milk of Dreams)，灵感来源于已故超现实主义表演艺术家莱昂诺拉·卡林顿（Leonora Carrington，1917-2011）的同名绘本。在这本书中，这位超现实主义表演艺术家描述了一个神奇的世界，在这个世界中，生活不断通过想象的棱镜被重新想象。这是一个每个人都可以改变、改变、成为某物或其他人的世界；一个自由的世界，充满了各种可能性。但这也是一个世纪的寓言，它对自我的定义施加了无法忍受的压力，迫使卡林顿过着放逐的生活：被关在精神病院，是一个永恒的迷恋和渴望的对象，也是一个惊人的力量和神秘的人物，总是逃避固定的、连贯的身份的限制。当被问及她的出生时，卡林顿会说她是她母亲与机器相遇的产物，这表明她的大部分工作都是人类、动物和机械的奇异结合。

表演艺术展梦之乳将卡林顿的超凡脱俗的生物，以及其他变形人物作为同伴，踏上一段穿越身体变形和人类定义的想象之旅。

本次表演艺术展以过去几年与表演艺术家的多次对话为基础。这些对话中不断出现的问题似乎抓住了历史上物种生存受到威胁的这一时刻，但也总结了我们这个时代的科学、表演艺术和神话中弥漫的许多其他问题。人类的定义是如何变化的？什么构成生命？植物和动物、人类和非人类有什么区别？我们对地球、其他人和其他生命形式的责任是什么？如果没有我们，生活会是什么样子？

这是本次表演艺术展的许多指导性问题，特别关注三个主题领域：身体及其变形的表现；个人与技术之间的关系；身体和地球之间的联系。

表演艺术展的主要展区都在花园（Giardini）、军械库（Arsenale）、大大小小的的国家馆以及零散分布在岛上的同期平行表演艺术展。经典作品真的很多很多，我看了三天也没能完全看完，就简单介绍一下我最喜欢和值得看的几个经典作品。

国家馆

义大利/Italy

夜晚的历史和彗星的命运/History of Night and Destiny of Comets

Gian Maria Tosatti

History of Night and Destiny of Comets is an installation by Gian Maria Tosatti that combines literary references, visual art, theatre, and performance. It confronts the tricky balance between Humanity and Nature, between the dreams and mistakes of the past and the prospects future. The first part, History of Night, traces the rise and fall of the Italian industrial miracle, the vast warehouses between Ragusa and Cremona, the single paradoxically homogeneous panorama of a hypothetical journey into the Italian provinces that today reflects the frustration of a working-class that has come to an end. This scenario sets the stage for the epiphany of the last act, Destiny of Comets, that is, of humanity that has crossed the earth in a rapid and luminous trajectory without, in the end, being guaranteed the right to inhabit this planet forever. Here, imagination is overturned in a cathartic epiphany.

我太喜欢这个经典作品了。名字的诗意和现场带来的震撼交织在一起，让我现在都一直在回忆和想象一个可能发生的末日世界。

丹麦/Denmark

我们走过地球/We Walked the Earth

Uffe Isolotto

Step into a hyperrealistic world of unexpected drama. Set in a strange hybrid time period where elements from the historical past of Danish farm life blend with unfamiliar phenomena from the sci-fi future of a trans-human world, the drama revolves around a family of three. This is, however, no ordinary family, which is obvious from the moment you enter their home and encounter the inhabitants as you walk through the rooms containing their belongings, food, and working tools. But who is this family, and what has happened to them and the world they live in? This is not so obvious. The whole setting by Uffe Isolotto is haunted by a deep uncertainty. It is impossible to tell whether it is tragic or hopeful. Perhaps it is both? Does the family embody the complex and unsettling experience of going forward in today’s radically changing world? If so, the more general question becomes, do we seek refuge in who we were or do we look for escape routes in what we might become?

