Nora Atkinson: Why art thrives at Burning Man
Нора Аткинсон (Nora Atkinson): Зашто уметност цвета на фестивалу „Burning Man"?
Nora Atkinson is a craft curator, a humanist and a romantic -- as she says, "I can’t believe I get to do what I do for a living." Full bio
Double-click the English transcript below to play the video.
ringed in skeletons,
са прстенасто постављеним скелетима,
a series of heavy ropes at its base,
сноп тешких конопаца у његовој основи,
where a team is waiting,
где вас чека тим,
and the audience cheers,
и публика узвикује,
Peter Hudson's "Charon,"
„Керон“ Питера Хадсона,
from marketable art.
од тржишне уметности.
and it doesn't go with the sofa.
и не слаже се са софом.
and completely useless,
in the art-world headlines.
дела попут „Керон“
and selling of artwork
уметничких дела
than the works themselves.
него сама та дела.
sold for 110 million dollars,
је продато за 110 милиона долара,
for the work of an American artist,
за рад неког америчког уметника,
sold for 450 million,
је продата за 450 милиона,
and you look at the headlines,
у ова дела и наслове,
because they move me,
because they're expensive
to separate those two things.
да се ове две ствари раздвоје.
вредност уметности -
between the artist and the audience,
између уметника и публике,
the artists themselves?
коју пружа самим уметницима?
from the galleries of New York
од галерија у Њујорку,
30 years, at Burning Man,
на фестивалу "Burning Man"
that does exactly that.
Burning Man has grown up.
од својих раних анархистичких година.
in collective dreaming.
колективног сањарења.
and every August, for a single week,
а сваког августа, на једну недељу,
and pilgrimage out into the desert
и запути се на ходочашће у пустињу
of their everyday lives.
it was better the last,
да је прошле године било боље,
and freeing and alive,
that thrives here.
on the desert playa last year
у пустињској плаји
да смо заокупирани послом.
of Burning Man for several years,
"Burning Man-a“ неколико година,
at the Smithsonian's Renwick Gallery,
у cмитсонијанској галерији Ренвик,
isn't the quality of the work here,
не квалитет рада овде,
into the desert again and again
изнова враћају овде, у пустињу,
in our increasingly digital age.
у наше све израженије дигитално доба.
to something that's essentially human.
што је у бити људско.
encampment of Burning Man
interactive art installation
интерактивне уметности
of everyone in it.
from the commercial art world
од света комерцијалне уметности
може и да га прикаже.
and countless artistic gestures
и безбројни уметнички изрази
if the works aren't burned,
back out and store them.
натраг и ускладиште.
a Burning Man aesthetic,
естетика "Burning Man-a"
Kate Raudenbush and Michael Christian,
попут Кејт Рауденбуш и Мајкла Кристијана,
character of the work here
карактера радова одавде
to make the journey,
да издржи путовање,
the wind and weather and participants,
ветар, време и учеснике,
and intimate works here feel surreal.
радовима овде делују надреално.
could get lost on the playa,
може се изгубити у плаји,
as big as they can build.
онолико бујно колико могу и да изграде.
својом љупкошћу,
it took to bring them here.
која је била потребна да стигну овде.
comes out in pieces
произилази из дела
on a wooden beam, like a mousetrap,
постављена на дрвену греду, као мишоловка,
to find religion --
да пронађу религију -
like Christopher Schardt's "Firmament,"
„Небески свод“ Кристофера Шардса,
set to classical music,
која прати класична музика,
the thumping rave beats
од гласних битова рејва
with mutant vehicles,
којима је дозвољено да лутају плајом.
is the mother of invention,
public transportation system,
систем јавног превоза,
about critics and collectors
о критичарима и колекционарима
of marvelous toys they create.
when people first come to Burning Man,
maker community there
која сарађује омогућава ово.
come together to share skills
удружују се да би поделили вештине
a single artist would never even attempt,
не би никада ни опробао,
ready to take off at any moment
спремна да полети сваког тренутка
full of artist-made books,
које су уметници направили,
and the innovation of the work here
aren't artists at all,
нису уопште уметници
disciplinary boundaries,
границе дисциплина,
out of the design for a yurt
to the voices and biorhythms
на гласове и биоритмове
embedded in its leaves.
уграђених у његово лишће.
less than 30 seconds with a work of art,
мање од 30 секунди са уметничким делом,
from label to label,
док лутају од ознаке до ознаке,
of a work of art
in that one 80-word text.
there are no gatekeepers
just natural curiosity.
већ само природна радозналост.
and you ride towards it.
и кренете ка њему.
Will I be impaled by it?
Да ли ћу се набости на њега?
for extended interaction,
проширене интеракције,
might be short-lived,
можда бити кратког века,
than at the Temple.
"Burning Man“ од Храма.
built the first Temple,
изградили први Храм,
was killed tragically in an accident
због несрећног случаја
piece of architecture,
архитектонско дело,
until it disappears
universal of human experiences,
људском доживљају,
is overpowering and indescribable,
вас савладава и неописив је,
on the last night of the event.
последње вечери догађаја.
from all different walks of life,
из свих могућих професија,
in a way we rarely see anywhere else.
на начин који ретко где видимо.
capable of great feats of imagination,
да стварамо велика дела маште
cathedrals in the dust.
катедрале у прашини.
world if not this?
у савременом свету, ако не због овога?
ABOUT THE SPEAKER
Nora Atkinson - Craft curatorNora Atkinson is a craft curator, a humanist and a romantic -- as she says, "I can’t believe I get to do what I do for a living."
Why you should listen
Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, D.C. As she writes, "I was born and raised in the Northwest, and I find my perspective heavily influenced by its laid-back, pioneering spirit. After earning my MA from the University of Washington, I intended to curate art, but fell into the unusual specialty of craft, which appeals to me as a way of living differently in the modern world that tells us something about being human; I continue to be fascinated by the place of the handmade in our increasingly digital age.
"In 2014, after eight years at Bellevue Arts Museum, I moved to DC to join the Renwick Gallery. I attended my first Burning Man in 2017 as research for my exhibition 'No Spectators: The Art of Burning Man,' which explores the event as a creative laboratory and one of the most important cultural movements of our time. As a curator, I tell stories through objects, and I want to teach people to approach the world with curious eyes and find the magic around them. My work is as much about inspiring people as transmitting knowledge."
Nora Atkinson | Speaker | TED.com