Travelling fairgrounds embody the ephemeral. They arrive from elsewhere to occupy an everyday space, momentarily wrenching it from regular purpose and bringing in a bombardment of shimmering surfaces, magical spaces, affects, illusions, fleeting peaks of sensory excess. Utilizing historical resources, interviews with showpeople and gathered testimony, this article examines the material encounter of the British fairground through the prize, what might be considered as a making material of the ephemeral. The prize provides material reminders of the fairground when it has departed, to counterintuitively persist through time as meaningful keepsakes and souvenirs. The fairground prize is tracked as both object and concept, utilizing detailed ‘back-stage’ and ‘front-stage’ flows, Dant’s work around ‘objects in time’, spatial practices and complex crossovers to other cultural trends. Taking his research to the contemporary period, the author proposes a significant shift in the fairground prize that has a wider impact on the aesthetic engagement with the fair.

中文翻译：

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“底架上的任何东西”：临时集市和材料赃物

临时展览场体现了短暂性。他们从其他地方到达，占据了一个日常空间，暂时将其从正常目的上拧了一下，轰炸了闪闪发光的表面，神奇的空间，影响，幻觉，短暂的感觉过剩高峰。本文利用历史资源，对艺人的采访和收集的证词，通过奖品考察了英国集市的物质遭遇，该物质可能被视为短暂的制作材料。该奖项为展览会离开时提供了实质性的提醒，以反直觉的方式持续存在，作为有意义的纪念品和纪念品。展览会奖品既是对象又是概念，利用详细的“后阶段”和“前阶段”流程，Dant围绕“及时对象”的工作进行跟踪，空间实践以及与其他文化趋势的复杂交叉。将他的研究带入当代，作者提出了对展览会奖品的重大转变，这对展览会的审美参与具有更广泛的影响。