In 1912 a large Futurist exhihibition was held in Paris. This, the group's first extensive show, was held at the Galerie Bernheim-Jeune for three weeks during February. Thirty-four paintings were exhibited, including works by Severini, Boccioni, Carra and Russolo. No work by Balla was shown, although one work was listed in the catalogue. The catalogue also contained the Technical Manifesto of Painting.

All the Milanese artists came to Paris for the show and were both active and aggressive.
They saw more work by the Cubists.

The exhibition later traveled to England, Belgium, Germany and Holland. In this way were Futurist works exported.

Bernheim-Jeune gallery is one of the oldest art galleries in Paris, opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019.

在澳洲实在是太快乐了但是我不知道为什么我会反其道而行之的不喜欢这种快乐。我在离开中国的前几天和我的一位知己去看画展，在未来主义和现代主义的展厅我的知己看到Balla的乐观与悲观时把我叫过去讨论为什么蓝色是悲观。他说在他的印象中蓝色是悲观。后来他分析了一下说是左边黑色的快面用了尖锐的形状显得蓝色快面很圆润。

我各人认为悲观和乐观不是二元对立的。也许是因为我有狂躁症的倾向，一直徘徊在两种极端中。可能乍一眼这幅画是悲观的，可是在一种反乌托邦的二维平面中随着眼睛的来回横跳我看到了极度的悲伤和更多的喜乐。可能人永远无法一直悲观或者乐观吧，而是在一种状态中悲观与乐观会横跳。

我想要摆脱的不是痛苦也不是欢乐，只是这种横跳产生的执念。知己和我说他看这些累了我们就坐下来冥想了一会（平常也经常聊佛教，他看的很多我这点真的是稀缺）。他在冥想时可以放下折磨人的思考（也没有无用和有用之分如果是佛教思想的话，一切皆空），我却会对一点点刺激都敏感。我告诉他冥想没有用，每次闭上眼睛都会被眼皮后看到的微光魅住，耳朵里听到心脏的跳动就会害怕。我会反而觉得我身体在这个世界短暂的没有那么空了。我无法让一切像溪水一样来和离去因为溪水冰冷甘甜。

东一的《现代艺术100年》大概可以荣登今年观展top 3[抱一抱]，能在国内看到Klimt还有那么多Balla，已经值回票价了，更不要说还有Cezanne，Miro，Pollock，内容规划的很丰富。之前去GNAM的时候印象特别深刻，整个建筑的环境和艺术品陈列融汇和谐（国内展览在空间上是很难做到了……）
相比之下3楼的Uffizi自画像……就不是我的菜了[笑cry]等明年的波提切利吧
P.S.从出国看博物馆美术馆，变成作品进来本地看展，确实也还是有优点，起码不用体会那种消化不良的感觉了……