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This paper proposes a discourse on the conflict between genre, domestic spaces, habits and their representation. It consists of four parts: 1) "introduction" in which we expound the importance to understand the approach to art as an encounter with multiple readings and interpretations. 3) the kitchen as a space that invites to shift the social unit to the vital collective, especially in the area of gender.
This paper proposes a discourse on the conflict between genre, domestic spaces, habits and their representation. It consists of four parts: 1) "introduction" in which we expound the importance to understand the approach to art as an encounter with multiple readings and interpretations. 3) the kitchen as a space that invites to shift the social unit to the vital collective, especially in the area of gender.
This paper proposes a discourse on the conflict between genre, domestic spaces, habits and their representation. It consists of four parts: 1) "introduction" in which we expound the importance to understand the approach to art as an encounter with multiple readings and interpretations. 3) the kitchen as a space that invites to shift the social unit to the vital collective, especially in the area of gender.
THE EXISTENCE AS AN ART PROJECT: THE DOMESTIC TIME
Mar Garca Ranedo.
Abstract The broad lines of this paper is to analyse those artistic practices, through actions and performances, which are no longer a mere reproduction or symbolic interpretation of our existential reality if not to propose a discourse on the conflict between genre, domestic spaces, habits and their representation. It consists of four parts: 1) Introduction in which we expound the importance to understand the approach to art as an encounter with multiple readings and interpretations. 2) The eating action and its relation with the time and the forms of sociability. 3) The kitchen as a space that invites to shift the social unit to the vital collective, especially in the area of gender, and the natural nourishment is transformed in social food. 4) The process to lay down the table is a set of ordering that relocates diners in the manner of a forum on which grounds and causes are based on in a ritual and episodic way. Key-words: kitchen, food, table, genre, sociability, performance.
1. Introduction. Since the first decades of the twentieth century and under the legacy of the avant-garde, artists have always sought to get a confluence space for the relationship between art and life. The loss of the aura and, therefore, the dismantling of the aesthetic value of the artwork was a significant change in the role of art and affected the status of the artist who became a producer. Moreover, the emerging visual culture shifted the focus on the development of mediation, the new mass media changed the reception modes and the condition of the viewer. Artists analysed practices based on the idea of bringing the perception to the social process into art, and spectatorship and audiences began to have an active participation. All these events caused an alteration providing evolutionary advancement of new art forms. The image, as a visual document of memory, became the credible witness of the fragmentary nature of social reality. Nowadays the global course of the events is, naturally, non-linear and diffluent. Events and their consequences have not always the same impact or can not be described in the same way in all contexts, therefore, there are many linkages as variables, and all the possible conjugations will define different pasts, which themselves will vary as our present is modified. This is what Walter Benjamin denominates Jeizizeit: The time right now (Benjamin, 1940), to refer to the potential of meanings and interpretations of the works in their encounter with the present time. In the art system, these meaning transformations are specially evident in the discursive field where it reflects on the genre concept. Throughout history women had to creatively resort to paradox, controversy and ambiguity to represent and display an idea of the feminine far from that one!way direction the history has traditionally associated her. The reason why there is not a correlation between the reality that happened and how it has been reported are mainly two. On one side, this is due to the fact that the economical and social structures that govern our system are mainly patriarchal. On the other side, the history of art and the history of the museum had been made up as a succession of events, which although were disparate and unlike to the real ones, they shaped the history in one whole, in one consistent whole itself that dissents from the fragmentary nature of the social reality. On top of this, from the most recent decades the museum has been built up as a place linked to the touristic and entertainment businesses. Taking into account this consideration, any critical approximation that analyses or questions the social system where the representation of the feminine genre or any issue related to the women role disagree from the established codes are for sure excluded of cogitation. Consequently, it is first necessary to understand the approach to the art works as an approximation or an encounter with multiple readings and interpretations (Pollock, 2006). Also, it is essential to explore them as a build up construction system or as aesthetic and cultural artefacts able to associate ideas, suggest debates, interact with, stimulate and create consciousness. The discourse is set form this point of view since paradoxical and problematic situations are hidden behind regular, common day to day human relations in the domestic scope and the genre: the eating action, the kitchen and the table.
1. The eating action. It could be established metaphorical relations based on the time concept between the food digestion process and the social slowness to digest any issue related to genre. The fact remains that food offers a wide setting for the analysis of codes of conduct and paradigms of behaviour that are established between people. It could be even said that we eat quicker or slower depending on the social context we are and on the people we share this moment with. Despite we are aware of the consequences of swallowing quicker or slower in the digestive process, and how it affects the sensations our bodies experiment, the fact of nourishment is not just an exclusively biological process but a fact for deeply social interaction. The video titled Slow Food shows (Cesare Pietroiusti 1 , 2005) how long it takes different people to eat the same dish revealing how much of individual and how much of social interaction confluence paradoxically in the same act. The time concept also has an indirect influence in the type of food digested forcing to distinguish between slow food and eat slowly. From babyhood we are taught the importance of regular meals and appropriate elapse time between them becoming a family rule at home. But not only the meal schedules must be established and respected, also the meeting time and place and how long it takes. So that, the biological and physiological clock that marks our healthy diet operates under social skills. The act of eating in groups and out of the household scope could be understood as an instrument of social cohesion. The rhythm of the current lifestyle and the lack of time drive us to eat rapidly and dispense the unexcused meeting of having lunch together. In fact, it is becoming usual in some restaurants and bars to offer the possibility to eat in shared tables without the need to interact with others diners.
