The Digestive Canal Represents a Tube Passing Through the Entire Organism and Communicating with the External World

DIGESTION FEAST

The digestive canal represents a tube passing through the entire organism and communicating with the external world. FEAST is a series of three publications presenting contemporary visual art, Anatomy Lessons with Recipe for Ease literature and film works that explore our relationship with food as a social Marcus Braun of Digestion event, a marker of identity, a product of history and a commodity for trade.

The publication combines articles on contemporary arts practices with 3 6 recipes, film histories and literary narratives in an eclectic mix that serves to explore, highlight and question the varied roles food holds within our

everyday. FEAST is an initiative by curator and writer Laura Mansfield. The Sea, The Sea Clocoa 8 The second edition of FEAST takes the theme of digestion. Interpreting the 9 digestive system as a series of processes and outputs the edition explores the sounds of the body, poses questions around what we choose or do not choose to The Road of Life Swallow

ingest and discusses notions of imbedded knowledge. The digestive tract weaves it way through different contributions finding a presence in an article by 16 12 Megan Fizell on the work of Win Delvove, the Surrealist’s development of dining events discussed by Lucy Johnston and the story of Marcus Braun, a childhood classmate of Swen Steinhauser who managed to digest a pin. The chamber of the Monkey Rusk, 2012 Taste Time and Tea stomach further features as a loci within the different articles, with the voice of 21 the digesting body making an appearance in Peter Harrison’s text on the siege 19 of Lenningrad and being echoed again in the work of Daniel Fogarty. With Elisa Oliver’s compilation of references to food within Iris Murdoch’s ‘The Sea The Sea’, the central protagonist’s choice of food to quell the hunger of his stomach 37 Min 33 Sec Anxiety of Organs

brings forth a series of memories; the act of digestion being akin to that of 24 25 contemplation. The differing articles are further united through a shared interest in processes and outputs mirroring the functioning of the body’s digestive tract, the food that is put in and subsequently processed, absorbed and transformed. Futurist Formula’s for food to liberate the modern man The Kitchen Project

In conjunction with each edition Feast contributors host different food focused events. To stay updated on forthcoming activities please visit the project blog at 34 28 www.feastjournal.tumblr.com

Ivan Pavlov Metabolic Soup

39 43

The Art of Digestion Contibutors 46 49

Cover quote: Ivan Pavlov the pin-badge’s journey, especially ANATOMY on its later leg through the winding LESSONS WITH serpentines of the lower intestines, was undertaken badge-end or needle- MARKUS BRAUN end first. The truth of the matter I do not SWEN STEINHAUSER know or remember. Back then, however, in empathy with Markus’s predicament, the former must certainly have been the desired option. Today, on the other hand, the latter scenario bears more In the Spring of 1986, Markus Braun, heavily on my imagination — for a childhood friend and fellow stu- would not the needle-end’s journey dent in Frau Stocker’s class at the through the digestive tract have Wilhelm-Busch Schule, Dörnigheim, perhaps provided Markus Braun swallowed the pin badge of his silver with the prickling and stinging sort Freischwimmer, a German certificate of embodied knowledge even more for learning swimmers. powerful than Frau Stocker’s An awkward situation, one might anecdotal lesson that he missed? say, for what was generally an awk- Frau Stocker, who’s hair caught ward kind of guy. fire whilst lighting a candle in front The exact circumstances as to of a screaming class of children later the actual event of the swallowing, as that same year, certainly did all she far as I remember, were never revealed could to viscerally illustrate a lifeless at the time and remain mysterious to anatomical diagram. In providing us me. One can only speculate on the with a lesson somewhat exceeding its strangeness of this feat. scientific remits, perhaps she was During the time of Markus’s able to teach us, whether knowingly subsequent absence from school, or not, about a sort of inner somatic Frau Stocker, in a stroke of didactic sensing, or what otherwise might genius, had us follow the journey also be called — a gut feeling. of the Freischwimmer pin badge, mysteriously sliding down Markus’s oesophagus before ensuing its long and complex track through the digestive system. This event and its accompanying anatomy lessons have left a deep impression on me. What was of much concern to us then, I seem to remember, was whether Markus Braun: Third row from the front, second on the left. Recipe to aid digestion: EASE OF DIGESTION fibre-rich congee MEGAN FIZELL 1 cup lentils ½ cup barley 1 cup brown rice 2 liters vegetable stock 2 carrots, diced Place all of the ingredients into the 3 stalks celery, diced pot of a slow-cooker. Stir well to 4 spring onions, sliced incorporate and cook for 4 hours on 1 tablespoon miso paste the low setting. Every hour or so, check the congee giving the mixture To serve: a good stir and topping up with water if necessary. The congee should take fried onions on the consistency of thick porridge. salted peanuts When the grains have become soy sauce swollen and are in the initial stages chilli flakes of breaking down, spoon the mixture dumpling vinegar into a bowl and top with the desired sesame oil amounts of the ‘extras’ (fried onions, salted peanuts, soy sauce, chilli flakes, dumpling vinegar, sesame oil). Serve hot. The congee can be stored in the refrigerator for 4–5 days and reheated but is best when first served. Food and digestion play a key role in Iris Murdoch’s novel For lunch, I may say, I ate and greatly enjoyed the following: anchovy of those crackly Scandinavian biscuits which are supposed to make DIGESTING IRIS ‘The Sea, The Sea’. The novel uses food as both a reflection of paste on hot buttered toast, then baked beans and kidney beans with you thin. (Of course they do not. If you are destined to be fat, food MURDOCH’S NOVEL character and a mirror to a state of mind, providing an almost chopped celery, tomatoes, lemon juice and olive oil. (Really good oil makes you fat. But I have never had a weight problem.) (p. 25) parallel narrative to the main text. Taking all the entries about is essential, the kind with a taste, I have brought a supply from THE SEA, THE SEA food in the novel, the following text lets them stand as an London.) Green peppers would have been a happy addition only the Felt a little depressed but was cheered up by supper: Spaghetti with autonomous narrative revealing something about the centrality village shop (about two miles pleasant walk) could not provide them. a little butter and dried basil. (Basil is of course the king of herbs.) ELISA OLIVER of food, and the process of digestion, for our sense of self. (No one delivers to far off Shruff End so I fetch everything, including Then spring cabbage cooked slowly with dill. Boiled onions served milk, from the village.) Then Bananas and cream with while sugar. with bran, herbs, soya oil and tomatoes, with one egg beaten in. With (Bananas should be cut, never mashed, and the cream should be thin.) these a slice or two of cold tinned corned beef. (Meat is really just an The hard water biscuits with New Zealand butter and Wensleydale excuse for eating vegetables.) I drank a bottle of retsina in honour cheese. Of course I never touch foreign cheeses. Our cheeses are the of the undeserving rope. (p. 27) best in the world. With this feast I drank most of a bottle of Muscadet out of my modest ‘cellar’. I ate and drank slowly as one should (cook I am writing this after dinner. For dinner I had an egg poached in hot fast, eat slowly) and without distractions such as (thank heavens) scrambled egg, then the coley, braised with onions and lightly dusted conversation or reading. Indeed eating is so pleasant one should even with curry powder, and served with a little tomato ketchup and try to suppress thought. (p. 7) custard. (Only a fool despises tomato ketchup.) Then a heavenly rice pudding. It is fairly easy to make very good rice pudding but how I have now had lunch (lentil soup, followed by chipolata sausages often do you meet one? I drank a bottle of Meursault to salute the served with boiled onions and apples stewed in tea, then dried coley. I am running out of wine. (p. 53) apricots and shortcake biscuits: a light Beaujolais) and I feel better. (Fresh apricots are best of course, but the dried kind, soaked for Searching for a place to plant my herb garden I have found some twenty-four hours and then well drained, make a heavenly clumps of excellent young nettles on the other side of the road. I also accompaniment for any sort of mildly sweet biscuit or cake. They are managed to buy some fresh home-made scones in the village this especially good with anything made of almonds, and thus consort morning. Some splendid local lady occasionally sells these through happily with red wine. I am not a great friend of your peach, but the shop. I am told she makes bread too, and I have ordered some. I suspect the apricot is king of fruit.) (p. 16) For lunch I ate rashers of cold sugared bacon and poached egg on nettles. (Cook the nettles like spinach. I usually make them into a sort For lunch I ate the kipper fillets rapidly unfrozen in boiling water of purèe with lentils.) After that I feasted on the scones with butter (the sun had done most of the work) garnished with lemon juice, and and raspberry jam. I drank the local cider and tried to like it. a light sprinkling of dry herbs. Kipper fillets are arguably better than The wine problem is still on the horizon. (p. 55) smoked salmon unless the latter is very good. With these, fried tinned new potatoes. (No real new potatoes yet.) Potatoes are for me a treat I have not been out shopping. The shop keeps promising lettuce but dish, not a dull everyday chaperon. Then the Welsh rarebit and hot so far has none. No fresh fish of course.(p. 69) beetroot. The shop sliced bread is less than great, but all right toasted, with good salty New Zealand butter. Fortunately I like a wide variety I ate three oranges at eleven o’clock this morning. Oranges should be Soon I shall have lunch: the remains of the corned beef with plain …Gilbert had laid out a lunch of ham and tongue with green salad and eaten in solitude and as a treat when one is feeling hungry. They are boiled onions. (Plain boiled onions are another dish for a king.) new potatoes and hard-boiled eggs for James. By now of course I was too messy and overwhelming to form part of an ordinary meal. I finished the red cabbage last night with scrambled eggs and drank a took no interest in their food and very little in my own. (p. 331) I should say here that I am not a breakfast eater though I respect lot of the Raven Hotel Spanish white wine. (A mistake.) I must shop those who are. I breakfast on delicious Indian tea. Coffee and China soon, I crave for fruit, buttered toast, for milk in my tea. The shop There was lunch, though it was not a very cordial affair. We had tea are intolerable at breakfast tine and for me, coffee unless it is lady said there might be cherries this week. (p. 206) fresh mackerel, which Gilbert had procured from somewhere. He has very good and made by somebody else is pretty intolerable at any also found some wild fennel. He cooked of course. No one ate much time. It seems to an inconvenient and much overrated drink, but this I came inside and filled the large and now empty glass with white except Titus. (p. 355) I will admit to be a matter of personal taste. (Whereas other views wine, and opened a tin of olives and a tin of Korean smoked clams and which I hold on the subject of food approximate to absolute truths) a packet of dry biscuits. There was no fresh food as of course I had Lizzie did the cooking. We lived on pasta and cheese. It was impossible I do not normally eat at breakfast time since even half a slice of once more omitted to shop. (p. 210) to return to the ordinary feasts and festivals of human life, the meals buttered toast can induce an inconvenient degree of hunger, and to which people look forward and which they enjoy. We all, except eating too much breakfast is a thoroughly bad start to the day. I am I led the way back into the kitchen where I had been eating chocolate James, drank a lot. (p. 389) however not at all averse to elevenses which can come in great digestive biscuits and drinking Ovaltine. A feature of my interim variety. There are, as indicated above, moments for oranges. There condition was that, from ten thirty in the morning onwards, I had to At lunch time I ate sufficiently, not with appetite but out of a sense are also moments for chilled port and plum cake. (p. 87) have regular treats and snacks all day long. (p. 240) of duty, and drank no alcohol. (p. 417)

