The Museum of No Spectators Burning Man 2022 / John Marx + J Absinthia Vermut

由专筑网小R编译

在受到疫情的影响之后，无观众博物馆终于姗姗来迟，这种艺术展览空间的不同类型的概念始终保持着最初的想法，而这一想法则来源于联合艺术设计师John Marx与J Absinthia Vermut，无观众博物馆更加强调包容性，同时远离“精英艺术”，它挑战了博物馆曾经作为展示艺术家作品的一贯概念，虽然许多博物馆都在寻求着变革，但是它们仍然具有排他性，这样的立场让这些博物馆有着不同寻常的艺术地位，让人们不自觉地感受到“博物馆级的艺术”高于其他艺术的固有观念，但是参与过火人节的人们都能理解，在博物馆之外，仍有一些独特的艺术作品，它们也同样产生了艺术共鸣，重新定义了人们对于艺术的理解。

Text description provided by the architects. The Museum of No Spectators has finally come to life, after having been postponed during the pandemic. The original idea for this different type of gallery space for displaying art has remained true to the way in which it was first conceived by co-lead artists John Marx and J Absinthia Vermut. The Museum of No Spectators emphasizes inclusivity while moving away from “art as an elitist sport”. It challenges the notion that museums are neutral spaces for exhibiting what artists do. Although many museums are actively seeking change, many are still perceived as being exclusive.  The standing these institutions have in the art world can make it difficult to get away from the notion of “museum grade art” as being above all other art, yet anyone who has been to Burning Man will know that exceptional and powerful work is being created outside the museum context, some of it work that has a profound resonance with society, redefining our perception of what constitutes art.









作为一名建筑师，John Marx希望人们能够重新构思艺术博物馆的概念，因此在内达华州黑岩城，Marx与Vermut设计了一座不同寻常的博物馆，Marx描述了这个合作项目的背后理念，“火人节是一个活动项目，邀请人们来体验艺术，不仅仅是人们会被动欣赏到的东西，同时也是释放自身创造力的契机，因此Absinthia和我都认为，这座博物馆是在鼓励所有的‘火人们’在无规划的环境中进行艺术创作，重新思考博物馆的理想形式，除此之外，在围绕着文化范围，它也提出了有趣的问题，这对社会也许会带来不同的影响。”

As an architect, John Marx wanted us to rethink the notion of art museums. So out on the dusty perimeter of Nevada’s Black Rock City, Marx and Vermut shaped a museum like no other. Marx describes the ideas behind this collaborative project, “Burning Man as an event invites you to experience art as not just something you might appreciate passively, but as a joint enterprise that unleashes your own creative potential. This is why Absinthia and I thought that a museum on the playa that encourages all ‘Burners’ to make works of art in an un-curated and spontaneous environment has been an ideal way to reconsider what museums can be. It also raises interesting questions around the Range of Cultural Inclusion and how this might impact society in general.”







这种无观众博物馆充分地利用了火人节文化的参与特性，与传统的大型博物馆体验形成鲜明体验，在那种体验中，艺术对于参观者而言是一种“消费”，而在无观众博物馆中，参观者并不仅仅是参观者，他们需要进入一个沉浸式空间之中，在这里，创作过程成为了一个关键因素，表达了艺术与他人的分享过程，从而成为了一种内在的体验。

The Museum of No Spectators picks up on the wholly participatory nature of Burning Man culture. This is in sharp contrast to the default museum experience of the visitor who “consumes” art through blockbuster shows. At The Museum of No Spectators, the visitor is no longer a consumer, but someone entering a radically inclusive space where the creative process is a key element in how the art is shared with others - an inherently de-commodifying experience.



