风潮-艺术装置

公司：	Mark Reigelman II	类型：	艺术
地区：	美国	标签：	艺术装置

多年来亚历山大海滨发掘中出土的一些物品例如儿童玩具，石化饼干，冲压的石器，数百只鞋子，展示了其作为持续性商业活动中心的作用。这座城市的河岸线受制于极端措施，在18世纪，为了延长城市的海岸线，成千上万的木桩越来越深入波托马克河，形成了随着城市的持续发展而发生变化的海岸线基础。亚历山德里亚从河堤小镇发展为拥有广阔码头的城镇，数英里的人工开垦土地在岸边蔓延开来。风潮-艺术装置试图将这些典型的海洋物体重新文本化呈现，向不断发展的历史致敬，并为海岸线带来趣味元素。

Children’s toys, fossilized biscuits, stamped stoneware, hundreds of shoes. These are a few examples of the items unearthed in excavations along the Alexandria waterfront over the years, demonstrating its role as an ongoing hub of activity and commerce. As such, drastic measures were taken to manipulate Alexandria’s connection to the waterland. In the late 18th century, for example, wooden ships were intentionally sunk in an effort to extend the city’s shoreline. Meanwhile, thousands of timber pilings crept further and further into the Potomac, enacting the shoreline foundation that would shift as the city continued to develop. From a town standing upon lofty banks to one that bled deeper into the river each decade, these pilings created a fluctuating new boundary in the conversation between sea and shore. Groundswell seeks to recontextualize these quintessential maritime objects, pay homage to the space’s rich history, and bring an element of play to the shoreline’s material topography.

来自B. Skolnik在2020年1月在历史考古学学会大会上发表的论文《思考海岸线》：对于在城市和海滨环境中工作的陆地考古学家，如亚历山大这样的地方，水域边缘通常代表着一个表面上看似固定的边界，其外面在比喻上（有时甚至在字面上）是超出了他们的管辖范围。然而，水是过去将这些港口城镇联系在一起并使它们成为可行经济中心的连接组织。此外，陆地和水域之间的边界不能被认为是像历史地图上经常显示的静态线。正如陆地上有地形地貌来塑造人类活动一样，水下也有塑造人类活动的地形地貌（或水深地形）。

From “Pondering Shorelines,” a paper presented at the Society for Historical Archaeology Conference, January 2020 by B. Skolnik: For terrestrial archaeologists working in urban and waterfront settings like Alexandria, the water’s edge frequently represents a boundary that is seemingly fixed, beyond which is figuratively (and sometimes literally) outside of their jurisdiction. However, the water is the connective tissue that linked these port towns in the past and made them viable economic centers. Furthermore, the boundary between land and water cannot be thought of as a static line like it is frequently shown on historic maps. Just as there is topography on the land that shapes human activity, there is topography (or bathymetry) under the water that shapes human activity.

风潮-艺术装置由100多个直径14英寸的原木桩组成，高度范围从12到42英寸不等，每个桩顶部都覆盖有钴镜面。这些桩的起伏轮廓是由地面壁画中的地形图确定的，该地形图源自毗邻的波托马克河的轮廓。Groundswell will consist of over 100 14” diameter raw wood pilings ranging in height from 12-42,” each topped with a cobalt-mirror surface. The pilings’ undulating profile is determined by the topographical map illustrated in the floor mural, which is derived from the contours of the adjacent Potomac River.

风潮-艺术装置桩顶上的镜面在光线中闪烁如水，模仿着不固定的海岸线，并反射出天空的不同角度和过路人的面孔。

The mirror tops on Groundswell’s pilings shimmer in the light like water, mimicking the unfixed shoreline and reflecting different angles of the sky and faces of passersby.

镶嵌在闪烁的蓝色亚克力镜面表面的是生长环，象征着时间的流逝和不断变化的海滨边界。该装置鼓励游客能够沉浸式的穿越在闪烁的木桩景观中，同时思考他们此时此刻在城市历史中所处的位置。

Etched into the surface of the shimmering blue acrylic mirrors are growth rings, which point to the passing of time and the ever-shifting waterfront boundary. Groundswell’s immersive orientation encourages visitors to navigate through the pilings’ grid-like ecosystem, considering their place in the city’s history at this moment in time.