I was feeling hungry, so I ate a cheese sandwich and a horrible I let him cook in a style that was a compromise between his and mine. I drank a lot of red wine after my lentil soup and went to bed with pork pie. (p .142) I could not bring him up to my level of simplicity and it would have a hot water bottle. (p. 437) been cruelty to attempt it. Grilled sardines on toast and bananas and I breakfasted, since I was so hungry, on tea and toast and the cream were not Gilbert’s idea of a good lunch, and equally I had no I could not decide to eat anything. I had no desire for food or any remainder of the olives. (p. 148) use for his rich, over thick Gallic messes. We ate exquisitely dressed sense that I would ever want to eat again. (p. 460) green salads and new potatoes, a favourite dish of mine. (The shop Yesterday I lunched on tinned macaroni cheese jazzed up with oil. now has lettuce and young spuds.) I let him concoct vegetarian soups The sea had restored my hunger and when it seemed to be lunch time Garlic, basil and more cheese, and a lovely dish of cold boiled and stews and I taught him to make fritters in the Japanese style, I heated up the remains of the consommé and opened a tin of courgettes. (Courgettes should never be fried in my opinion) I must which he was at once able to do better than me. I also let him bake frankfurters and a tin of sauerkraut. (p. 465) remember to buy more courgettes and some green peppers to take cakes. He shopped for me in the village and brought Spanish wine back with me. (p. 154) from the Raven Hotel.) (p. 242) I cook myself a supper of rice or lentils or spiced red cabbage. I eat Cox’s Orange Pippins and go to bed early quite drunk. (p. 486) I ate some corned beef with red cabbage and pickled walnuts, and the We had ham cooked in brown sugar to a recipe of Gilbert’s, with remainder of the apricots and cheddar cheese. I had no bread or butter a salad of Italian tinned tomatoes and herbs. (These excellent tomatoes It is mushroom weather and I have been having feasts of real or milk, as I had been too distracted to do any shopping. (p. 202) are best eaten cold. They may be warmed, but never boiled as this mushrooms, the big slimy black things, not the little tasteless buttons. destroys their distinctive flavour.) Then cherries with Gilbert’s little Crumpets too have appeared in the shops, already one can look lemon sponge cakes. Then Gloucester cheese with very hard biscuits forward to the so familiar London winter, dark afternoons and fogs