当踏入这样一个复杂而又奇怪的人马之家的时候，这些无比真实的雕塑的确会让人感到十分恍惚，这里到底发生了什么？

德国/Germany

重新定位结构/Relocating a structure

Maria Eichhorn

In her project, Maria Eichhorn focuses on the history of the German pavilion and its architectural transformation. The Bavarian pavilion, built in 1909, was renamed the German Pavilion in 1912 and was redesigned in 1938 to reflect fascist aesthetics. A new façade, rear extensions, and a raised ceiling contributed to the Pavilion’s intimidating appearance. Despite post-war modifications, the building still embodies the formal language of fascism. Maria Eichhorn uncovers traces of the original pavilion, hidden behind its 1938 redesign. The project also includes city tours to places of remembrance and resistance conducted by Giulio Bobbo and Luisella Romeo and developed with the Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea (IVESER), performances by Nkisi and Jan St. Werner, and a catalogue.

如果直接踏入这个展馆的话，只会以为这个经典作品不过是把墙皮剥落了而已。但是当看了介绍书才发现，这个建筑竟然是从无到有搭建起来的。

法国/France

无名之梦/Les rêves n’ont pas de titre / Dreams have no titles

Zineb Sedira

Zineb Sedira’s film installation investigates the drive to make militant films in the 1960s and ’70s, a testament to the cultural partnerships forged in the past between the two sides of the Mediterranean. Zineb Sedira has transformed the French Pavilion into a film studio, blurring the boundaries between fiction and reality, between personal and collective memory. The artist employs the cinematic processes such as the remake and the mise en abyme and finds inspiration in numerous film genres. In the background, she shines the spotlight on the film Les Mains libres, realised by the Italian director Ennio Lorenzini in 1964; for this project, she found and restored the reels of this first Italian–Algerian coproduc- tion. A French artist with a plural identity, Zineb Sedira has constructed her work on a personal journey spanning France, the United Kingdom, and Algeria. For this new project she has teamed up with a curatorial team made up of Yasmina Reggad and the duo Sam Bardaouil and Till Fellrath.

表演艺术展现场被布置成了一个大型电影制片厂，除了真实的道具和置景外，据说还有表演者在酒吧场景跳舞，但是我当时看展的时候没有。

比利时/Belgium

游戏的本质/The Nature of the Game

Francis Alÿs

Playing is something natural, something that we discover and learn instinctively in our childhood. It is an essential human need. It is necessary to take time, to spend time, and to waste time in playing. Children’s play is to be understood as a creative relationship with the world. Since 1999, Francis Alÿs’s camera has filmed children playing in the public space. It started with the video Children’s Game 1: Caracoles, showing a young boy kicking a bottle up a steep street, only to let it roll back to him and then kicking it up again. Observing, investigating, and documenting human behaviour in urban life is a constant in Alÿs’s work. His films record, in an ethnographical way, both the power of cultural tradition and the autonomous attitudes of children, even in the most conflicted of situations.

瑞士/Switzerland

演唱会/The Concert

Latifa Echakhch

Latifa Echakhch creates an exhibition akin to an orchestrated time-travel experience. A rhythmic and spatial environment that allows for a counter clockwise perception of time and of one’s own body, simultaneously exploring continuity, movements, and sequences. Ephemeral sculptures inspired by the folk statuary emerge in the orchestrated lighting capturing the rhythms composed by percussionist Alexandre Babel. You can see the music, but you can’t hear it. The artist draws from the vocabulary of ephemeral chariot constructions, tackling concerns and disputes, dreams, and utopias, playing with harmonies and dissonances, with the mixed feelings of expectation, fulfilment, destruction, and memories.

韩国/Korean

环流/Gyre

Yunchul Kim

In the infinite cycles of creation and extinction, it gyrates and descends; this theme permeates everything from energy to matter, life, and the universe – the cycles are ubiquitous and ever-present. The exhibition Gyre explores the world as a labyrinth, where there are both motion in stillness and stillness in motion, embracing nonhuman objects and material reality. Based on the artist – Yunchul Kim’s transdisciplinary research into literature, mythology, philosophy, and science, he creates a universe within the Korean Pavilion, where his pataphysical installations continuously metamorphoses and are affected by cosmic events, atmosphere, light, and nature.

马耳他/Malta

外交官阿斯图塔/Diplomazija Astuta

Arcangelo Sassolino、Giuseppe Schembri Bonaci、Brian Schembri

Diplomazija Astuta – including artists Arcangelo Sassolino, Giuseppe Schembri Bonaci, and Brian Schembri – reimagines Caravaggio’s seminal Maltese altarpiece The Beheading of Saint John the Baptist as a kinetic, sculptural installation. Through induction technology, molten steel droplets fall from the sky into seven rectangular basins of water, each representing a subject in The Beheading. By transposing the Oratory of the Decollato’s Zeitgeist onto the Malta Pavilion, Diplomazija Astuta resituates Caravaggio’s immanent themes within modern life, prompting viewers to negotiate an immersive space where the tragedy and brutality of Saint John’s execution is experienced in the present day, injustices of the past are reconciled, and shared humanist principles are upheld in the future.

