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As Alexandra Laudo rightly indicated in her brilliant text “Art Menu”, “The act of eating and food, in general, are central elements of our existence, and as such, are traversed by a multitude of cultural, sociological, economic, and political vectors, which are frequently contradictory”. It goes without saying that intervention is only possible when its existence abounds. Some of us still can’t get of our heads that refrain “don’t play with your food!” Something our grandparents no doubt never heard.
In any case, be it as a symptom of abundance, or as a symbol of immediacy and proximity, eating and its processes, materials and habits, form part of our cosmos and everyday, always occupying, and even more so now, if that’s possible, a central position in our consumption. After air comes food. But the craftsmanship and intellectual process, the alchemical and material, performative, fundamental, almost sensual potential of food and its transformation have not reached their limit. From the erotic-visual spreads of Dalí to Bulli. Spheres, vapours, clouds…for some it could even seem as if ultimately the wildest explorative, creative activity and innovation going on today is to be found in kitchens and the recommendations are infinite.
We began October with Alba Mayol Curci and her Junk Food Poetics, almost a landscape text, based on the filmic image of a street in the USA in the deep of night. Logos, lights, and junk food, to talk about a whole spectrum of the current imaginary. Consumerism, life à l’américaine, individualism, speed and solitude.
Anneli Käsmayr, a founding member of the dilettantin produktionsbüro was interviewed by Glòria Guso discussing her projects, often directed at camouflaging themselves, working with food and eating scenarios in the non-artistic world.
Also in an interview format, Anna Dot talked to nyamnyam or Ariadna Rodrígues and Iñaki Álvarez, who are responsible for a space in Poblenou, Barcelona, and are currently presenting COMIDA at the Teatre Pradillo in Madrid.
And we brought the month to a close with Aymara Arreaza on Miralda Madeinusa, a must within the Catalan, Spanish, and international context when talking about art and eating, but also about festivities, celebration and splendour; about a certain time that no longer pertains to us, when it was possible to be more playful with food, to be more playful in general.
"A desk is a dangerous place from which to watch the world" (John Le Carré)