which Gilbert had re-baked in the oven. (p. 253) and the glitter and excitement of Christmas. (p. 490) 1980 All extracts from The Sea Sea, Iris Murdoch, Triad/Granada, ELISA OLIVER JUNE 2012 zoological terms, is used to reference CLOACA the posterior opening used by animals MEGAN FIZELL to excrete waste. Delvoye has taken this word and applied it to a collection of artworks that replicate the human digestive system. The concept is not new, in 1739 Jacques de Vaucanson created his ‘Canard Digérateur’, or As a child with a serious sweet tooth, ‘Digesting Duck’, which gave the I was engrossed with Mel Stuart’s viewer the impression a mechanical 1971 film,Willy Wonka & the duck was producing real excrement. Chocolate Factory: the gleaming white The invention was a trick. The duck surfaces and scientific instruments of was fed and pre-stored feces were the film’s television room made a ‘produced’ from the machine to give lasting impression. Upon entering the the illusion that the mechanical duck room of Wim Delvoye’s installation was able to digest real food. Delvoye’s ‘Cloaca — New & Improved’ in the ‘Cloaca’ delivers all that it promises. recent exhibition at the Museum of The original ‘Cloaca’ was fed twice Old and New Art in Hobart, the daily, the food dumped into a basin at scene is uncomfortably familiar. The the beginning of the machine. The installation dominated a large sterile food begins a long journey through a room where the bright overhead barrage of transparent tubes and lights reflected off the mirrored walls mechanisms, all kept at body tem- and metal machinery. Employees, perature — 98.6 degrees Fahrenheit. reminiscent of the white jumpsuit Throughout the process, ‘Cloaca’ clad umpa-lumpas of the film, moved absorbs the enzymes produced about busily, adjusting the controls through digestion and deposits the and feeding the machines to produce fetid matter onto a circular tray. a dark-brown product, the end result At the debut of the first ‘Cloaca’ at being not chocolate, but excrement. the Museum voor Hedendaagse Kunst, Belgian artist Wim Delvoye has Antwerp in 2001, Delvoye gathered a varied body of work, focused on the the output and sealed it in small jars theme of the body. Known as a neo- of resin that were then sold along conceptual artist, his major projects with a menu detailing what the include ‘Art Farm’ and ‘Cloaca’ ‘Cloaca’ had been fed. Later renditions among others. The ‘Cloaca’ project featured vacuum-packed excrement began with eight years of research and yet others called for employees to and working closely with experts of collect and flush the product. gastroenterology and engineering. This is not the first time literal The word cloaca is derived from the shit has been sold as art. In 1961, Latin word for sewer and within Piero Manzoni created ‘Merda d'artista’ or ‘Artist’s Shit’ — 90 tin cans weighing 1 Amy, Michael, ‘The Body As Machine, worried, broken with his wife’s death, 30 grams that contained what was Taken To Its Extreme’, The New York THE ROAD OF LIFE that they might recognise him from declared to be Manzoni’s excrement. Times, 20 January 2002. PETE HARRISON the photograph in the newspaper. The tins were intended to shock the Just four years ago, standing right arts community and to prove that next to Nikolai Vavilov, at an people will by anything signed by an Institute dinner. It is possible. And artist, even shit. Within the realm of then follow him to the Institute, slit scatological arts, Delvoye’s ‘Cloaca’ his throat and enter. reiterates this point and more; “What The last time Pavel Chesnokov was He was not surprised that his humans produce effortlessly, ‘Cloaca’ outside, six days before, he went wife had died, but that she packed fabricated at considerable cost, thus home to say goodbye to his wife. She everything away before she took to raising important questions having to was dead in her bed, a graceful end. her bed for the final time, that do with consumer society and the art There was nowhere to bury her; illustrated a certain controlled market in particular. All art is their small plot of garden was iced acceptance of the inevitable, and a useless, Mr. Delvoye claimed, and over. Instead he held her hands and will to face the end as close to her this project underscored the futility tried to crowd out the noise for a few wishes as was possible. She could of art and life.” 1 moments. Soon the problem of getting not will food into her belly or the back to work returned. He could not bombs to stop dropping, but she allow anyone to see him. Earlier he could at least order her own house had crouched by the back door for as she required it. Walking through thirty minutes, imagining a mob the front door, Pavel noticed waiting silently for him, until he immediately the change; no books forced himself to creep out. Silly on the table, no coats on the hooks, fears, Pavel thought, as he carefully the kitchen floor swept, she’d even stepped over the fallen in the square; found a way to stop their old what would these people care? They grandfather clock from ticking. This had their own problems to attend to. in a house than entertained wildfowl, So many dead, bodies of people veal, caviar from Moscow for their everywhere. It was no good to look tenth anniversary. at them, but an effort to look away. Now he lay on the cold stone It seemed unnatural to see an elderly floor, his head leaning against a heavy woman lying in the snow and not sack of potatoes. The cellar was search out her face. Pavel walked a series of thirty connected rooms, past splatters of blood. The survivors a vast space. He may have been the worked to stay alive on one slice of last down here; there was no way of bread a day. All the crows, pigeons, knowing. Earlier in the week he had dogs and cats had been eaten. Now spent a day calling out, all the names children caught and ate rats. If the of the men and women in the cellar, survivors were to notice him they and although he heard no replies he Wim Delvoye, Cloaca — New & Improved would see one of their own, a man could not be certain. But he felt 2001, mixed media, installed at the Museum slipping into death. And yet Pavel alone, marooned from the city above. of Old and New Art, Hobart, Tasmania. His body had since degraded and was The road of life. Just hang on, she contents of this cellar. Fruits, potatoes, journey at the very places the now in constant painful cramps. Now had told him. She retreated then to wheat, peas, rice, beans. We die for journeys began. Their paintings were he knew the final hours were upon die among sacks of rice. something larger than ourselves. both maps and sites.” him. The hallucinations had begun “Don’t stay here,” his stomach A rationale shared by thousands Pavel looked down upon the a few days earlier. Fragments of said. “Join the boys in the sewers.” defending the city from invaders. embattled city, saw thousands fight- other lives and geographies visited Pavel wanted to know why his Pavel knew that his death would be ing in fields of snow, then returned to him in the cellar. He grabbed each stomach did not order him to take simple in contrast to the chaos his wife, whose body lay alone in vision by its tail and guided himself up a potato, bite into it and lengthen outside. The visions were welcome their bed. Pavel saw himself dancing, back into the memory from where it his own life. Preparing to die comfort from his rage, soothing it a wearing the dinner jacket from his came. The warrior who had stood involved emptying a hessian sack little, hour by hour, until it was university days. Leaning back, above him, revealing a vista of icy of its potatoes and folding it into a quietened by his stomach, which had bending at the hips, wiping a bloody steppes with the sweep of his arm, he makeshift sleeping mat. Hundreds of come alive in his body, evolved into a nose. He bought his hand up to his came from Eisenstein’s latest film. potatoes were scattered all around speaking and thinking being with its face, wiped his nose and it came away Yes, Pavel heard him say, we Russ- him. Thousands more in sacks. He own humour and understanding. bloody. He set his hand down on the ians will defeat any enemy on the ice. did not want to tidy everything away. “Get up and dance, one final cool floor and closed his eyes for the Pavel was living through the His rage flickered even now, on this time,” his stomach said. “Do it, son.” final time. systematic destruction of his city. final day; if he had the strength he I can’t move, he thought. “Nikolai “They left the caves behind,” his The approaching Nazis had cut off would take an axe to the heads of the came to me, told me a secret,” his stomach said, “emerged to paint on power and virtually all connection to men killing his city. And here a stomach said. “In Addis Ababa he stone slabs, to align structures with the outside world. The ill, the weak, scientist lay, unable to take a potato met a South African geologist. In that night constellations. Over centuries they died very quickly, but now, in his hand and bite into it. Look, country there are paintings in caves stone structures became more sophis- months into the siege, every breath- that one. That one there. Perfect. But older than all others. They come from ticated, taking decades to complete. ing human was susceptible to the if Nikolai is alive he’d urge me to the San. They are the first people. We The builders needed sustenance and cold and hunger. Rumour swirled of resist, and if he’s already dead, after humans, all of us, come from them. so seeds were sown. They invented cannibal gangs snatching women and they marched him off in darkness Their paintings are twenty seven agriculture. The world we know children, of a gunfight in a prestigious and threw him in prison, he cannot thousand years old. The geologist came to be.” apartment block, soldiers finding have died for nothing. I cannot observed them for a winter, saw a Stay out there, Pavel thought, human limbs hung up like legs of pack everything away and lie down. shaman dance himself into a state of with those men millennia past, ham. Leningrad’s last hope was Lake I must continue. enrapture, and then saw the exact sleeping under the open sky. Stay Ladoga, north west of the city, ten Nikolai had been to places same dance painted on the cave walls. and rest awhile, before returning to times the size of Manhattan island others had not even heard of. There they were, shamans among the everything that came after, all the and partially under Soviet control. Nikolai had identified and collected antelopes, bending forward at the sharp surprise of life. The lake was now frozen enough for thousands of seed varieties from hips, leaning back with their arms The pain had lessened a little, the Soviet troops to drive over, every continent, brought them to- outstretched, wiping their blooded dissipated just as his mind had; bringing in bread rations and gether under this roof, for the world noses. Through dancing they became everything seemed looser, freer, but evacuating the living, but the ice was to always have a place to return to. antelopes, galloped deep into the also he sensed a heightened alertness young, the journey hazardous. Two No matter how many wars or natural rock to commune with their spirit to his present condition. This is what weeks ago in the cellars Olga disasters, this storehouse must guides. They emerged with hunting dying feels like. His nervous system Tomilova, the rice cultivator, had survive. And now the Soviet experi- knowledge and weather knowledge. was closing down. A body falling into told him they were building a road ment, if we somehow shake off the They painted their learning as cele- the past. These hands, this skull, big enough to evacuate everyone. Nazi curse, will be rebuilt by the brations, marking the instructions to these muscles, these lungs. Do not list the things, he thought. Do not list the places. Do not list the people. What was the last thing he had eaten? Bread, but when? He imagined a tiny crumb floating in a cavernous stomach, a lone star in a vacuum. The road of life. From art to food and out now into the world, over the ice and away, returning to the soft pleasures of peace. The early morning was breaking out now in blue and far off above he saw an incandescent glow, shimmer- ing so high up he could not truly differentiate between sky and his own imagination. Each of us has at least one formative swallow, one