This accelerated rhythm of contemporary lifestyle could be the starting point for Cesare Pietroiustis performances called Extreme Slowness Workshops in which strangers are submitted to share a table without having to respect any preconceived rule, just to feed themselves no worrying at all about time. In that way, the slow motion of the diners leads them from eating to tasting and even to enjoying every single bite. Curiously, in between them it is generated a space for interaction in which everyone acquires a determinate role or behaviour; that is to say, spontaneous social connections are generated, completing what could be called social interaction process around the table. Food does not only nourish our bodies, it also bonds the natural into social at mealtime. In certain way, the individual can be defined as a biosocial (Murcott, 1983) being dependent on a main entity, the economy that governs what and how much food we eat. The work of the artist Ben Kinmont explores what he denominates ways of heterogeneous socialization to refer as how mealtime can take different forms to the traditional ones and become a deeply creative and artistic event. Through the performance work An Exhibition in your mouth 2 the traditional relational modes of a meal take unrecognizable forms. Kimons questions the traditional format of the exhibition to transform it in a relational form being the eating action the mediation in which food acquires the status of artwork for it has been conceived by an artist. In collaboration with some professional chef friends he introduces in the restaurant menus different dishes: a futurist cheese starter inspired in the cubic forms of Sol Lewitt, a cucumber
Cesaie Pietioiusti. 4+/2*3* !"#$)*55 6#275,#859 Espai uAit Contempoiani ue Castello. 18u62u1u salad of Louise Bourgueois, a steak tartare of Marcel Duchamp and a Basque Bass of Gordon Matta-Claks, etc. The project Food (Matta-Clark and Goodden, 1972) is another example to introduce in an artistic and creative sphere other forms of heterogeneous sociability that highlights the dimension of food as a universal medium for expressing hospitality and to generate social cohesion. Food was an active and dynamic spot conceived as a restaurant, as a gathering place and at the same time, a business and a performance art piece. Shortly after to open, the place became an integral part of New Yorks Soho artistic scenario, creating a social network with significant relationships and opportunities to think and work outside the institutionalized art. Food acted as a sort of art philanthropist employing many artists as cooks, waiters or dishwashers and thus provided economic support for them to carry out their artworks. This project was also a way to explore the fascination for food consumption and the transformation of aliments. Gordon Matta-Clark was very critical with the lifestyle shown by the mass media and publicity representing the American lifestyle through luxury kitchens fully equipped with sophisticated and electronic appliances. To show his disagreement and to leave proof of it, he got in his work rid of the material sophistication and transferred this value to the performance of creating every dish; in his words: The whole event were a live piece. In like manner, devised a metaphor alluding to the waste generated in the city introducing bony dishes in the restaurant menu. In Matta Bones Dinner dish, the remaining bones after a meal were scrubbed and strung together creating a gift that guests could wear back home. In our culture code, eating is a regular, everyday act established from the specific and repetitive rituals of the domesticity. From childhood, the domestic context is the key for the vital construction process of our individual social identity. This ethical and responsible thought recognizes the independent constructive nature of every individual (as every individual is related to other people and is affected for the people that live with). So that, the individual is not self-sufficient, and no fully responsible of his self and consequently these primary domestic relations will define the future ethical principles with other fellows. In the Kitchen, as a family gathering place, the genre codes differ demanding different domestic role for both female and male sex, as it is for example to clear the table, an everyday duty that is spontaneously repeated every other generation.