Marx总结了这个艺术建筑项目的设计概念，“当你走进这座神秘且迷人的建筑时，会发现它有着不同寻常的形态，既像机器又像生物，既抽象又超现实，它似乎是一块白板，有着宽阔的外观，上面写着‘无观众博物馆’，其充满动感的形态既超凡脱俗又接地气，它似乎在等待着你靠近，并且与它融为一体。”

Marx summarises the design concept for the art and architecture project, “As you approach this intriguing and mysterious building with its unusually shaped galleries, appearing part machine, part creature, part abstract and surrealistic form, it may present as a blank slate, with an expansive exterior, the letters spelling 'Museum of No Spectators’ hovering above. Its dynamic shapes emerge as otherworldly yet grounded. It is waiting for you to approach and to become a part of it . . . to participate.”





相较于Banksy对于现代博物馆的评论“空间序列结束于礼品商店”，这座无观众博物馆所不同的是，经过研究分析，人们从礼品商店进入建筑，不过在此建筑师将“礼品”一词进行了替换，表达的是“去制作”而非“去购买”，因此“火人们”被鼓励在进入展馆之前，在现场制作属于自己的艺术品，在这种全新类型的博物馆中，随着“火人们”进进出出，艺术的形式也在不断变化，每个人都拥有艺术潜力，在活动周期间，随着“火人们”作品的增加，艺术不断发展，从根本上更好地表达了自我。

As a counter to Banksy's critique of modern museums' emphasis on "exiting thru the gift shop", Museum of No Spectators is a study in decommodification, participants will enter through the “Gifting Shop”, where we have changed the use of the word "shop" to mean "to make" instead of "to buy".  Here 'Burners' have been encouraged to make a gift of their own art created on the spot before proceeding into the main museum. In this new type of museum, the art has changed constantly as 'Burners' have come and gone, each able to fulfill their potential as an artist. During Event Week, art continued to develop with 'Burners' radically self-expressing themselves by adding to or subtracting from existing pieces.







J Absinthia Vermut描述了该项目的背景，“在John和我谈论到奥克兰艺术博物馆的火人展览时，这座无观众博物馆就出现了，我曾经很喜欢看到墙上的艺术品，但是在奥克兰生活并且参加火人节以来，我发现很多艺术都不包含在内，当我从礼品商店走出来，我看到了许多礼物，看起来十分商业化，这并不符合火人的原则，而‘欣赏’则应该是，在博物馆里闲逛，观看别人的艺术作品，以前火人节与我们无关，不过如果考虑这个因素，那博物馆又会是什么样子呢？”

J Absinthia Vermut recounts the background to the project, “The Museum of No Spectators came about as John and I were talking about the Burning Man exhibit at the Oakland Museum of the Arts. I had attended and loved seeing the art on the walls but, having lived in Oakland and attended Burning Man as long as I have, I knew a lot of artists were not included. Exiting through the gift shop where I saw items I had been gifted on the playa, commodifying them just didn't align with Burning Man principles. Walking through a museum and looking at someone else's art was the definition of spectating. Which was okay, because we were not at Burning Man. But what if we were? What would that look like?”









在去年8月28日至9月5日举办的火人节活动中，一个由30名志愿者组成的团队在1400平方英尺的钢管框架、铝合金面板建造的博物馆中回答了这个问题，2020年，设计团队开发了无观众博物馆的互动数字版本，用作为2020年火人节数字活动系列项目，无观众博物馆在经历了一次筹款之后得以实施。

This question was answered in the 1400-square-foot Museum built of tube steel frames and aluminum Dibond panels by a team of 30 volunteers at this year’s Burning Man event held August 28th- September 5th. In 2020, the design team developed an interactive digital version of The Museum of No Spectators as part of Burning Man 2020’s digital events series. The Museum of No Spectators has been made possible as the result of a fundraising drive.  



















































建筑设计：J Absinthia Vermut, John Marx
类型：展馆
面积：1400平方英尺（约130平方米）
时间：2022年
摄影：Hannu Rytky, John Marx
制造商：Dibond
城市：黑岩城
国家：美国

PAVILION
BLACK ROCK CITY, UNITED STATES
Architects: J Absinthia Vermut, John Marx
Area: 1400 ft2
Year: 2022
Photographs: Hannu Rytky, John Marx
Manufacturers: Dibond
City: Black Rock City
Country: United States