SWALLOW, Foreign Bodies, Their Ingestion, Inspiration, and the curious Foreign Bodies, Their Ingestion, Inspiration, and the curious SWALLOW, doctor who extracted them. Mary Cappello (The New Press, 2011) out-of-the-ordinary episode at the threshold of the mouth that made us who we are. Mary Cappello's recent book Swallow details the Chevalier Jackson collection of Foreign Objects at the Mütter Museum of the College of Physicians of Philadelphia alongside her own experience of digesting bubble bath at an early age. Chevalier Jackson developed techniques for extracting objects from the windpipe and esophagus without anesthetic, effectively inventing the modern science of endoscopy. Jackson campaigned to put labels on all poisonous or corrosive substances to prevent accidental ingestion. Due to his efforts the American Congress passed the Federal Caustic Poison Act in 1927 saving thousands of children’s lives. Mary Cappello is a former Fulbright lecturer at the Gorky Literary Institute (Moscow) and currently a professor of English and creative writing at the University of Rhode Island. In 2011 she was the Guggenheim Fellow in Nonfiction.

Top: Ingested safety pins, Chevalier Jackson Collection, Mütter Museum of the College of Physicians of Philadelphia.

Bottom: Chevalier Jackson displaying his collection of ingested objects, Chevalier Jackson Collection, Mütter Museum of the College of Physicians of Philadelphia. Edwina Ashton Monkey Rusk 2012

19 Britishness, tea calls to mind both the As more people became industrial and commonplace with occasional TEA TASTE AND TIME refined civility of Afternoon tea and wage earners in cities, tea increasingly gestures towards elegance in its more CAITRIONA DEVERY the banal comforts of the every-day became an everyday product and not elaborately ritualised forms. Whether cuppa. Elsewhere it takes a myriad of just for the leisured classes. Factory it reflects mundanity or refinement, local forms — from Taiwanese bubble tea breaks were added to the existing is served in a big fat mug or fine bone tea to Indian chai, Japanese sencha to repertoire of tea houses and tea china, none of its multiple personali- Argentinian yerba mate. gardens, the breaks punctuating an ties have the visceral quality of, for The adoption of tea as a mass increasingly regulated working day. instance, chocolate, butter, or wine. Tea permeates daily life around commodity is bound up with taste A convenient accident of trade led to Historically tea was thought of the world in invisible ways, an and aspiration. It first appeared in skyrocketing consumption. British as medicinal and purifying, and some unremarkable liquid trickling through Holland, France and Portugal as a ships, empty after depositing loads of of these associations persist. If ever both public and private spaces. It rarefied luxury drink in aristocratic fabrics in India and China, filled talked about in bodily terms, it is first appeared as a drink in South circles in the 16th Century. Britain's their returning hulls with huge considered an aid to digestion. But Asia, where the upper sections of introduction came a little later, volumes of tea. A mass market in digestion of what? One way to think society valued its medicinal qualities when cash-strapped Charles II Britain quickly developed. about tea might be as a sort of social and used it as part of semi-religious married wealthy Portuguese princess The tea trade also created and temporal digestif; a material rituals. As European trade with Catherine of Braganza. As a strict political instabilities. The Boston substance that both helps us to pass China and India grew, tea became Catholic she disdained the British Tea Party in 1773 saw protestors and passes us through immaterial one of the first truly global comm- penchant for ale and other alcoholic throw chests of tea into Boston processes. Offering tea is a fairly odities, both a driver and a symbol drinks and instead drank tea. The harbour in protest against British universal symbol of hospitality and of the far reach of empire. fashion soon spread amongst the imposed “taxation without represent- welcome. A cup of tea is often the The leaves of the Asian plant court and gradually beyond. ation”. Later, China's powerful first thing we offer someone when Camellia Sinensis are the basis for Edmund Waller wrote a poem about position as a main source of Britain's they’ve had a shock. The making, most black, green, white, oolong, and her habits: tea, not reciprocated by an equivalent sharing and drinking of tea is em- pu-er teas, but it can also be scented, export in return, led to the 'Opium bedded in so many personal, social such as rose and jasmine; blended, “TheThe Muse'sMuse's friend,friend, teatea doesdoes ourour fancy aid, Wars' in the 1800s. Britain sought to and cultural practices. such as English breakfast or Lady Regressfancy aid, those vapours which the head invade, offset the cost of its addiction to tea A meal in my family home in Grey; or entirely herbal, such as AndRegress keep those the palace vapours of thewhich soul the serene, by capitalising on (and even encourag- Ireland always ends — has always camomile or rooibos. And then there Fithead on invade, her birthday to salute the Queen. ing) Chinese addiction to opium, ended — with a pot of tea. Every are the extra ingredients like milk, And keep the palace of the soul which boomed with the British trade member of the family has their own sugar, mint, lemon, even butter and (Edmundserene, Waller, The Poetical Works bringing it from India to China. Such peculiar although practically tapioca pearls. Whether hot or cold, of Edmund Waller, London, 1792.) manipulation of desire and the need identical preferences. I may strain sweet or salty, tea reminds us that to consume has long been a hallmark and pour tea for my dad, but never ‘ordinary’ is relative. of globalisation. add the milk. The milk is a deeply Linguistically, tea meanders Although often spoken of as personal issue and a few millilitres — or from cha to tea, thé to tsai, shaah to mildly addictive or stimulating, tea barely visible tones of brown — make tae, teh to shai and other variations. has never been a sensual indulgence all the difference. Milk, to my dad, is It has retained a remarkable phonetic in the same way as luxury foodstuffs a minefield. consistency even as its ingredients or alcohol. The taking of tea is Growing up, I hated the bitter have evolved and changed over time neither obscene nor gluttonous. For taste of tea. My dad eased me onto and place. As a polysemic marker of the most part tea drinking is prosaic tea by encouragingly diluting it with

