Page 22 - C.A.L.L. #41 - Summer 2016
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We are sitting in the Orchard Cabin (named for the abutting grove of apple trees), one of the property’s
             eight ‘‘on the grid’’ structures, and Haeg is spooning stewed apples, made from a recent harvest, into a
             bowl. Hard cider from those same apples ferments in a huge milky jug under the kitchen table. A wood
             fire hisses, pour-over coffee drips. His dog, Ivy, a 17-year-old Australian shepherd, lies at his feet. The
             walls of the cabin are lined with canned fruit and an eclectic range of books, from ones on Modernist
             architecture to ‘‘Mushrooms Demystified’’ and ‘‘Cider,’’ co-written (who knew?) by Annie Proulx. Outside,
             the only sound is the Pacific Ocean, two miles away, deep, raspy and constant. Haeg calls the landscape
             ‘‘enchanted,’’ and I am inclined to agree.















































              The view toward Orchard Cabin. Photo: Andres Gonzalez

             Haeg, who has been here for 15 months, has mostly been trying to bring the place, with its range of
             idiosyncratic cabins in various states of disrepair and its homespun yet surprisingly effective water and
             power infrastructure — one original communard had been an engineer — up to some level of rustic
             comfort. All of this preparation is ‘‘setting the stage’’ for his latest work, a revived Salmon Creek Farm. He
             has no illusions of recreating the original commune. ‘‘That was life,’’ he says. ‘‘This is also an art project.’’
             Haeg imagines something between an arts colony and a gathering place, somewhere to come when you
             want ‘‘to take a step back from contemporary society.’’

             IT MIGHT BE EASY to dismiss Haeg’s commune as an artist’s folly, some ‘‘cabin porn’’ exercise fit for
             Instagram consumption, had his entire career not signposted him toward Salmon Creek. There was his
             2001 Sundown Salon, a monthly gathering (organized around themes that ran from ‘‘knitting’’ to
             ‘‘political ennui’’) which operated for five years at his William King-designed hilltop geodesic domestead
             in Los Angeles; and 2012’s ‘‘Domestic Integrities’’ at the Walker Art Center. With its participatory fruit


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