Nora Atkinson: Why art thrives at Burning Man
諾菈艾金森: 為什麼在燃燒人節慶裡,藝術能找到一片天
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,
周圍都是骨骸,
a series of heavy ropes at its base,
基部的一串粗重繩子,
where a team is waiting,
有一個團隊在那裡等著,
and the audience cheers,
Peter Hudson's "Charon,"
「卡戎(冥河渡神)」,
西洋鏡(幻影箱)之一。
from marketable art.
and it doesn't go with the sofa.
且還沒有附沙發。
and completely useless,
且它完全沒有用途,
in the art-world headlines.
看到像「卡戎」這樣的作品。
and selling of artwork
than the works themselves.
sold for 110 million dollars,
就賣到一億一千萬美元,
for the work of an American artist,
所達到的最高售價,
sold for 450 million,
賣了四億五千萬美元,
and you look at the headlines,
和新聞頭條時,
because they move me,
是因為它們感動了我?
because they're expensive
to separate those two things.
很難區分這兩件事。
between the artist and the audience,
創造出的情緒連結,
the artists themselves?
from the galleries of New York
30 years, at Burning Man,
大約有三十年的時間,
that does exactly that.
為了這個目的而形成。
Burning Man has grown up.
燃燒人節慶已經成長了。
in collective dreaming.
一個集體作夢的體驗。
and every August, for a single week,
每年八月,有一週的時間,
and pilgrimage out into the desert
進入沙漠朝聖,
of their everyday lives.
it was better the last,
最好這是最後一次,
and freeing and alive,
也很有生命力,
that thrives here.
on the desert playa last year
很顯然他努力地在工作。
of Burning Man for several years,
已經有很多年了,
at the Smithsonian's Renwick Gallery,
倫威克美術館所策畫的一項展覽,
isn't the quality of the work here,
並不是這裡的作品品質,
into the desert again and again
一而再再而三地來到這個沙漠,
in our increasingly digital age.
親自動手製作東西。
to something that's essentially human.
找到一些人類的本質。
encampment of Burning Man
interactive art installation
互動式藝術裝置,
of everyone in it.
from the commercial art world
有所區別的其中一點,
都可以呈現自己的作品。
and countless artistic gestures
藝術裝置和無數的藝術象徵
if the works aren't burned,
如果作品沒有被燒掉,
back out and store them.
運送回去儲存起來。
出於愛的工程。
a Burning Man aesthetic,
Kate Raudenbush and Michael Christian,
和麥可克里斯汀這些藝術家領頭,
character of the work here
to make the journey,
至少要能走這段旅途,
the wind and weather and participants,
天氣,和參與者的影響。
都要有刺激的效果,
and intimate works here feel surreal.
作品接觸,感覺很超現實。
could get lost on the playa,
作品,在乾鹽湖中卻難以看見,
as big as they can build.
任何能做得出來的尺寸。
是因為它們的優雅,
it took to bring them here.
所需要的十足膽量。
comes out in pieces
會有著無關緊要的幽默,
「教堂陷阱」,
on a wooden beam, like a mousetrap,
放在木樑上,就像是捕鼠陷阱,
to find religion --
like Christopher Schardt's "Firmament,"
克里斯多夫夏茲的「蒼天」,
set to classical music,
舞廳燈光的頂篷,搭配古典音樂,
the thumping rave beats
with mutant vehicles,
is the mother of invention,
之間的曲折變化,
public transportation system,
about critics and collectors
of marvelous toys they create.
創造出來的絕妙玩具。
when people first come to Burning Man,
當大家初次來到燃燒人節慶時,
maker community there
come together to share skills
集體企業會團結起來分享技能,
a single artist would never even attempt,
不可能嘗試的複雜計畫,
ready to take off at any moment
要起飛的哥德式火箭,
full of artist-made books,
製作之書籍的書架、
and the innovation of the work here
有魅力和創新,部分原因
aren't artists at all,
disciplinary boundaries,
out of the design for a yurt
to the voices and biorhythms
embedded in its leaves.
5 千個 LED 燈來回應。
less than 30 seconds with a work of art,
藝術作品上的時間不到 30 秒,
from label to label,
在各標籤之間徘徊,
of a work of art
in that one 80-word text.
80 個字的文字說明中。
there are no gatekeepers
just natural curiosity.
只有自然的好奇心。
and you ride towards it.
你就朝它前進。
Will I be impaled by it?
我會不會被它刺穿?
for extended interaction,
might be short-lived,
than at the Temple.
地方就是「寺廟」了。
built the first Temple,
建造了第一座「寺廟」,
was killed tragically in an accident
他們的團隊中有一位成員
piece of architecture,
until it disappears
也仍然能上色。」
universal of human experiences,
is overpowering and indescribable,
真的是過強到無法形容,
on the last night of the event.
它被放火燒盡為止。
from all different walks of life,
in a way we rarely see anywhere else.
這點在其他地方是很罕見的。
capable of great feats of imagination,
仍然有非凡的想像能力,
cathedrals in the dust.
從塵土中建起大教堂。
world if not this?
若這不是藝術,什麼才是藝術?
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