20 milk and sugar. “What will people give you if you don't drink tea?” Social convention demanded developing a taste for the great social leveller: tea, lest a host be made to feel awkward. I remember a suspicious eye being thrown upon a visitor from Dublin who asked if we had 'proper' coffee. “You mean he didn't drink tea?” Now when I go home to see my family in Ireland, tea becomes an easy way to negotiate the social awkwardness that generally floats about in the first day or two before we all settle back into our familial roles. It is 'something to do', a comfortable and meaningless habit that brings some pleasure in the physical act of tasting and digesting but is more about a comforting ordinariness. Tea makes the strange familiar and soothes the uncomfor- table into the ordinay. groups — of proteins and starches language is controlled and teamed up ANXIETY OF ORGANS — by producing a gassy excess. After with another, more systematic one. DANIEL FOGARTY a culinary event these sounds To burp the alphabet brings together reverberate, like the clinking of and shows a controlling system in cutlery, like the stacking of plates place, an acute understanding of the as dinner is laid out in an adjacent body, a playground wonder, one that room, like the noise of chairs everyone tries to mimic from a to z. scraping along the floor after a large Such control over the animate Pie hole, cake hole, grill, hatch, refer dinner party. organ of the stomach reminds one of to the use of the mouth as an organ A fallout or precursor of a the ventriloquist's puppet. We can for eating (and not speaking). All gastronomical event, such sounds give this puppet a voice, we can burp these words can be mispro-nounced, signal the formal qualities of digestion the alphabet, we can revel in social through carelessness or with the ex- and, like all formal events we can acceptance and laugh over our bodily pulsion of gases performing their way control them, sometimes tame or talk function as an after-dinner attraction up the oesophagus; a disruptive grunt around them. when we are in control of it, but it is from the tunnel to the digestive system. When socialising, the controlling when the doll speaks for itself that Man has always been fixated on of certain functions is considered the we are taken back by something this pipe and its workings. It is an thing to do. Yet, along with the other, something outside our control. organ once believed to have been as formal environment comes an informal Once again we are back to the volatile as a furnace, akin to a clay one, a more relaxed and vocal churning of sounds from within. We oven, a place where food is burnt off, manner. When we are able to joke can understand and revel in the fact purged of all dross, pure energy is left about bodily functions and make use that we know how these sounds are to circulate around the body. of them in a controlled fashion — to made. Accepting them, we can listen As children we swallow marbles; fart, to burp, to speak with another to the faint tune that food plays from the mouth is an organ where explor- language — a sense of comradeship inside, but the rumbling stomach ation takes place, where objects are takes hold. The joke brings about speaks for itself. We can negate this mastered, and gases are expelled. It is relief and a sense of honesty, even if quality, indulge in it or simply be a place where we come to know foods blunt and stunted. indifferent. All the same, we are still that do not agree with us, that send a Children of a certain age use the churning things over. murmur, through the walls of our vocal quality of gases to disturb their body, or the fleshy pipes that are parents and elders. With the exhala- contained within it. tion of sound we are greeted with the Within this well, this old wind exclamation “it was not me!” They bag, stew sounds separate from understand that it is something other, language. Speaking by its own means something one cannot control; it is the stomach churns out a language the function functioning. that has become familiar. However, the expulsion of gas Such a language might be the as sounds is controlled in children to embarrassment of etiquette, the their social advantage; the burping of signal of the feeling of hunger, or a the alphabet is the most poignant of response to the mixing of food these procedures, in which a bodily FUTURIST FORMULA’S FOR FOOD TO LIBERATE THE MODERN MAN.

LUCY JOHNSTON

A forceful painter and sculptor of words, Fillipo Tommaso Marinetti launched the Futurist movement after surviving a car accident outside Milan. As he emerged from the wreck he was a new man, determined to end his previous lifestyle of conformism. From that moment on he strived to confront traditions with extreme advancements in technology, transport and a blurring of art and life. Each of these components were key to his development of Futurism. Marinetti’s passion for the movement was witnessed in several controversial arrests and a notorious duel with a journalist. Such a passionate attitude resulted in a liberated aesthetic, rich with ideals of mass communication, intense debates and artistic happenings. In 1932, Marinetti wrote La Cucina Futurist (The Futurist Cookbook). Creating Polibibita’s (cocktails) and Formula’s of peculiar eating scenarios, sculptures and experiments, the manifesto was designed to abolish traditional nineteenth century lengthy pasta induced culinary ideals and drive Italy’s approach towards food forward. La Cucina Futurist created a cuisine collaged from a sensual freedom, poetry and modern optimism. The following menu draws out some key principles of the food movement and is designed in a precise numerical order.

Daniel Forgarty Prefab 2012 1. A Spark 3. Carrot + Trousers = Professor Polibibita by the Futurist Formula by the Futurist Poet art critic P.A Saladin of National Record Farfa

¼ green walnut liqueur A raw carrot standing upright, with ¼ gentian liqueur the thin part at the bottom, where ¼ absinthe liqueur two boiled aubergines are attached ¼ juniper liqueur with a toothpick to look like violet trousers in the act of marching.

2. Divorced Eggs Leave the green leaves on the top of Formula by the Futurist Giachino, the carrot to represent the hope of a proprietor of the Holy Palate pension.

Divide some hard-boiled eggs in half Eat the whole thing without ceremony. and remove the yolks intact. 4. Magic Food Put the yolks on a potiglia of potatoes and the whites on a potiglia This is served from smallish bowls, of carrots. covered on the outside with rough tactile materials. The bowl should be 3. Sculpted Meat held in the left hand while the right Formula by the Futurist is sued to fish out the mysterious Areopainter Fillia balls it contains: these will all be made of caramel, but each one filled ‘Sculpted Meat’ (a synthetic interpre- with something different (such as tation of the orchards, gardens and candied fruits, or bits of raw meat or pastures of Italy) is composed of a garlic or mashed banana or chocolate large cylindrical rissole of minced or pepper) so that the diners cannot veal stuffed with eleven different guess which flavour will enter the kinds of cooked vegetables. This mouth next. cylinder, standing upright on the plate, is crowned with a thick layer of honey and supported at the bottom by a sausage ring that rests on three golden spheres of chicken meat.

One of a set of dishes for a 'Life of Marinetti' cycle designed by Giuseppe Mazzoti, 1939, La Cucina Futurist. 5. Senate of the Digestion Formula by the Futurist poet of National Record Farfa

Four diners will each order two well- known dishes or digestive drinks, (or eight diners one each).

The other guests will secretly vote against one or the other.

The winner will be the drink or dish that gets the fewest negative votes.

6. Captive Perfumes Formula by the Futurist Dr. Sirocofran

Put a drop of perfume inside some thin brightly-coloured balloons. Blow them up and warm them gently to vaporize the perfume and swell the outer surface.

Bring them to the table contempora- neously with the coffee, in little warmed dishes, making sure the perfumes are various.

