Edible Complex – Art Show + Food by Top Chef Star Camille Becerra
Feb 6th / Wednesday 8pm
60 Greenpoint Ave Between West St & Franklin Ave
(Take the G Train to Greenpoint Ave)
Greenpoint Brooklyn NY
Like Art? Like Food? How about Food + Art? Wanted to alert you of a really interesting art show that is happening this Wednesday Feb 6th over in Greenpoint Brooklyn. Over a dozen artists will be exploring the relationships, concepts and ideas of food through a multimedia art show. For the $40 ticket price you will also be able to take part in the 4 course gourmet feast specially prepared by the Top Chef celebrity Camille Becerra! If you are interested, I highly recommend you RSVP ASAP via the email address below to reserve your spot today. I actually met two of the artists at an underground dinner party last weekend and from what I’m hearing about this show, it’s going to truly rock!
Here’s A Copy Of The Press Release
(Or Click Here To Download A Copy.)
Abigail Simon And Camille Becerra Invite You To
An evening at the circus of desire
8PM February 6, 2008
60 Greenpoint Ave Between West St & Franklin Ave
Food is love, food is life, food is the material with which we bind our bodies and our families. We are both its practical creatures (we eat to live) and its fervid creators (we live to eat). Despite omnipresent clichÃ©s—-which engage selflove, self-loathing, selflessness, etc, etcâ€”our relationship with food and eating is a chronic, nagging, carnal, lustful, shameful, repulsive pleasure, a necessity and a temptation. This equivocation is annoying: is the appetite for food
indulgence, or an essential act of alchemy in which outside/not-us becomes inside/us, other than other? And how varied are the possibilities â€“both terrifying and delightful to contemplate–in which we might/could/will become food ourselves?
We invite you to contemplate all aspects of this passionate yet bilious relationship and join us for EDIBLE COMPLEX: an evening of performance, screenings, installation, and eating at PALOMA, in Greenpoint, Brooklyn. A program of video images, text and performance will coincide with the presentation of appropriate courses designed especially for the occasion by renowned chef Camille Becerra.
Tickets $40 Includes 4 course Gourmet Feast
prepared by renowned chef Camille Becerra, formerly of Top Chef
Reservations: firstname.lastname@example.org or 718-349-2400
Marla Leigh CAPLAN
Elaine Tin NYO
Adam John WARD
and special performance by GUITARS
About The Artists:
MARLA LEIGH CAPLAN is currently involved in an obsessive investigation into the constructs of beauty. VANITAS, (2006) is part of an ongoing series of works that engage with ideas of nature and artifice, alternately acknowledging and denying the impossibility of their imagined worlds.
THELMA GARCIA In the ongoing project 5 HOUR MINIMUM, Garcia photographs to process her experience as a cater-waiter in the households of the mega rich. In a series of self portrait/performances shot as part of her working life, she raises issues of class, culture and the difficulty of diving into the world of New York as an immigrant stranger.
FEDERICA PAOLETTI PaolettiÊ¼s napkin sculptures are monuments not only to event but also to celebrity fetish culture. The white cotton used to clean your mouth in between morsels, sips and courses is like a canvas, the remains of swallowed solids and liquids like paint. Paoletti collects napkins from food businesses around the city. Often these squares are very generic and sometimes even badly made, they nonetheless turn into mementos of events, sometimes as messy and dirty and mysterious as the cloth itself.
MICHELLE HANDELMAN In CANDYLAND, the Artist portrays herself as an obsessive devouring action machine, consuming and regurgitating pure color in an act of compulsive consumption. CANDYLAND s one of a series of studio performances exploring constructed identity as it mutates through digital space, imprisoning her virtual body within a static frame in order to attempt to escape it. In an act of autoeroticism, contamination is contained within the lens, giving the viewer access to visual pleasure without the mess, smell, dirt, or exchange of bodily fluids.
