博物館也開始玩“快閃”了

None of the major traditional museums seemed to see it as a threat when the Museum of Ice Cream opened in New York in 2016. After all, as a “pop-up museum”, it only stayed open there for a month.

2016年，冰淇淋博物館在紐約開館時，沒有一家大型的傳統(tǒng)博物館將其放在眼里。畢竟，作為一個“快閃博物館”，該博物館只在那里開放一個月。

However, as more of these pop-up museums started showing up over the next two years, they seemed to become a trend that should have been taken more seriously. And the latest member to join this list is the Museum of Pizza, set to open in New York this October for two weeks.

然而，隨著近兩年越來越多快閃博物館的出現(xiàn)，這似乎成了一個需要重視的趨勢。而最新加入快閃博物館大家庭的是披薩博物館，預計將于今年10月在紐約開館，為期兩周。

It seems that museums are no longer just places to “see” art. People want to have more interactive experiences instead of being kept a polite distance from exhibits, as they normally are in traditional museums. At the Museum of Ice Cream, for example, which is currently located in the US city of Miami, visitors can jump into a pool of plastic sprinkles. And at the upcoming Museum of Pizza, people will be able to lie on a “pizza beach”, where they can experience a “wave of cheese”.

博物館似乎不再僅僅是“觀賞”藝術(shù)的場所。人們想要有更多的交互式體驗，而不是像在傳統(tǒng)博物館里那樣，與展品禮貌地保持距離。比如，在目前位于美國邁阿密的冰淇淋博物館里，游客們可以跳入一個裝滿塑料糖屑的池子里。而在即將開館的披薩博物館中，人們能夠躺在“披薩海灘”上，體驗“芝士浪潮”。

“Not only are [visitors] taking pictures of art, but they’re taking pictures of themselves within these spaces,” Jia Jia Fei, a director at the Jewish Museum of New York, said in a TED Talk. “In the pre-digital photography era, the message was: This is what I’m seeing. Today, the message[is]: I came, I saw, and I selfied.”

“游客們不光給藝術(shù)品拍照，也拍下了自己與這些空間的合影，”紐約猶太博物館總監(jiān)費佳佳在一場TED演講中說道。“在數(shù)碼攝影時代之前，照片傳遞的信息是：這就是我所見之物。而如今變成了：我來了，我看了，我也自拍了。”

This immersive experience that pop-up museums provide also allows visitors to get away from their real life – even just for a short period of time – and enter a fantasy world.

快閃博物館所提供的這一沉浸式體驗也讓游客們遠離現(xiàn)實生活 —— 就算只有很短的一段時間 —— 并進入一個幻想世界。

For example, Japanese artist Yayoi Kusama took her exhibition “Infinity Mirrors” to Washington, US in 2016. It attracted a large number of visitors who were willing to stand inline for hours just to visit each of the six mirrored rooms for just 30 seconds. However, the long wait seemed to have been worth it.

例如，2016年，日本藝術(shù)家草間彌生將她的展覽“無限鏡屋”帶到了美國華盛頓。該展覽吸引了大量游客，人們愿意排幾小時的長隊，就為了獲得參觀六間鏡屋的30秒時間。然而，漫長的等待似乎都是值得的。

“I felt an unexpected calm,” wrote Baltimore City Paper reporter Maura Callahan after spending 30 seconds in one of the rooms. “Something about the vastness of the illusion rubbing up against the actuality of being confined to a box was comforting, like a deep breath.”

“我感到意料之外的平靜，”巴爾的摩城市報記者莫拉·卡拉漢用30秒?yún)⒂^完一間鏡屋后寫道。“大量的幻覺與現(xiàn)實的幽閉在房間中產(chǎn)生碰撞，令人感到十分舒適，就像是一場深呼吸。”

Maybe it’s this experience of feeling close to art that allows pop-up museums to not only keep“popping up”, but also to remain open – at least for now.

或許正是靠近藝術(shù)的這一體驗讓快閃博物館不斷“閃現(xiàn)”，并將繼續(xù)開放下去 —— 至少現(xiàn)在是如此。