Hold a lighted cigarette near the bladders and inhale the scents that escape. Other images: La Cucina Futurist the kitchen, and share some home KITCHEN PROJECT: cooked food. Our objective was to A GRAND TOUR disseminate information and share a meal with strangers, but also to RANIA HO AND WAN WAI evoke dissonance within familiar surroundings. We wanted to generate the feeling of visiting an unfamiliar place; of being slightly lost; of an unexpected discovery and of experiencing everyday things from a slightly different perspective. Tourist. The word is usually spat out The mini-curriculum for the at slow moving individuals in sport Kitchen Project consisted of teaching shoes and khaki shorts. But what northern-style Chinese dishes, which does it mean to be a tourist? Do we are characterized by rich dark sauces travel to see new things or reaffirm bursting with a kick of spice. For things we already know? What do we example, Mapo Tofu combines cubes seek when going to new places? of soft tofu with fiery red pepper and From late February through to numbing Sichuan peppercorn seared early March of 2012 Wang Wei and in a thick garlicky sauce; perfect I journeyed from Beijing to Manches- over a bowl of steaming white rice. ter to teach Chinese cookery classes The Dongbei Cabbage Salad is a re- in people’s homes for an artwork freshing starter of shredded cabbage, entitled Kitchen Project. The project tofu strips, leeks and coriander dress- was a collaborative venture “cooked up” ed in sesame oil with a splash of soy, by Manchester-based experimental vinegar and rice wine. Twice cooked theater group Quarantine, with pork is the epitome of Sichuan artists Wang Wei and myself. When cuisine with thick slabs of bacon in a planning the project we envisioned it fermented black bean and piquant would address ideas surrounding red pepper sauce, garnished with a authenticity and food. After teaching large handful of fresh green garlic five classes in various people’s homes, shoots; satisfying sustenance for a we realized that Kitchen Project was cold winter’s day. also about tourism and capturing During the course of the class that amorphous state of being a we explained and tasted ingredients visitor. We designed the project that are frequently used in northern- framework so that we, two perfect style Chinese cooking: different types strangers (from a foreign land no of soy sauce, vinegar and rice wine. less), would walk into a home that we We demonstrated how to use a Chinese knew nothing about, rummage cleaver and everyone participated in F.T Marinetti in the uniform of the Italian Academy, through people’s cabinets; take over of which he was a founder member, La Cucina Futurist. chopping ingredients for the meal. Quarantine’s Renny O’Shea and Seems like an authentic experience, Richard Gregory took us to all their doesn’t it? Well, almost. favorite spots, plied us with amazing At the start of each class I ex- meals and arranged for us to meet plained that Wang Wei and myself various people around town. We ate are visual artists, and not professional thick fragrant curries and slurped chefs. I stated that we only learned to Vietnamese noodles in rich broths. cook these dishes a month prior to They cooked us Welsh Rarebit, a dish our Manchester trip whilst attending I had previously only known through a cookery class in Beijing. The Bugs Bunny cartoons, and salt baked Beijing class was taught in English fish. (If offered, one should never, and targeted tour groups and visitors. ever turn down a meal cooked by In Manchester, I described the dishes Richard and Renny, trust me.) During that we were about to cook as “Home- that visit we met local DJs, war Style dishes,” but I also explained refugees, PR agents for Brand that in reality very few people in Manchester and a professor of gambl- Beijing actually know how to make ing. One meeting spontaneously burst these dishes, and if they do know, into a beat-box session and at another they would not normally cook them point we found ourselves at a racetrack, at home. Ironically, these dishes are cheering for whichever dogs had the standards on menus of ubiquitous best names. At the end of our stay “Home-Style” restaurants throughout Richard and Renny said they were Beijing. At some point during the pleasantly surprised to see their city class I also added that I am not from our point of view, which was in Chinese from China, but a Chinese- essence, the point of view of tourists. American from San Francisco. I never It was not meant negatively; more ate these foods until I went to Beijing. that it expressed a sense of freshness, These disjointed pieces of information distance, and re-discovery; of seeing are key to the Kitchen Project. We familiar things in a new way. wanted to insure that the “ingredients” For Wang Wei and myself, did not quite fit together. We believe Kitchen Project also evolved into a that the essence of this work lies in form of tourism. We discovered that these awkward in-between gaps. the stovetops of Manchester became Kitchen Project has been at least our Grand Tour. Our travel itinerary seven years in the making — an included various hearths, from a extended conversation that started suburban ranch-style home to a in Beijing in 2005 and continues up women’s shelter and others in- to today. From the outset it was a between. Kitchen Project granted us conversation closely paired with food license to poke into the dark reaches as a way of experiencing place. of kitchen drawers and furiously snap During our first visit to Manchester, photos at our hosts’ personal effects. It made us think about the kitchens Mapo Tofu (麻婆豆腐) we already knew and their respective owners. We compared and contrasted, 5 cups water Bring water to a boil. Add tofu cubes. trying to make sense of things, 1 block soft tofu, cut into 1.5cm cubes Bring water back to boil. Drain and learning about people and their set aside. habits via their kitchens. It was an ½ cup water or stock incredible way to experience a city ½ tsp salt Create a sauce by putting the salt, and think about its residents. It was ½ tsp white pepper white pepper, sugar, light soy, dark also a way to re-experience the food ½ tsp sugar soy and cooking wine into a bowl. that we know outside of its usual 2 tsp light soy sauce Set aside. environment. We witnessed the food 1 tsp dark soy sauce change and evolve to fit the differing 1 tsp cooking wine Heat wok on high and add oil. When circumstances of each cookery lesson, the wok is smoking hot, add Sichuan and look forward to more transfor- 1 tsp Sichuan peppercorn peppercorns. When the Sichuan mations as the project progresses to 1 ½ oz. minced pork or beef peppercorns begin to smoke, carefully other destinations. Back in Beijing, 1 tsp fermented black beans remove from the wok. Add minced when we see these “Home-Style” dishes pork or beef and black beans. Cook on a menu, we immediately think 1 tbsp broad bean paste through. back to the kitchens in Manchester. 2 tsp chili For us, Mapo Tofu now conjures up Add broad bean paste and stir. Add homes in Chorlton and Withington. 2 tsp. minced leak chili. Add leek, ginger and garlic. In the process of enacting the Kitchen 2 tsp. minced garlic Stir-fry for 1 minute. Project, we inadvertently generated 2 tsp. minced ginger our own familiar dissonance. Add ½ cup water and stir. Add the 1 tsp Sichuan peppercorn powder sauce. When the sauce begins to boil, 2 tbsp cooking oil for stir-frying taste and adjust if necessary.

Add tofu and gently mix. Braise without stirring until the sauce returns to boil. Gently mix and remove from heat. Spoon into a serving dish; finish with a dusting of Sichuan pepper powder and serve. mechanical devices. withvarious equipped chemicallaboratories a numberof consists of becomesconvincedthatit digestivecanal intothe deeper and penetrating succeeds in The physiologistwho deeper

Quote: Ivan Pavlov for physiologyin1904. base forbroadresearchintothedigestivesystemearninghimNobelPrize an externalpouchtoexaminetheorgan'scontents.Hisexperimentsservedasa to determinetheeffects,andimplantingfistulasbetweendigestiveorgans extracting portionsofthedigestivesystemfromanimals,severingnervebundles of continualresearch.Hisexperimentsondigestionincludedsurgically digestion, publishingTheWorkoftheDigestiveGlandsin1897,after12years conditioned reflex action Pavlovperformed and directed experiments on salivate upontheringingofbellalone.Alongsidehisinvestigationsinto came toassociatetheringingofbellwithpresentationfoodand sequences, thedogwouldsalivatewhenfoodwaspresented.Thelater when abellwasrungintimewithfoodbeingpresentedtodogconsecutive when examiningtheratesofsalivationsamongdogs.Heobservedthatthen ‘conditioned reflexes’.Pavlovcametodiscoverhisconceptofconditionedreflex Ivan Pavlov was aRussianphysiologistmostknowfor his researchinto

METABOLIC SOUP

JOHN O'SHEA

Metabolic Soup is an unconventional foodstuff that presents a series of questions as to the nature of food production, consumption and the place we occupy within the food chain. Using ingredients that consist of living animal matter the Metabolic Soup starter presents a dish that is actively transforming and digesting itself. It consists of living animal matter that is engaged in the digestion of an experimental vegetable stock (ingredients described opposite). The soup is, in effect, an experimental bio-matter that could be viewed as potentially hazardous. The presentation of the soup as a foodstuff creates further concerns; it has not been licensed for sale or export (and hence must be disguised if being transported.) As the starter cannot safely be consumed (or offered for consumption) it exists instead, as a dish for contemplation — eye candy — engaged in a process of its own metabolism.

Credits: Metabolic Soup (protocol and recipe) developed by John O'Shea and Monika Opposite: Diagram of Pavlov's findings Bakke as part of their Trans-Species Menu for presentation at DEAF 2012 (Dutch Above: Ivan Pavlov with three colleagues operating Electronic Art Festival) Rotterdam, as part of ARTMEATFLESH! on a dog 1902, Wellcome Library Collection, London An Evening of… Symbiotica hosted by Oron Catts. All images courtesy of John O'Shea. Protocol / Recipe / Etiquette List of Ingredients

Starter served at 37 degrees featuring Living Animal Matter — living animal matter engaged in Living stem-cells extracted from the the digestion of an experimental marrow of a shop-bought joint of vegetable stock. meat. The cells are cultivated using a DIY equivalent of standard tissue 1. In a sterile, laboratory, environment, culture procedures (which would prepare one fresh pig knee joint for typically be used in the biological primary cell extraction procedure by science industry for growing cell coating in ethanol. materials outside of a body.)

