For nearly a full year now, an international crew of artists, craftspeople, designers, builders, engineers (and at least one poet) have been working nonstop to create a temple for Mazu, Goddess of the Empty Sea — a piece you’ll soon be able to experience and interact with on playa. What’s more, they’ve turned this project into a new arts collective that could keep them working on similar projects for years to come.
Photographer Aleksey Bochkovsky has documented many a workday with this crew. Here’s a look at what they’re doing, and more about what makes Mazu’s temple, and its crew, unique. All photos by Aleksey.
“We’re raising the bar for craftsmanship, detail and interactivity,” says project leader Nathan Parker, who previously worked for several years as an electrician for the Black Rock City Department of Public Works.
“Most of the art that people create to be burned has a temporary feel,” he continues.
“We want this to feel real and permanent. We want people to say, ‘Why are you going to burn that? Don’t burn that!’”
But it will burn. The Mazu temple’s laser-cut panels; its hand-painted, sanded, stained woodwork; its arching 40-foot-high lotus flower will all go away. In the process, they’ll reveal the underlying steel structure: a self-standing sculpture that will one day be installed permanently in a public space. (more…)
Our heroic partners at Artichoke have released a 12-minute documentary about their Temple project in Northern Ireland, in collaboration with David Best, creator of the Temple at Burning Man. It’s the crowning achievement of an incredibly successful, groundbreaking and moving project.
For four years in a row, the temples of Black Rock City have been palatial, romantic, classical in design. Time’s up. Some members of the 2015 Temple crew worked on the enchantingly abstract, boundary-pushing Temple of Flux five years ago, and they have brought that same fluid, organic inspiration to this year’s design: the Temple of Promise.
The Temple of Promise is a guide. It’s a calming hand, and it’s a listening ear. Nestled in its center is a grove of trees. It’s no tower or pyramid or other such shape dictated by logic alone. It is no less a temple for its lifelike forms. It is more.
Scattered amidst the flow of the Temple area, wooden sculptures shaped like stones form a soft boundary. The tapering spiral of the main structure provides shelter and quiet. The lobed spire at its opening will tower 97 feet high. The tail of the building curls into a circle around the open-air grove, a container well suited for gatherings. The trees will be bare at the beginning of the week, but participants will leave their messages on strips of white cloth, which they will hang from the trees like the leaves of a weeping willow.
In addition to the 2010 Temple of Flux, team members have worked in the past with artist Dan Fox on some of the playa’s most imposing and impressive sculptures ever: the Trojan Horse in 2011, Anubis in 2012, and the Alien Siege Machine in 2014. Others have volunteered on past temples in 2007, 2008, 2011, and 2013. This practice and expertise will serve them well. But it is clear from the design of the Temple of Promise that this team brings with it another complementary power that cannot be learned, only listened to: intuition.
Want to get involved? The team is working on their website and volunteer intake process, but in the meantime, like their Facebook page to stay in the loop.
Greetings MOOP maniacs and line sweepers extraordinaire! I’m here in Gerlach with 120 members of your DPW Playa Restoration home team. They are preparing to enter the damp, sticky and frigid playa — armed only with MOOP sticks, shovels and magnet rakes — to eradicate the final traces of Burning Man 2013.
The season is skidding to a close as we dodge rainstorms and near-freezing temperatures; we may even get a little snow this evening. Summer is officially a dusty memory, but still the MOOP lines march on.
As many of you have remarked, the line sweeps are covering a lot of ground this year, and in record time. On Day 4, 45 city blocks disappeared under the moopers’ feet. And yes, the Playa Restoration All-Star team is one hell of a crew — but the line sweeps’ pace ultimately depends on YOU, and how well Black Rock City practices Leaving No Trace. When the city blocks are green and MOOP-free, the Resto line sweepers move at a fast clip. And this year, we’ve encountered a whole lot of green blocks.
In fact, we’re seeing green this year in all sorts of places. So while Playa Restoration continues marching through the city grid, let’s take a moment and turn our eyes elsewhere: far out in the deep playa, where the Temple of Whollyness once stood.
A temple is being built in Christchurch, New Zealand, commemorating the magnitude 6.3 earthquake that devastated that city in February 2011, killing 185 people.
Inspired by the ritual of Burning Man’s temples, and a recipient of a 2012 Black Rock Arts Foundation grant, the Temple for Christchurch will serve as a sacred space where people can leave mementos and write on its walls before witnessing its eventual burning. The intention is to help residents of Christchurch reflect upon and come to terms with the aftermath of the disaster.
Artist Hippathy Valentine designed the Temple as an architectural interpretation of the Richter scale waveforms that were created by the earthquake itself — and it symbolically stands 6.3 meters in height at its peak. Fittingly, it’s being constructed on one of the many empty demolition sites that now are common in Christchurch. Its modular design allows the structure to be taken apart and reconstructed in the New Zealand countryside, where it will be burned.