FLORENCE MONTMARE and CHARLOTTE Ã…BERG have collaborated since 2003 on PHANTASME, a series of video performances portraying persons in the act of consumption. The products used in the performances (cream, ketchup, hair dye and cellophane.) are transformed into a disguise, and the body is concealed. Transformed into phantoms of their own desires, they are eliminated by consumerism. Conventional ideas of beauty are violated and the bodies is transformed and distorted beyond the recognizable.
DANIELA ORTIZ uses the short video THE USUAL to examine the statement, â€œtell me what you eat and I will know what you like, tell me what you eat every day and I will know who you areâ€ by investigating what regular patrons at her local diner consume on a consistent basis.
ARIANA REINES In her first video, the author of THE COW (FenceBooks:2006) and COEUR DE LION (Mal-o-Mar: 2007) channels an ecstatic librarian as she reads aloud from THE STORY OF MARY MACLANE BY HERSELF, in which the author demonstrates the unique genius and sensuality of her gastrointestinal apparatus.
ABIGAIL SIMON will premiere a new work, RECIPES FOR DISASTER. Part video, part cabaret, part game show, RECIPES will be an episodic series of interventions in which the audience will have a chance to contemplate some of LifeÊ¼s big philosophical questions while enjoying celebrity gossip and tasty treats , always with the possibility of winning valuable prizes.
HYLA SKOPITZ uses photography and video to investigate personal experience, familial relationships, and memory. In UNTITLED (from the series: I DO WITHOUT YOU), the process of making pancakes (an attempt to relive a childhood memory) transforms from a futile act of nostalgic sentimentality into a sincere gesture as it oscillates between hilarity and sadness.
BRINA THURSTON works with the vernacular of the tragic/comic. Her work hinges on moments of masochistic truth, with imagery including but not limited to: Strings of Christmas lights encased in tofu pups, and â€œPLUMSâ€. In PLUMS (an excerpt from a remake of “On the Marriage Broker Joke” by Owen Land 1977 (2006, 3 min)) Thurston proposes
that Rationality, Power, Race, Gender and Ethnicity have nothing to do with the number of salted plums in a jar.
PETRA VALENTOVAÊ¼S COOKING – 2005-2008 is an audio loop evolved from documentation related to Her SEARCHING FOR A SAMI/COOKBOOK PROJECT. It consists of a recording of a cooking: group of single girls cooking recipes from men.
ADAM JOHN WARD is interested in stereotypes, masculinity, self-destruction, and American middle-class culture. He deals with these concerns through working with the body and absurdity. This piece relies on the use of props: grape soda, sherbet, white bread, and weapons–all of which are â€œawesome itemsâ€ blessed with cultural weight. The inane
dialogue is a further exploration of interests in physicality while introducing ideas of art discourse, blind and dumb criticism, and free association.
QUITO ZIEGLER’s work breaks conventions. Her provocations have ranged from disrupting the surfaces of photographic prints, to repurposing a semi-truck into a mobile public art space, to using art as a strategy for political action and legal reform. In “30-LAYER CAKE,” a collaborative baking project, she defies the laws of physics and the convention of growing old gracefully to create a celebration of vitality that challenges our notions of the possible.
MARINA ZURKOW works with character and narrative in animated cartoons, interactive installations, print and pop objects. The two animated works CHEESE and CHEWING STUDIES abstract the love relationship people have with their food. In CHEESE, a woman digs her whole body into an enormous wheel o cheese; in CHEWING STUDIES, animated line drawings depict people eating, though all evidence of the food being consumed has been removed.
and special performance by GUITARS: â€œa two-person collective of which there are many of us. We make music and art for the purpose of ceremony and accumulating merit karmically. We make use of plant allies and receive songs in private ceremony held in our apartment. We see a resonance between modern performance idioms and traditional healing practices. We consciously work with energy when performing. We are formally trained in theatrical performance, music and energy work. Our art is intended to change the world into something
that it already is.”