裸體參觀博物館是一種怎樣的體驗？

The most uncomfortable thing about being naked in a museum, it turns out, is the temperature. A half-hour into the first nudist tour of the Palais de Tokyo, a contemporary art museum in Paris, I had gotten used to the feeling of exposure, but I hadn’t acclimatized to the cold air circulating through the cavernous galleries.

結(jié)果證明，在博物館里赤身裸體最不舒服的地方是溫度。在參加巴黎的當(dāng)代藝術(shù)博物館東京宮(Palais de Tokyo)的首次裸體參觀半小時后，我已經(jīng)習(xí)慣了暴露身體的感覺，但我還沒適應(yīng)在寬敞的畫廊里流通的冷空氣。

Standing in a politically themed exhibition by the French-Algerian artist Neïl Beloufa, I began shaking my arms for warmth. Museums, I was discovering, are not temperature-controlled for people wearing only sneakers.

站在法裔阿爾及利亞藝術(shù)家尼爾·貝魯法(Neïl Beloufa)的這場以政治為題的展覽中，我開始揮舞自己的手臂取暖。我發(fā)現(xiàn)，博物館的溫度并不是為只穿運動鞋的人設(shè)置的。

In drawing this conclusion, it seemed, I wasn’t alone. Jacqueline Bohain, a 65-year-old retiree who had taken an eight-hour bus trip from the Alsace region of eastern France to attend the event on Saturday, tried to warm herself in a sliver of sunlight. Other members of the group jiggled around to heat up. “Maybe we should walk around the corner, so we can stand in the sun,” Marion Buchloh-Kollerbohm, the tour guide, suggested, and maneuvered us to another area of the exhibition.

似乎不是只有我一個人這么認(rèn)為。65歲的退休老人雅克莉娜·博安(Jacqueline Bohain)來自法國東部的阿爾薩斯省，她坐了八個小時的長途汽車來看周六的展覽。她試圖讓自己沐浴在一縷陽光下取暖。其他參觀者則在搖晃身體。“我們也許應(yīng)該轉(zhuǎn)到那邊，這樣就能站在陽光下，”講解員瑪麗昂·布赫洛-科勒波姆(Marion Buchloh-Kollerbohm)建議道。她把我們帶到了展覽的另一個區(qū)域。

The Palais de Tokyo’s “Visite Naturiste” — the first of its kind in France — has garnered a remarkable amount of public interest since it was announced in March. Over 30,000 people indicated on Facebook that they were interested in the tour, and, according to Laurent Luft, 48, the president of the Paris Naturist Association, more than two million people visited the group’s Facebook page in recent weeks.

東京宮的“裸體參觀”(Visite Naturiste)在法國尚屬首次，自3月份宣布以來，吸引了大量公眾的關(guān)注。有三萬多人在Facebook上表示對該參觀感興趣。據(jù)巴黎裸體主義協(xié)會(Paris Naturist Association)主席、48歲的洛朗·盧夫特(Laurent Luft)稱，最近幾周有200多萬人訪問了協(xié)會的Facebook主頁。

“I was imagining about 100 or 200 people might want to come, not 30,000,” he said in a telephone interview before the tour.

“我本來預(yù)測會有一兩百人想來，沒想到有三萬人，”他在參觀開始前接受電話采訪時表示。

At 10 a.m., I joined the 161 people who had managed to get one of the limited tickets, and we undressed in an ad hoc changing room on the second floor of the museum. For the next two hours, we took part in one of six tours by (clothed) museum guides of “Discord, Daughter of the Night,” a series of exhibitions spread across the museum, which is the largest in France for the presentation of contemporary art. The shows consist of one large, suspended sculpture and five separately curated but thematically related exhibitions in different parts of the museum, dealing mostly with issues of political strife and resistance.

上午10點，我和其他161個成功搞到稀罕的門票的人在博物館二樓臨時更衣室里脫了衣服。在之后的兩個小時里，我們在(穿著衣服的)博物館講解員的帶領(lǐng)下，參觀“不和，夜之女”(Discord, Daughter of the Night)展，這樣的裸體參觀總共有六次，分布于這座法國最大當(dāng)代藝術(shù)展覽空間的各處。展覽包括一個大型的懸掛式雕塑以及五個單獨策展但主題相關(guān)的展覽，分別布置于博物館不同區(qū)域，主要涉及的話題是政治沖突和抵抗。

Mr. Beloufa’s contribution — “The Enemy of My Enemy” — consisted largely of artifacts related to war and to other horrific historical events, like the My Lai massacre and the bombing of Hiroshima, arranged on platforms that were constantly moved around the space by small robots, similar to those used by Amazon in its warehouses.

貝魯法的《我的敵人的敵人》(The Enemy of My Enemy)主要包括與戰(zhàn)爭以及其他可怕的歷史事件相關(guān)的作品，例如美萊村屠殺(My Lai massacre)和轟炸廣島，他的作品被放置在平臺上，由一些類似于亞馬遜庫房里的那種小型機器人帶著在空間內(nèi)移動。

Ms. Buchloh-Kollerbohm, who is also the museum’s head of education, told me that she was mindful of the potential awkwardness of combining nudism with the exhibition’s serious subject matter.

兼任該博物館教育主管的布赫洛-科勒波姆對我說，她也有想到，將裸體主義與此次展覽的嚴(yán)肅主題相結(jié)合，可能會有些尷尬。

“We didn’t want to make this into a conference on the post-colonial subject, because that would really kill the atmosphere,” she said. Nevertheless, she added, “I am hoping the experience of leaving their clothes at the door will help them leave some part of their identity with it, and experience it with more openness.”