塞尔维亚/Serbia

与水同行/Walking with Water

Vladimir Nikolić

You enter a space that is a fiction. An abstraction of time and space. It is pure modernist painting through which the artist returns reality into the picture. You enter a relationship mediated by technology that the artist inverts. The presentation underlines relations to technology and nature – in this case water as part of our body, but also water as our connection point rather the as a separation. In these waters the artist swims as he waits for the perfect image to emerge. The exhibition presents Vladimir Nikolic’s exploration over the last three years, intertwining the personal and intimate with political anxieties of uncertain futures if we don’t learn to be a different kind of human.

还有很多其他国家馆的经典作品也很不错，我就只简单地放图好了。

美国/Sovereignty/Simone Leigh

澳大利亚/Desastres/Marco Fusinato

匈牙利/After Dreams: I Dare to Defy the Damage/Zsófia Keresztes

埃及/Eden-Like Garden preserved for the Chosen ones/Mohamed Shoukry, Weaam El Masry, Ahmed El Shaer

日本/Dumb Type/Dumb Type (Shiro Takatani, Ryuichi Sakamoto, Ken Furudate, Satoshi Hama, Ryo Shiraki, Marihiko Hara, Hiromasa Tomari, Takuya Minami, Yoko Takatani)

爱沙尼亚/Orchidelirium: An Appetite for Abundance/Kristina Norman, Bita Ravazi

以色列/Queendom/Ilit Azoulay

拉脱维亚/Selling Water by the River/Skuja Braden (Ingūna Skuja 和 Melissa D. Braden)

波兰/"Re-enchanting the World"/Małgorzata Mirga-Tas

奥地利/Invitation of the Soft Machine and Her Angry Body Parts/Jakob Lena Knebl and Ashley Hans Scheirl

巴西/com o coração saindo pela boca / with the heart coming out of the mouth/Jonathas de Andrade

智利/Turba Tol Hol-Hol Tol/Ariel Bustamante, Carla Macchiavello, Dominga Sotomayor, Alfredo Thiermann

罗马尼亚/You Are Another Me - A Cathedral of the Body/Adina Pintilie

西班牙/Correction/Ignasi Aballí

大不列颠/Sonia Boyce: Feeling Her Way/Sonia Boyce

乌拉圭/"Persona"/Gerardo Goldwasser

乌兹别克斯坦/Dixit Algorizmi: Garden of Knowledge/Charlie Tapp/Abror Zufarov, CCA Lab

中国/Meta-Space/

亚美尼亚/Gharib/Andrius Arutiunian

冰岛/"Perpetual MOTION"/Sigurdur Gudjonsson

那不勒斯/Alloro

花园（Giardini）主展馆

KATHARINA FRITSCH

1956, Germany

Katharina Fritsch’s realistic sculptures dissolve the edges between the ordinary and the uncanny, stirring our deep-rooted dreams and nightmares while awakening childhood memories of religious tales, fables, and myths. Her works – which appear as boldly hued large-scale public projects, strangely scaled sculptures, intimate sound pieces, and multiples – project a confidence that can be interpreted as variably protective or threatening. Cast in dark green polyester from the mould of a stuffed elephant, Elefant / Elephant (1987) reproduces the textures and folds of the mammal’s body with startling exactitude, and its size, clarity of anatomical detail, and colour profile take on a supernatural effect. Here, a profound eeriness arises not only from her twisting of the everyday, but also from her technique. Frequently moulded by hand, cast in polyester, and finished with a matte paint, her sculptures maintain a formal naturalism made strange by the paint’s absorption of light, which gives the surface a mystifying quality. Elefant / Elephant takes on the vestiges of fables of grandeur, intellect, captivity, and matriarchal societies – the core of elephant family structures. Even in Venice, the iconography of elephants looms large: in the 1890s, right before the beginning of the Biennale’s history, an elephant named Toni lived on the parkland grounds and was known as the prisoner in the Giardini.