2. Using a scalpel, scrape and chop Experimental Vegetable Stock — up bone marrow from inside the bone A synthetic growth medium for and place fragmented, sterile, matter ‘feeding’ cells composed of vegetable- in a test tube to be centrifuged. derived proteins. Typically, cells grown in the laboratory are fed using 3. The resulting matter will contain an organic serum made from fetal calf many thousands of multipotent stem blood; in this instance the cells are cells, capable of differentiating into fed an alternative diet. The product many kinds of tissue. used is an experimental fluid, unfor- tunately unavailable to the general 4. Heat experimental (animal-free) public since it has not yet been tested vegetable-derived media to 37 degrees or determined safe for consumption in water bath. by humans or animals. It can however be consumed by our living animal cells. 5. Suspend animal matter in experimental vegetable media. Incubate and passage (allow to grow) if desired, for required quantity of cellular generations.

6. Transplant ‘living stew’ into thermos flask, and seal with carbon dioxide for unlicensed international transportation.

7. Metabolic Soup is ‘Not intended for Direct Use in Humans or Animals.’

8. Serve as a conversation starter. time for an interview (which was why THE ART OF I was in London), as I was intent on DIGESTION walking there and I didn’t know how long it would take. To save time, I RUTH ALLAN took the coffee into the gallery and started to nibble, or kind of lick, the bun as I walked around the show. It was a temporary exhibition laid out a bit like a school pupil’s geography project, on boards you can stick pins in, so I felt less uptight about eating an iced bun in there I took the Central line to Bethnal than I would’ve felt had I been Green and climbed the stairs to the somewhere like the Hayward or the National Museum of Childhood. This Tate. I looked around the room for was the first time I’d used my iPhone cameras in case someone was watching. in London and it took ages to load Experiencing the artwork was outside the tube. I kept refreshing to secondary to my desire for exploration see if it would work but it said No that day. I wanted to visit a new Service for about five minutes. gallery in a new area with work I had Looking around and seeing some of no idea about and I had achieved this. the old fruit shops that have been But I found myself distracted by the here since the ‘80s, I remembered this work. In one image, stuffed into a café I’d been to near the station a few plastic poly-pocket, the kind of thing years ago. It’s called E Pellicci and you used to put notes in when you its art deco insides have made it one were a student, the artist lay on a of the stars of the off-beat London sofa in the same pose she was guides. When I ate there, I had lasagne photographed posing in when she made from what seemed to be Heinz was a baby. In another, she posed as Spaghetti plus some mince. I was if on a boat, her face turned to one thinking it was rather average when side slightly, her chin lifted and my phone beeped back to life. underneath, somewhere, there was a I got to the museum and the handwritten note which said that windows were a square, modernist this image was significant to the design. The light was clear following artist’s perception of gender identity, the rain. I liked the building imme- as it represented one of the last diately, perhaps because it had not attempts she made in her life “to be been done up for a while. I bought an feminine or attractive” (or something iced Danish from the shop next door like this). and a take-away coffee. I was worried I wrapped up the bun and put it about getting back to Brick Lane in back in my bag, aware now that I had only covered 5 per cent of the ‘meanings’) that become part of the The activities of digestion and view- exhibition and it was about to close. overall experience. Writers such as ing can be described as body-centred The exhibition felt very amateur. It Gumbrecht suggest that emotional processes or experiences. I moved reminded me of a presentation I gave ‘meanings’ cannot take a linguistic around the space with my body to Central St Martins when I was form, as they exists in the realm of (viewing the show), my body digested trying to get them to accept me for a physical experience which has no and consumed the coffee and bun. place. I did a performance with lots linguistic equivalent; hence why I have Through these parallel physical of photocopies of pages from manuals used inverted commas around the word. processes, my trip to Bethnal Green for aircraft engineers. I had no work Adopting a more scientific pur- presented a moment of reflection on but just pinned these pieces to the view, a number of research papers hunger, artwork and memory, pointing walls. This show looked similarly indicate that emotions affect digestion back to the concept of ‘experience’ as disjointed. But taking a closer look, although the situation of their central to my thinking and writing. I found it logical, in particular the emergence is not always specified. An extraordinary reflective notes written example is, “How emotions affect by the artist over the years, and the eating: A five-way model” by Micheal deadpan, unadorned, DIY presentation, Macht (Appetite No 50, 2008, pp1–11) the bulk of which was notes. Studies note that emotion and the The interrelationship between consumption of food are engaged in art and emotion (emotion can be similar, two-way relationship to that described as one of the ‘meanings’, if of art and emotion, a relationship you like, of aesthetic experience) which affects how much we eat and has been explored by writers from what we eat, even affecting the Immanuel Kant (in terms of the secretion of hormones which increase individual experiencing the ‘sublime’ our motivation to eat (such as in front of an art work in The Critique glucocorticoids mentioned in Trends of Judgement, 1790) to contemporary in Endocrinology & Metabolism, Vol theorists such as Erika Fischer- 21: 3, 2009, pp159–165). Lichte (The Transformative Power of Thinking about the relationship Performance: A New Aesthetics: 2008) between art and emotion, emotion and and Hans Ulrich Gumbrecht (The digestion and, finally, art and digestion, Production of Presence: What Meaning I have been considering how the Cannot Convey: 2003). These contem- viewing of art could possibly affect porary theorists suggest that the digestive process. By walking emotions ‘emerge’ from experiences around the gallery, with memories of (of art, of music or situations), noting, badly-made lasagne lining my stomach, that this perceived ‘meaning’ does rushing from one location to another, not move in one-direction, flowing and the irresistible urge to lick the from artwork or musician to audience. iced bun, half wrapped in its paper The audience also bring emotions or bag, I wonder how these experiences ‘meanings’ to the situation, which in affected, in one way or another, my turn creates more emotions (or process of reading and viewing the work.