3. The Kitchen. At first instance, the word kitchen could sound absolutely familiar and usual but it encloses a concept with a much bigger connotation capacity than a denotative one as we are used to. In the course of the first part of the XX century the kitchen was considered a techno scientific artefact for the technological leadership of global power. It is remarkable that the kitchen is a male conception for the use of the female. In that way, women acquired a false ascription to modernity but just in the domestic field, in a private scope. The public impact of the technological kitchen or the haute cuisine is one more time reserved to men. Therefore the kitchen has intervened in the psychological sphere since forever. And this linkage to the feminine is stronger as it becomes modernised. The clich of the feminine condition is developed from the kitchen as place of domesticity. Not only because it is an extension of the nourishment maternal function of feeding the baby from birth, also because every electrical appliance and tool of this environment are literally understood when the user is a woman. In a paradoxical language, the video titled The Semiotic of the Kitchen (Rosler 3 , 1975) demonstrates in alphabetical order the use of different kitchen tools with anger and frustration, using extreme gestures and noises full of sarcasm and irony. Rosler in a cool tone connotes the rage for being trampled on a space presumably assigned by genre that she denounces in her own words: when a woman speaks, she names her own oppression. This symbolic work ritual, the elaboration of food, has been mythologized by the maternal figure. The house is definitely the gathering place for the diners, for
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the people who share the table. Not for nothing, after the 2 nd world war women turns back to the house life as the nuclear figure of the family home. In that way, there was a tentative to soften the bonds of domesticity through campaigns that magnified the woman social function making the kitchen the key place for self realization due to the technological power conferred by the use of modern electrical appliances. The policies around the technological development were so relevant as the tensions hold during the Cold War to get the spatial hegemony. The industrial leadership of General Electric provided the backdrop for the most relevant debate between the American vice president Robert Nixon and the soviet Premier Nikita Krushchev. In that domestic context, making the food daily and the routine of laying down the table are two housewifery actions that becomes daily rituals. The food ritual is revealed as a system perfectly structured and as a social value maker organizer (Simmel, 1997) and the basic idea, even evidence, of relating taste and education or taste and culture (Bourdieu, 1986) is full of paradoxes that alters the lineal course of any tautology. It has been analysed how the act of eating involves customs and rules that defines behaviours and establishes differences, just like it locates codes and modes of cohabitation and structured it as an event for socialization. Besides, the process of laying down the table speaks of a system that sets a hierarchy and preplaces the diners in a way of a forum were the causes and the happenings are sustained at the same time as the taste in an episodic and ordinary way. Nevertheless, from the domestic context this ritual is considered a place of resistance, a social build up structure, and therefore cultural, a historically genre exclusion area, characterized for an ethic of violence. The food and the table ceremony, in which the feminine representation is cultural and symbolically constructed, it is paradoxically at the same time a momentum for hegemonic androcentric power offering a limited vision of everything concerning genre values. A habitat that women feel as owned as oppressive since it splits women and men behaviour and emphasizes the roles that throughout history has been attributed to genre.
4. The table The video At the Table, (Garca Ranedo 4 , 2008) retakes this key introducing the cooking process as a nuclear and generational fact and as a creative process in which the artist has to reconcile with other centrifugal housework that can not be separated from the production demands of her artwork. Garca Ranedo finds a common place for life and art where she explores the relationships between family life, the individual consciousness as woman and artist and the sociocultural realities. This situation allows the artist to deal, with optimistic rationalism, with the conciliation between family life and working life. There is no doubt about the performance as a crop field for womens discursive subjects. Reviewing the history of the performance, there is a revitalisation on the 60s and 70s by artists working on feminist goals despite women were largely ignored in the contemporary art scenario. In 1982, Rudy Fuchs, director of Documenta VII in Kassel disregarded video since video creation was a discipline associated to women and therefore it was not considered real art. Since there is a natural coexistence of experiential and existential formulas in womens artistic activities, video art and more specifically the video performance, resulted in a period an appropriate and common Kinetic support to the employment of women. This mindset is reflected in the same way in the professional kitchen world in which women are cooks and men chefs.
4 uaicia Raneuo, N.; =( "> ?*5>@A http:vimeo.com267S871S Nai uaicia Raneuo (2uu8), =( "> 3*5>@ Retaking the video At the table, the camera discovers a set of skills and knowledge learned and transferred on from generation to generation (Certeau, 1984). Here is where the breeding and socialization are reflected in the generational transmission of routines and manners as a vital mechanism for creating the social identity of a person (Elias, 1994). This formulations are built from the idea of creating a space of critical resistance from the domestic, around the table as a symbol, at a time when the speech concerning the behaviour close to the eschatological (burping, spitting, chewing with the mouth open, vomiting or other more extreme) have been trivialized by the decay of the integrating traditional family and the appearance of the single parent one. However, the eschatological furore on the table dismantles the behavioural habits pursued by the rules of good manners, once they are deregulated become vulgar, resounding, gobbled, nauseating and disgusting. Eat and chew with your mouth open, removed the food in the mouth with the hands, rummage the denture with the fingertips looking for food scarps, could be questionable and reprehensible habits that indicate an unstructured behaviour in the individual. Other practises translated as games of seduction under the table would lead us to discern the boundaries between public and private in a context where even forcing to be voyeurs and accomplices, we are socially coerced and not apparently affected. Lets say that the table symbolizes the horizon line in which the above half ascribe good manners, and the below half would be linked to uninhibited manners or to where experiences attributed to the realm of the private are practised, after all, in public. Twisted tricks that show a cult of voyeurism. This type of disapproved behaviour at a table is shown in Undertone (Vito Acconci 5 , 1972). The artist is seated at the end of the board, with both arms hidden beneath it and facing the camera, the viewer, while looking down narrates the fantasies as if someone else where below it. According to Freud women are not voyeurs neither fetishist since their childhood psychosexual construction operates differently than in men !without the fear of castration of the first approach of the sexual encounter between man
S Acconci, v.; B)'*2/#)*. http:www.youtube.comwatch.v=uZaB9CBZecE (extiact) and woman". Ultimately and returning to the video titled At the Table and to the work of Acconci Undertone and maintaining that any demonstration or artistic artefact is, among other definitions, conversational, we find that the key of this this essay is the possibility of building subjectivities from a place that has been observed through the eyes of a white heterosexual male.
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