——Madeline Weisburg

ULLA WIGGEN

1942, Sweden

When she was twenty-six years old, Ulla Wiggen took part in the landmark 1968 exhibition Cybernetic Serendipity curated by Jasia Reichardt at the ICA London. In the context of that exhibition – which explored the possibilities of the fusion of art and science – she showed a series of acrylic and gouache paintings on wood panels portraying the interior circuity of electronic devices. Titled TRASK and Vägledare (both 1967), these paintings capture an archetype of technological culture in an impeccably precise style. In Wiggen’s first gouache paintings of circuit boards and electronic bits, like Förstärkare (1964) and Kretsfamilj (1964), extraordinarily defined layers of paint give the works a physical presence – an effect achieved by applying paint to a ground of woven medical gauze. In her later work, Wiggen’s interest in the circuitry of brains and eyes supplants that of manmade machines. In her Iris Paintings (2016–ongoing), the artist presents human irises laboriously painted in blues, greens, hazels on round panels, a process that can take several months per piece to complete. Citing the blurring of her vision due to cataracts prior to treatment, the artist has stated that she wanted to visually express this liminal state – one between clarity and ambiguity, between consciousness and sleep.

——Madeline Weisburg

AGNES DENES

1931, Hungary

The American artist Agnes Denes is recognised as a pioneer in Conceptual, Environmental, Ecological, and Land Art. Since the 1960s, Denes’ political objectives have been made explicit in her multi-faceted body of work that assumes the form of drawings, sculpture, photographs, and monumental public installations and that are grounded in ecological issues driven towards a post-Anthropocene future. In the over six metres long mono-prints Introspection I—Evolution (1968–1971) and Introspection II—Machines, Tools & Weapons (1969–1972), Denes diagrammatically visualises systems of knowledge. The first print traces the evolutionary developments of early man from ape to the present on an encyclopaedic scale. In the style of etchings and illustrations drawn from medical and engineering books, the print features anatomical studies and taxonomic tables. The latter print maps technology from the first manmade tools to the machines of the 20th century. Denes’ intersectional approach of expanding the field of science through the visual demonstrates her efforts in redefining abstract analytical notions to form new systems of language and knowledge that dissolve barriers between realms. In this way, Denes paves the way for new associations and understandings, reimagining the relationship of humans with the Earth.

——Liv Cuniberti

ELAINE CAMERON-WEIR/1985, Canada

CHRISTINA QUARLES/1985, USA

军械库（Arsenale）主展馆

DELCY MORELOS

1967, Colombia

For three decades, Delcy Morelos has developed a practice across painting, installation, and sculpture in which soil, clay, fabrics, fibers, and other natural elements are the primary materials. Over time, her paintings turned from reds to earth tones, and then into large scale immersive installations made of soil. In Earthly Paradise (2022), the soil rises above the ground, and masses of earth surround the spectator’s body. Visitors can smell the earth’s aroma mixed with hay, cassava flour, cacao powder, and spices like cloves and cinnamon while sensing the soil’s moisture, temperature, texture, and darkness. While this installation evokes the Minimalist aesthetics of works such as Walter De Maria’s New York Earth Room (1977), Morelos’ use of earth is informed by Andean and Amazonian Amerindian cosmologies and conveys the notion that nature is not something inert that we access and control at our will from an outside and exceptional position, but that we are earthly beings – we become, live, die, and decompose with and as the earth. As the soil penetrates and affects our body and senses, our human becoming takes a new shape: we apprehend we are always becoming humus, as the Latin etymology of the very word human recalls.

——Manuela Hansen

PRECIOUS OKOYOMON

1993, UK

Precious Okoyomon – poet, artist, and chef – stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. In their new work for The Milk of Dreams, To See the Earth before the End of the World (2022), titled after a poem by Ed Roberson, Okoyomon’s sculptures are set against a field of wild growth; here kudzu appears again in the midst of a network of rivers and sugar cane, the latter of which the artist’s grandmother grew in her backyard when Okoyomon was growing up in Nigeria. Much like kudzu, sugar cane is a plant whose very essence is saturated with the economic and historical circumstances of the transatlantic slave trade. Following the play Monsieur Toussaint by Édouard Glissant, whose native Martinique was once one of the world’s largest producers of sugar, Okoyomon’s installation attempts to invoke a politics of ecological revolt and revolution.

