Nora Atkinson: Why art thrives at Burning Man
诺拉 · 阿特金森: 为什么艺术能在火人节蓬勃发展起来?
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,
上面挂满了一圈骷髅,
a series of heavy ropes at its base,
底下那串沉重的绳子,
where a team is waiting,
那里已经有一群人就位了。
and the audience cheers,
Peter Hudson's "Charon,"
作品“卡戎”(冥府的渡神),
from marketable art.
and it doesn't go with the sofa.
还不能坐在沙发上观看。
and completely useless,
in the art-world headlines.
这样的作品不太可能出现在头条上。
and selling of artwork
than the works themselves.
sold for 110 million dollars,
一幅作品卖到了一亿一千万美元,
for the work of an American artist,
卖得最贵的作品,
sold for 450 million,
最终以4500万美元成交,
举足轻重的艺术家们,
and you look at the headlines,
看到那些成交的新闻标题时,
because they move me,
它们让我深受触动,
because they're expensive
to separate those two things.
价值区分看待也许很难。
between the artist and the audience,
搭建这座情感交流的桥梁,
the artists themselves?
成就感来重新定义呢?
from the galleries of New York
30 years, at Burning Man,
在火人节这个节日,
that does exactly that.
Burning Man has grown up.
至现在,火人节发展成熟。
in collective dreaming.
实现集体梦想的实验。
and every August, for a single week,
在每年八月里的某一周,
and pilgrimage out into the desert
电子产品,前来沙漠朝拜,
of their everyday lives.
it was better the last,
这最好是最后一次来这儿了,
and freeing and alive,
荒诞不羁,生气蓬勃。
that thrives here.
繁荣的发展了起来。
on the desert playa last year
很显然他正在辛勤的劳作。
of Burning Man for several years,
at the Smithsonian's Renwick Gallery,
伦威克美术馆举办一次展会,
isn't the quality of the work here,
不是这些作品的质量,
into the desert again and again
来到这个荒芜的沙漠,
in our increasingly digital age.
选择亲自动手,制作一些东西。
to something that's essentially human.
人类本质上的一些东西。
encampment of Burning Man
interactive art installation
交互式的艺术装置,
of everyone in it.
from the commercial art world
艺术世界不同的是,
作品,你都可以带来展示。
and countless artistic gestures
艺术装置和数不清的艺术作品
if the works aren't burned,
如果艺术家们不愿烧掉自己的作品,
back out and store them.
收藏起来,
谁又愿意这样折腾一番呢呢?
独特的审美标准,
a Burning Man aesthetic,
Kate Raudenbush and Michael Christian,
Michael Christian等艺术家领衔创立,
character of the work here
to make the journey,
起码能完成这趟旅程,
the wind and weather and participants,
恶劣天气和众多参与者的影响,
带来感官的刺激,
就能够让大家参与其中。
and intimate works here feel surreal.
接触,给人的感觉是那么不真实。
could get lost on the playa,
作品可能进了盐湖就找不见了,
沙漠里是没有空间限制的,
as big as they can build.
建造自己想要的规模。
it took to bring them here.
放肆才能够呈现于人们眼前。
comes out in pieces
《教堂的陷阱》上,
on a wooden beam, like a mousetrap,
支在木梁上,造型像个捕鼠夹一样,
to find religion --
这间教堂寻找信仰 ——
like Christopher Schardt's "Firmament,"
如Christopher Schardt的《苍穹》,
set to classical music,
聆听着古典的音乐,
the thumping rave beats
with mutant vehicles,
穿梭着改装过的车辆,
is the mother of invention,
荒诞则是创造力之父。
public transportation system,
运输车辆,
about critics and collectors
是否会遭到批判或被人收藏时,
of marvelous toys they create.
when people first come to Burning Man,
当大家第一次来庆祝火人节时,
maker community there
come together to share skills
会聚在一起分享创作技巧,
a single artist would never even attempt,
永远不会尝试的复杂的项目,
ready to take off at any moment
起飞的哥特式火箭船,
一样的家,
full of artist-made books,
艺术家们制作的书本,
火人节都欢迎你的到来。
and the innovation of the work here
富有魅力和创新精神,
aren't artists at all,
根本不是艺术家,
disciplinary boundaries,
out of the design for a yurt
to the voices and biorhythms
embedded in its leaves.
LED感应器。
less than 30 seconds with a work of art,
艺术品上的时间不超过30秒钟,
作品简介的标签之间徘徊,
from label to label,
of a work of art
in that one 80-word text.
作品简介里一样。
there are no gatekeepers
这里没有看守的门卫,
just natural curiosity.
只有单纯的好奇而已。
and you ride towards it.
就驱车向前驶去,
Will I be impaled by it?
会不会被刺伤?
for extended interaction,
might be short-lived,
than at the Temple.
比“庙宇”更加真实。
built the first Temple,
Jack Haye建立了第一座庙宇,
was killed tragically in an accident
一名成员在活动开幕前
一个临时的纪念馆,
piece of architecture,
until it disappears
它的华丽构建仅是个外壳。
依然不失色彩。”
universal of human experiences,
最普遍的亲密见证,
is overpowering and indescribable,
放火焚毁这些艺术作品前,
无法抑制,难以言表了。
on the last night of the event.
from all different walks of life,
这些来自各个阶层,
in a way we rarely see anywhere else.
而这是我们在其他地方难得一见的,
capable of great feats of imagination,
依然能够发挥自己丰富的想象力,
cathedrals in the dust.
world if not this?
那什么才算是艺术呢?
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