Japanese artist Yayoi Kusama is known for her use of polka-dots. FILE PHOTO
2016年，冰淇淋博物馆在纽约开馆时，没有一家大型的传统博物馆将其放在眼里。毕竟，作为一个“快闪博物馆”，该博物馆只在那里开放一个月。
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，随着近两年越来越多快闪博物馆的出现，这似乎成了一个需要重视的趋势。而最新加入快闪博物馆大家庭的是披萨博物馆，预计将于今年10月在纽约开馆，为期两周。
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”.
博物馆似乎不再仅仅是“观赏”艺术的场所。人们想要有更多的交互式体验，而不是像在传统博物馆里那样，与展品礼貌地保持距离。比如，在目前位于美国迈阿密的冰淇淋博物馆里，游客们可以跳入一个装满塑料糖屑的池子里。而在即将开馆的披萨博物馆中，人们能够躺在“披萨海滩”上，体验“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.”
“游客们不光给艺术品拍照，也拍下了自己与这些空间的合影，”纽约犹太博物馆总监费佳佳在一场TED演讲中说道。“在数码摄影时代之前，照片传递的信息是：这就是我所见之物。而如今变成了：我来了，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.
快闪博物馆所提供的这一沉浸式体验也让游客们远离现实生活 —— 就算只有很短的一段时间 —— 并进入一个幻想世界。
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 in line 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，日本艺术家草间弥生将她的展览“无限镜屋”带到了美国华盛顿。该展览吸引了大量游客，人们愿意排几小时的长队，就为了获得参观六间镜屋的30秒时间。然而，漫长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静，”巴尔的摩城市报记者莫拉·卡拉汉用30秒参观完一间镜屋后写道。“大量的幻觉与现实的幽闭在房间中产生碰撞，令人感到十分舒适，就像是一场深呼吸。”
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.
或许正是靠近艺术的这一体验让快闪博物馆不断“闪现”，并将继续开放下去 —— 至少现在是如此。