——Madeline Weisburg

CANDICE LIN

1979, USA

Candice Lin is known for her inventive use of materials – ranging from tea to cactus tinctures to fungi to dead bats – in ways that emphasise their particular properties, including scents and tastes. Lin embraces exhibition tactics often associated with anthropology and natural history, which she re-purposes and re-formulates to pose complex questions about the colonial histories embedded in these disciplines and materials. Xternetsa builds off of Lin’s recent installation works Seeping, Rotting, Resting, Weeping (2021), a tented temple-like structure including indigo textiles, ceramic cats, and a video animation guiding visitors through Qi gong movements, and the table-top pieces from The Mountain (2016), which held, among other objects, paintings, living silkworms, mulberry plants, ceramic fragments, and a taxidermised iguana. Reconfigured in Xternetsa, the tables lead us through stages of transformation: mud from a swamp in Saint Malo, the first Asian settlement in the United States, has been fired into ceramics; starch from the kudzu plant has been boiled and molded into bioplastic; and traditional Chinese herbs such as ginseng and Dong quai have been electroplated in copper. Together, her materials evoke historical backstories of artisanship, labour, ritual, botany, global trade, and the violent power of Western colonial desire to envelop them all.

——Madeline Weisburg

PINAREE SANPITAK

1961, Thailand

Over the last four decades, Pinaree Sanpitak has developed an enigmatic inventory of symbols distilling women’s bodies to their most elemental parts, expressed variously through vessels, breasts, eggs, and subtly curved profiles. Characterised by sensitivity and ethereality, Sanpitak’s paintings and drawings are tethered to a captivation with her own body, and potent concepts of the sacred and the spiritual that the body contains. In the mid-1990s, inspired by the powerful experience of breastfeeding her own child, Sanpitak began producing many images of the breast. In the new series on view here, which includes textured paintings that incorporate acrylic, feathers, gold and silver leaf, and silk, she reduces the breast motif into the form of the mound and the vessel, correlating personal experience with forms that recall Buddhist offering bowls or stupa shrines, a sacred domed structure found in many East and South Asian nations. Sanpitak’s Offering Vessels series of the early 2000s registers the vessel as a container of perception and experience or as a repository of emptiness. More than simply an expression of the physical figure, the bowls seen in pieces such as Offering Vessels 8 (2001–2002) and Offering Vessels 16 (2002) speak to the body’s wide-ranging potential across the sacred and profane.

——Madeline Weisburg

SANDRA VÁSQUEZ DE LA HORRA

1967, Colombia

Sandra Vásquez de la Horra grew up during Pinochet’s seventeen-year military regime, leaving Chile to study in Germany in the 1990s. She often seals her drawings with molten beeswax, a process that evokes a religious connotation and adds a layer of vulnerability to their materiality. Symbols deriving from Indigenous and marginalised cultures appear as emblems in the drawings, for example, Santa Muerte, the dressed-up skull in Der Tod und das Mädchen (2015). The female figure is often depicted as creator and Mother Earth but also as violated or submissive. Displayed here inside a house-like wooden structure designed by the artist, Vásquez de la Horra’s works show female bodies melding with surrealistic landscapes (as in Erupciones [2019] and Flotante y su genealogía [2020]), dissolving into light (Saludo a Olorun, 2021), or becoming carriers or companions to texts (América sin Fronteras [2017] and La Voz de un Pueblo que lucha [2019]). In a new series of graphite, watercolour, and wax-on-paper works, she employs accordion folds to bring her figures into sculptural space. Her practice explores themes of mortality, rebirth, sexuality, myth, and ritual as well as examining the violence and subjugation experienced by people of African descent throughout Latin American history.

