A brief intermission from #saveSalemshistory for some snow pictures, because it was a pretty big storm, or “bomb cyclone”! Back to the Phillips in a few days: remember the big PEM forum is on January 11th @ 6 pm in the museum’s Morse Auditorium.
So we survived the year’s first big snowstorm, officially designated Grayson and categorized as a “bomb cyclone” by meteorologists because of the coincidence of a steep, explosive drop in atmospheric pressure. It snowed all day and gusty winds gave the streets of Salem a blizzard-like appearance at times, but that was not as scary as the flooding that occurred on the coast and in several low-lying areas reclaimed from rivers and ponds. The Willows looked positively apocalyptic at high tide midway during the storm, and the storm surge covered Derby Wharf for a while. The sea captains who built my street 200 years ago clearly chose high ground for a reason (well, multiple reasons really), so it was a much less dramatic scene out my window for most of they day, and in the late afternoon I emerged for a quick walk and a much longer stint of shoveling.
All summer and fall the Salem Maritime National Historic Site is featuring a virtual exhibition called “The Augmented Landscape” which brings eight spectral sculpture assemblages–visible only through a smartphone equipped with the layar app–to Derby Wharf. It’s a more artistic form of Pokémon Go, with global and topical themes and layered connectivity. Everyone in Salem is missing the site’s major attraction—the Friendship–and while this exhibition/experience is not a replacement, it is certainly a distraction! The creations are the work of four artists commissioned by Boston Cyberarts: John Craig Freeman, Kristin Lucas, Will Pappenheimer and Tamiko Thiel. Thiel’s “GardenAnthropocene” imposes a vivid and chilling vision on a familiar place, a “dystopian science fiction future for the landscape as we enter the Anthropocene, a new geologic time period created by human activity……[in which] native plans grow and mutate in response to the earth’s changing conditions, adding to their evolving climate and altering the landscape as we know it”. This doesn’t sound–or look–good!
Thiel’s other installation, “TreasuresOfSheRem” focuses more on the past than the present, featuring the coins and commodities that Salem traders brought to the East to exchange for tea, spices, porcelain and other exotic goods. Poppies, yes, but somehow I didn’t know that sea cucumbers were so important to the China Trade……
More familiar cod hover over the wharf in Will Pappenheimer’s “Ascension of Cod” and privateers clash, visualized through a “virtual ball of classic galleon type ship masts obtained from disassembled ship models accessed from shared 3D model websites”. I think I was supposed to conjure this up (and that’s what it feels like) in front of the Derby House rather than by Pedrick’s storehouse—I couldn’t quite master the geographical aspect of these installations and ended up with strange things in strange places (but maybe that’s the point?)
My favorite installation is Kristin Lucas’s “Elephant in the Room”, referencing the Crowninshield Elephant that landed in Salem in 1796. He looked funny in the Derby Garden and a bit better in front of the Custom House, but never really in his element. Lucas’s “Goodbyes” also stressed out-of-element images, representing departure, which (on the other hand) is of course quite appropriate for a port. For me, the most literal of the virtual installations are John Craig Freeman’s “Virtual China” and “Virtual Russia”, which project images of Wuhan and St. Petersburg onto Salem’s port[al], emphasizing global connectivity, past and present.