“我們不想把參觀變成一場關(guān)于后殖民主題的研討會，因為那樣真的會破壞氣氛，”她說。不過，她也表示，“我希望把衣服留在門口的經(jīng)歷會幫助他們把自己的部分身份也留在那里，用更開放的心態(tài)體驗這場展覽。”

Other museums have organized similar tours for temporary shows thematically connected to nakedness, including a Robert Mapplethorpe exhibition in Montreal and a show of male nudes at the Leopold Museum in Vienna. Mr. Luft said that it was “actually more pleasing to me to find something that had nothing to do with nudity.”

其他博物館也為主題和裸體相關(guān)的臨時展出組織過類似的參觀，包括蒙特利爾的羅伯特·梅普爾索普(Robert Mapplethorpe)特展和維也納利奧波德博物館(Leopold Museum)的男性裸體作品展。盧夫特說，“其實看到一些和裸體無關(guān)的東西更讓我高興。”

Mr. Luft and I walked into a small room in one corner of the exhibition where Mr. Beloufa was exhibiting an Iranian propaganda video from the Holy Defense Museum in Tehran that showed a simulation of a bomb attack on a marketplace. It felt insensitive to be watching a video of an atrocity (albeit a staged one) while standing in nothing but my running shoes, but Mr. Luft saw it differently. In his view, the exhibition confirmed his belief that nudity was a great social and political equalizer. “If world leaders had their meetings naked,” he said, “they’d stay a lot calmer.”

我和盧夫特走進展覽一角的一個小房間里，貝魯法正在那里展出一段來自德黑蘭圣國防博物館(Holy Defense Museum)的伊朗宣傳視頻。視頻模擬了一處集市遭到炸彈襲擊的場景。除了運動鞋外什么都不穿地站著看有關(guān)暴行(盡管是擺拍)的視頻，會讓人覺得麻木不仁，但盧夫特卻不這么認(rèn)為。在他看來，這場展出證實了他相信的一點，即裸體能夠極大促進社會和政治平等。“如果世界領(lǐng)導(dǎo)人都光著身子開會，”他說。“他們會冷靜得多。”

The final section of the tour, by the French artists Kader Attia and Jean-Jacques Lebel, was described partly as an “archaeology of fear,” and included a room filled with newspaper and magazine coverage of grim historical events primarily connected with colonialism. Ms. Buchloh-Kollerbohm crowded the group into a small corner to show us some “sickness masks” from Nigeria, with distorted features that gave them the appearance of someone who has suffered from leprosy or a stroke.

最后一個環(huán)節(jié)是看法國藝術(shù)家卡德·阿蒂亞(Kader Attia)和讓-雅克·勒貝爾(Jean-Jacques Lebel)的一些被稱為“恐懼考古”的作品，包括一個房間，里面擺滿了報紙和雜志對主要和殖民主義有關(guān)的殘酷歷史事件的報道。布赫洛-科勒波姆把參觀團擠到一個小角落里，給我們看一些來自尼日利亞的“疾病面具”。面具上扭曲的五官像是屬于麻風(fēng)病或中風(fēng)患者。

“These are not about a concept of perfect and symmetrical beauty,” she said, to the hushed group, “but about accepting difference and its worth and power.” Ms. Bohain, the retiree from Alsace, said to another tour member that it was an emotional note to end on, especially for a group committed to accepting and celebrating their own bodies.

“這些無關(guān)完美和對稱美的概念，”她對安靜的人群說，“而是關(guān)于接受差異和它的價值與力量的，”來自阿爾薩斯的退休人士博安對參觀團里的另一名成員說，這是一個令人感動的結(jié)束，特別是對一群承諾接受和熱愛自己身體的人來說。

A few minutes later, we were ushered onto a patio with a view of the Eiffel Tower, where Ms. Bohain warmed herself in the sun. Mr. Luft said that he was extremely happy with the day’s event, adding that he was already in discussions with several other museums to conduct similar tours.

幾分鐘后，我們被帶到了一個能看到艾菲爾鐵塔的露臺上。在那里，博安在太陽下取暖。盧夫特說他對當(dāng)天的活動非常滿意，并補充說他已經(jīng)在和另外幾家博物館討論安排類似的參觀。

As for me, I was inclined to revisit the exhibition, especially its more political works, in a clothed context, when I wouldn’t have to worry about feeling insensitive.

至于我，我傾向于在穿戴整齊的情況下再看一遍展覽，尤其是那些政治色彩更濃厚的作品，這樣就不用擔(dān)心那種不敬的感覺了。

Ms. Buchloh-Kollerbohm said she had enjoyed leading the group, but that the Palais de Tokyo was undecided about doing another nudist tour.

布赫洛-科勒波姆說她很享受帶我們這個參觀團的過程，但東京宮還沒有決定是否再組織一次裸體參觀。

Standing on the patio, Ms. Bohain told me that although she had not enjoyed all the art, she had enjoyed the experience. “I’m standing in the sun, naked, staring at the Eiffel Tower,” she said. “Life is great.”

站在露臺上，博安對我說，盡管不是所有作品都喜歡，但她很享受這段經(jīng)歷。“我站在陽光下，光著身子，凝望著埃菲爾鐵塔，”她說。“生活真美好。”