THE CANTEEN IS OPEN
On Saturday 26th, the final day of the Every Mouth Must Be Fed journey took, in fact, place: the one day canteen experience.
The event was conceived as a parkour through the rooms of aquariums, where different stations — and accordingly situations — were set up by the artists. The open day intended both to display for the public the accomplishments carefully achieved up to that point, as well as show a first glimpse of how an artistic sustainable canteen, ultimate goal of all the researches conducted during Every Mouth Must Be Fed, would look like in the future. The visitors had the chance to walk through the parkour, or to stop at any of the stations, engage with other present bodies, and move as their intuition would suggest them to.
Kira Lillie orchestrated, at the entrance of aquarium, a hand washing ceremony that was bound to the concept of purification as much as of care for the other.
Luigi D’Alessio, during the whole course of the opening reception, prepared cold and warm meals that visitors could serve themselves with. The dishes were presented aligned on the shelves of the panels done by Philip Wiegard, Marta Orlando and Ninon Liotet, and served on the plates produced during a previous phase of the project thanks to the tutorials of Liz Craft.
Further in the walk, the visitors could find a „digestion“ station: a place for decompression and slowing (the parkour had, amongst others, the aim to enact the different stages of commensality) placed in front of the stage where Franziska Lantz would play improvised sets at irregular intervals. Isabel Lewis performed service scores that the participants to the workshops she directed, had written down: the visitors, sitting at a table that was placed there for the purpose, could choose from a special menu the scores they wanted to be served a meal with. Valentina Karga set up an environment where the audience could intervene on the 20-meter-long blanket she had been working on since the beginning of the project with the help of the contributing workshops participants. The rooms of the venue were crossed by participants who, wearing the aprons designed by Viron Erol Vert, would offer seasoning and additional food, while Marco Bruzzone and Darius Myksis staged in the afternoon a performative, ludic intervention at a visitor expense.
The space presented itself as a meeting point that, starting from the experience of dining together and hospitality, could provide a flourishing ground for inspiring meetings, interactions and participations. From the very beginning of Every Mouth Must Be Fed, in fact, the artistic creative canteen imagined was never conceived as a place where roles were defined, but rather, where acts of generosity and caring could become a new currency in a possible community to come.
The event was conceived as a parkour through the rooms of aquariums, where different stations — and accordingly situations — were set up by the artists. The open day intended both to display for the public the accomplishments carefully achieved up to that point, as well as show a first glimpse of how an artistic sustainable canteen, ultimate goal of all the researches conducted during Every Mouth Must Be Fed, would look like in the future. The visitors had the chance to walk through the parkour, or to stop at any of the stations, engage with other present bodies, and move as their intuition would suggest them to.
Kira Lillie orchestrated, at the entrance of aquarium, a hand washing ceremony that was bound to the concept of purification as much as of care for the other.
Luigi D’Alessio, during the whole course of the opening reception, prepared cold and warm meals that visitors could serve themselves with. The dishes were presented aligned on the shelves of the panels done by Philip Wiegard, Marta Orlando and Ninon Liotet, and served on the plates produced during a previous phase of the project thanks to the tutorials of Liz Craft.
Further in the walk, the visitors could find a „digestion“ station: a place for decompression and slowing (the parkour had, amongst others, the aim to enact the different stages of commensality) placed in front of the stage where Franziska Lantz would play improvised sets at irregular intervals. Isabel Lewis performed service scores that the participants to the workshops she directed, had written down: the visitors, sitting at a table that was placed there for the purpose, could choose from a special menu the scores they wanted to be served a meal with. Valentina Karga set up an environment where the audience could intervene on the 20-meter-long blanket she had been working on since the beginning of the project with the help of the contributing workshops participants. The rooms of the venue were crossed by participants who, wearing the aprons designed by Viron Erol Vert, would offer seasoning and additional food, while Marco Bruzzone and Darius Myksis staged in the afternoon a performative, ludic intervention at a visitor expense.
The space presented itself as a meeting point that, starting from the experience of dining together and hospitality, could provide a flourishing ground for inspiring meetings, interactions and participations. From the very beginning of Every Mouth Must Be Fed, in fact, the artistic creative canteen imagined was never conceived as a place where roles were defined, but rather, where acts of generosity and caring could become a new currency in a possible community to come.