of Contemporary Art North Miami, institutions within an increasingly vein, he often plays with old and CONTRIBUTORS Mjellby Kunstgaard, Sweden and open and fluid cultural context. redundant frameworks of represent- Camden Art Centre London and most Caitriona is particularly interested ation, ideologies, art move-ments, recently Out With The Hammers, in the intersections between historical and modes of display, briefly adopting Exeter Phoenix Gallery (2011). She and contemporary research, writing, and expanding their potential has made two animation commissions and art, as well as collaborative and boundaries and languages in order with Animate Projects …in a rose socially engaged arts practices. She critique and conflate their original Ruth Allan is editor of the cultural columned forest… (2011) and Mr Panz is currently developing a project historical conclusions. listings magazine, Manchester Wire. at Lake Leman, notes on m, (notes on exploring Irish migration and visual She has written for publications mammals and habitats) (2010) culture with the artist Maurice Carlin. Peter Harrison’s practice is centered including Guardian, Telegraph, In 2011 and 2012 she developed upon exploring place and social Creative Tourist, Hotline, EasyJet performances for Icons of Puppet Megan Fizell is a Sydney-based art ecologies through performance, Magazine, Manchester Confidential, Animation, Barbican Art Gallery, historian and writer concerned with writing and teaching. He is a found- Metro, MEN, City Life and Visit London, LUPA Edition 9, London, the representation of food in the ing member of arts collective Manchester. She regularly contributes SEVEN SITES Manchester and visual arts. After completing a Propeller, who conduct continuous to BBC Radio (as a food critic), and Salford and Tate Modern's The Master’s degree at Sotheby’s Institute research into perception, orientation has appeared on The Great British Tanks: Art in Action. Monkey rusk of Art in London, Megan worked as and ecology. Propeller’s first book, Menu. Her editing experience was made during her 2012 residency an associate at a number of art Five Rooms, was published by ACTS includes producing programmes for at Space Station 65. galleries and co-authored the OF LANGUAGE in September 2009. the Manchester International Festival, catalogue, Slow Burn — a century of Peter is a long-term collaborator the Manchester Food and Drink Caitriona Devery is based in Australian women artists. She is the with PLATFORM, a pioneering arts Festival and editing Metro Life. She Manchester but originally from the voice of the food and art blog, and social justice organization. Peter recently completed an MA in Perfor- Irish midlands. She currently works Feasting on Art (www.feastingonart. is one of four co-creators of The Light mance, Screen and Visual Cultures as coordinator for the inter- com), an innovative translation of Switch Project, an attempt to discover at the University of Manchester. disciplinary urban research initiative painting to plate — recipes inspired everything that happens when a light cities@manchester and the Research by art. Megan currently works as the is switched on. In April 2011 BBC Edwina Ashton creates costumes, Institute for Cosmopolitan Cultures, Gallery Manager at Brenda May Radio 4 broadcast edited highlights films, animations and performances both at the University of Manchester. Gallery in Sydney where she is also of interviews with a range of where anthropomorphic insects, Caitriona has written for a number of curating Art + Food: Beyond on Still experts — search ‘Light Switch Project’ animals and other creatures feature print and online publications about Life on view 2 to 20 October 2012. in BBC iPlayer to listen. Peter is as protagonists in unfolding narratives art, theatre, literature and food. In currently writing his first novel. that share a common concern with 2010 – 11 she was part of Archipelago, Alexander Storey Gordon (37 Min dark humour, embarrassment and a working artists group with Tom 33 Sec) graduated from Grays school Rania Ho is a practicing artist and social disfunction. She has exhibited Watson, Clara Casian, James Snazell of Art in 2010. He makes perfor- former member of the art collective widely including the group exhibit- and Josh Young. Through the support mative and event based works that Complete Art Experience Project ions In The Belly of The Whale, of the Cornerhouse Micro Commission experiment with arts ability to (CAEP). She received her master’s Montehermoso, Vitoria-Gasteiz, Spain programme Archipelago realised the disturb and politicise the historical. degree in media art from the (2012), No Now!, Space Station Sixty- project 'Consulate of Cornerhouse'. He is particularly interested in the Interactive Telecommunications Five, London (2012) and Rude Consulate of Cornerhouse sought to structure and manufacture of myth Program at New York University and Britannia, Tate Britain (2010). She investigate participation within art as a narrative through which we has participated in solo and group has had solo shows at The Museum practices and the changing role of art understand our own time. In this exhibitions throughout China, Europe and the United States. Recent creative menus for 16 diners, drawing University. She has a particular development of a new kind of law projects include exhibitions at the inspiration from international food interest in the relationship of theory requiring consumers to have direct Shanghai Gallery of Art (2011), with locally sourced, seasonal to practice and is currently under- engagement with the slaughter of Collective Gallery in Edinburgh ingredients. Lucy’s current favourite taking research at Central St animals before they can purchase (2011), Platform China in Beijing recipe book is SANDWICH Book Martin's, University of the Arts, meat. In an extension of the (2010) and San-Art in Ho Chi Minh written by Ida bailey Allen, published London, in British Art Practice of the organisation he completed an AHRC City (2010). She also participated in a in 1955 by ARCO Publishing House, 1990s and its reflection on the teenage Research Project at Newcastle 2-month residency with Far East Greenwich, New York. experience of the 1970s and 80s. University's Culture Lab in 2010 Contemporaries in Yokohama (2009), where he proposed and prototyped a 3-month residency at Ssamzie Space Laura Mansfield is a writer and Kari Le Riche Robertson (37 Min new kinds of technological 'interface' in Seoul, Korea (2007), Timestamp: curator based in Manchester. She 33 Sec) graduated from Glasgow between citizens and the law. His Solo project at Long March Project has written on a variety of artist’s School of Art in 2011. She is work was most recently showcased in Space (2006) and Playgrounds of work for Circa Magazine, Situations currently artist and committee at Stroom Den Haag, centre for Authorship at the University of Papers, Arty, Spike Island Gallery member at Trans-mission Gallery and visual arts and architecture (The Rochester, NY (2005). She is one of Bristol and Foreground Projects, The Pipe Factory, Glasgow. Kari’s Hague) where he also presented his the co-founders of Arrow Factory Frome. She regularly collaborates work is concerned with the fault lines newest culinary invention Black (www.arrowfactory.org.cn) an in- with artists in the development of between reality and fiction, present- Market Pudding — a traditional dependently run, alternative, shop publication based projects. From ation and representation and the blood-sausage made with the blood of front art space in Beijing. 2008–10 Laura was a member of plasticity of politics. Empirical or a live pig. He is currently working in Corridor8, a visual arts and writing dialectical matter is processed residence at the Clinical Engineering Deena E. Jacobs (37 Min 33 Sec) magazine based in the North West, through absurd subjective systems department of the University of makes things that you see hear and commissioning content for the mag- and constructions of meaning are Liverpool — attempting to grow a consume. azine and curating a variety of public dissected through auto-destructive football from living animal cells. events. She is currently undertaking conceptual mech-anisms. Her works Lucy Johnston is currently Assistant a phd at MIRIAD Manchester. She take the form of film, performance, Swen Steinhauser is a post graduate Curator within the exhibition team regularly collaborates with Swen sculpture and two-dimensional research student in Cultural Studies at the Liverpool Biennial. Lucy was Steinhauser to curate a programme media. She has recently shown work at the University of Leeds. His Gallery Manager at Ceri Hand of visual art and performance events in the exhibitions: Re(-) cord, The research is concerned with the Gallery, were she worked closely most recently delivering the project Glue Factory May 2012, Blind modes and theories of performativity with a range of contemporary artists SEVEN SITES. Her independent Plotting, The Arches Glasgow May in literature, philosophy, art and the including Bedwyr Williams, Mel projects have included a curatorial 2012 and has made collaborative everyday. He is a contemporary Brimfield, Juneau Projects and residency at The Erlend Williamson projects with Alexander Storey performance practitioner and has Eleanor Moreton. As part of her role Art Fellowship in Orkney where she Gordon at The Pipe Factory, during made a variety of works under the at Ceri Hand, she curated internat- developed the project 59.14N 3.34W Glasgow International 2012. company names of Deer Park and ional group exhibitions including and the recent exhibition structure hauser. Swen further works as a Memory of a Hope, 2011 and If You Triptych. John O'Shea is a UK based artist curator, dramaturg and lecturer in Can Hold Your Breath, 2010. In 2011 working with unconventional materials performance studies. Previous cura- Lucy established the Liverpool Elisa Oliver is Senior Lecturer in and social structures to create new torial projects have included the Supper Club with a group of close Historical Critical Studies for Fine and experimental approaches to art- collaborations The Doers, The Drifters friends. Hosted in a warehouse loft Art at Leeds Metropolitan University making. In 2008 he founded The Meat and The Dreamers and SEVEN apartment in the industrial docklands and Lecturer in Contemporary Art Licence Proposal — an organisation SITES with Laura Mansfield. of the city, the small team provide History at Manchester Metropolitan working towards the collaborative Wang Wei is a multidisciplinary installation artist whose practice addresses how the navigation of physical spaces can inform us about our own lived reality. Through modifying existing architectural structures with subtle, surprising additions or appropriating stylized features from disparate sources, Wang Wei has developed a practice around interventions that are aimed to disrupt human perceptions of space while opening a dialogue about con- struction, labor and ways of seeing. Wang Wei graduated from Beijing’s Central Academy of Fine Arts in 1996. His work has been shown in series of exhibitions including: Pavilion of China 12th International Architecture Exhibition — La Biennale di Venezia, 2010; Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism Shenzhen, China 2009; The Real Thing: Contemporary Art From China, Tate Liverpool 2007 and Foreign Objects Kunsthalle Wien Project Space, Vienna 2007 amongst others. He is one of the co-founders of Arrow Factory (www.arrowfactory.org.cn) an independently run, alternative, shop front art space in Beijing.