——Liv Cuniberti

TETSUMI KUDO/1935 – 1990, Japan

WU TSANG/1982, USA

BELKIS AYÓN/1967/1999, Cuba

MARUJA MALLO/1902 – 1995, Spain

ZHENG BO/1974, China

RUTH ASAWA/1926 – 2013, USA

CÉLESTIN FAUSTIN/1948 – 1981, Haiti

表演艺术展全攻略

表演艺术展时间：

2022年4月23日至2022年9月25日（11:00-19:00，周一闭馆）

2022年9月27日至2022年11月27日（10:00-18:00，周一闭馆）

购买门票

官网：

https://www.labiennale.org/en/art/2022/informationtickets

或者早上11点在Giardini、Arsenale入场口现场排队（但是人很多）

检票：无需打印，电子版二维码即可被扫描验证

单次票：一张门票可用于 Giardini 场地的一个入口和Arsenale 场地的一个入口，并且也可以在不同的日子使用。全价25 欧元，学生和/或 26 岁以下 16 欧元（入口处需要有效身份证或学生证）

多次票：不限制入场次数，我买的就是这种，而且是早鸟学生价，特别便宜才30欧元。

如何看展

如果要在那不勒斯呆好几天，建议买ACTV水上巴士日票，29岁以下学生买三日票有优惠。买票的地方在那不勒斯主岛公交站旁。

看展可以坐船到Giardini开始，这里比较多国家馆，不是周末的话人比较少，并没有出现排队情况（除了希腊馆，因为是VR设备所以会限制人数）。从Giardini走到Arsenale大约10-15分钟。

那不勒斯表演艺术展主要表演艺术展地图

Giardini展馆分布

Arsenale展馆分布

住宿饮食

住宿：

不差钱的就住那不勒斯主岛上，什么店都有而且关门晚。要性价比高的就住距离那不勒斯主岛公交20分钟或火车10分钟的Mestre。从那不勒斯的Marco Polo机场或者Treviso机场可以坐机场大巴直接抵达Mestre火车站。

饮食：

Mestre大部分好吃的都集中在火车站附近，但是我住的地方离火车站有点距离，而且火车站工作人员说晚上附近有很多小混混，所以晚上也没有去那里吃。有一家推荐的中餐馆吉祥，可堂食可打包，比英国便宜多了。

Ristorante Jixiang/ Via Piave, 1, 30171 Venezia VE, Italy

Ristorante Dietro le Quinte/ di fianco al Teatro Toniolo, Piazzetta Gian Francesco Malipiero, 9, 30174 Venezia VE, Italy

这家店在Mestre市中心购物区随便找了一家坐下吃的晚餐，非常正式且昂贵…海鲜是好吃的，但烩面也太咸了！而且好像义大利烩面就是这种盐不要钱的做法…我跟服务员老爷爷说有点咸的时候他一时语塞甚至做出了义大利人的经典手势…总之我这个中国胃吃不惯。

那不勒斯主岛上也有一家还可以的中餐馆，叫东方饭店，比吉祥贵一点儿（地址：Dragone DOriente/ Calle dei Fabbri, 1053, 30124 Venezia VE, Italy）但最最不能错过的是冰淇淋和提拉米苏！！

Tiramisu/ Calle al Ponte de la Guerra, 30100 Venezia VE, Italy

这家提拉米苏是路过偶然尝到的，真的太令人惊喜了！也许是英国的甜品给予了我太多心酸的眼泪…这家店的提拉米苏有很多口味，不管是经典还是柠檬还是其他口味都做得非常完美，口感丰富有层次，微微的甜味，并不是英国那种齁死人的甜腻，吃进嘴里的时候真的觉得太幸福了，泪目。

Gelateria Gallonetto/ Salizada S. Lio, 5727, 30122 Venezia VE, Italy

这家冰淇淋店是在地图上搜到的五星好评，尽管我们旅游的时候人已经不算多，但仍然排了一会队，可以想像旅游旺季的时候得排到什么时候。而且我们后面就是中国人，她们很欢快地讨论之前已经吃过了什么什么口味，原来是回头客啊！我挑了开心果口味，据说这个是义大利独有的冰淇淋味道，真的很好吃！

其他事项

1⃣️六月那不勒斯已经很热了，看展前多带许多水，里面卖水地方并不算很多，注意防晒多喝水以免中暑！

2⃣️那不勒斯岛上其他地方同时还有很多表演艺术展，比如安尼施·卡普尔（Anish Kapoor），Peggy Guggenheim Museum的Surrealism and Magic: Enchanted Modernity，韩国表演艺术家Chun Kwang Young 等等，都隐藏在主岛的各个角落，因此如果要看完所有的表演艺术展经典作品几乎不可能，但以上几个还是很建议去看看。

Anish Kapoor