The Temple of Whollyness has been revealed. It’s a massive pyramidal complex made entirely of interlocking puzzle pieces of wood, without any metal hardware. This kind of construction looks and feels organic, like something naturally produced by intelligent life forms — because, of course, it is.
In the middle of the afternoon on the middle day of my Burn, I was sitting in the middle of a bench in the temple, working through the problem of my fairly happy life. After many years of struggle, my life had recently started to straighten itself out. My projects were bearing fruit. I had my health. I had found love.
Problem was, could I trust it? For the sake of myself and the people I loved, I was going to have to own this good life, take action, build on it. It was no longer right for me to hide and hope, to expect the worst, to stay small and safe. But as soon as I got to the threshold of believing that everything could really be okay, I’d start thinking about my family. All their hopes and suffering and directives and defeats, the small kindnesses they could never dare to depend on. My martyred mom, my angry, exploited dad, my alcoholic brother, all the suffering I’d grown up with, all the suffering my parents had grown up with, on and on, far-flung ancestors and recently deceased relatives. How could I depend on my hard-won happiness when they never even had half of it?
I called it survivor guilt, and I knew I was going to let go of it. I didn’t know how that was going to happen, exactly, but I brought along a red marker in hopes of writing whatever needed to be written on the wall of the temple, so that days later I could watch it burn. (more…)
Since the year 2000, there has been a Temple at Burning Man, and when we talk about the Temple, most people think of what started that year with David Best and Jack Haye, and became a long line of temples that have graced the playa. The Temple has evolved from what became a memorial to their friend into an “emotional nexus” of our community, where thousands make pilgrimage each year to remember those they have lost, to celebrate and affirm life, to heal and to forgive.
In 2012 I was fortunate to meet many of the people who are involved with building the Temple each year and to research what I came to believe are some of the essentials of understanding what the Temple at Burning Man has become. It is a place where our community goes to unburden itself and it is a representation of our maturity as a community as well as a natural manifestation of something sacred in the City of Black Rock.
Proposing to be the one who builds the Temple at Burning Man is serious stuff involving quite a bit of work within an existing structure of volunteers and other Temple minded folks to create something for the community. One question that was raised over and over again as I spoke with people who have done this before was that you should not ask yourself “WHAT am I doing this for?” but rather “WHO am I doing this for?”
For many Burners, the Temple is a vital place where those who build it possess a solemnity and a respect for that process. It is also a place for those who attend the event to use for grieving or celebration of life in an environment that is in contrast to a lot of the rollicking and outrageous things happening elsewhere on the playa that week in late summer.
Walking around the Temple at the middle of the week, I personally get overwhelmed by the amount of emotion that is focused like a beam in there. It is as if, from its inception each year, to all the planning and all the hands that build it, then when the event begins and it becomes “the largest collaborative art project” on the playa; that the energy of so many caring people turns whatever sublime Temple structure is built that year into something far greater than any art project.
Stopping to read the remembrances of so many loved friends, family and pets who have passed on, seeing the pictures of so many of them, pausing at the altars and shrines where people have lovingly placed tokens of their lost one’s lives, well, that can really get you right in your plexus where you feel that big sorrowful empathy wave. The Temple is a profound space where some of us who have lost loved ones can let them know that they are still loved and missed, but that it is all ok, they can pass and we can move on.
I’m a large, somewhat dim and oafish fellow, and I can only stay in there for so long before I have to walk away from it out onto the blankness of the playa with the Temple behind me, and breathe deeply so as to not betray the tough guy façade I live behind.
It is a heavy place. If you’ve been there, you know what I mean.
Regardless of who builds the Temple, it is always something spectacular and special. There are bona fides and expertise that are a prerequisite to building the Temple at Burning Man and I was privy to finding out what some of those were this year.
I’ve written an article about what I discovered after being on playa (and attending the Temple construction before leaving for Black Rock City) for the building of this year’s Temple of Juno. I was able to research and read some of the intellectuals who’ve written about the concept of the Temple, including Lee Gilmore, Sarah Pike and Larry Harvey; and I had the pleasure of speaking with some of the folks involved with building Temples through the years including David Best, Jessica Hobbs and Jack Haye. The article is on the Burning Man website and is titled, Spirituality and Community: The Process and Intention of bringing a Temple to Black Rock City.
Burning Man would like to have a conversation that explores what you feel about the Temple and to get your insights on it since it is really your Temple. Please read the article as it is meant as a starting point to stimulate discussion. Our community loves discussions and the Temple is something many of us have very strong feelings about. Feel free to read the article and post your thoughts here.