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Food - Media - Senses
Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches.
Food - Media - Senses
Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches.
Nina Annabelle Märkl
Nearness and distance, permeability and delimitation, formation and dissolution. It is not possible to take in the works of Nina Annabelle Märkl at first glance. The multilayered, in part sculptural drawings burst all boundaries between genres and thus question the permeability of individual media and perspectives. In the work of Nina Annabell Märkl, the image assumes many forms?installation, arrangement, or drawing?and is intended to confuse, to challenge. The artist therefore not only breaks with boundaries between genres, but also combines the abstract with the representational. The new book is structured analogous to her art: each chapter arranges the series presented according to motif structures and thematic areas, with the works building on one another. 00Exhibition: Artothek Munich, Germany (20.10- 27.11.2016).
Roy Lichtenstein
Edited by Eckhard Schneider. Essays by Bob Adelman, Michael Lobel, Siegfried Gohr, Ettore Sottsass, Michael Craig-Martin, Avis Berman and Eva Wattolik. Photo Essay by Bob Adelman.
Zeit und Form
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Perspective 45/98
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Zeit und Form
Filme und Videos, die vorgeben Bilder zu sein, sich nach den Regeln der Kombinatorik erst in der Vorfuhrung bilden oder das Rattern des Projektors selbst ausstellen: Sie alle verlaufen nicht nur in der Zeit, sondern spiegeln diese auch. EVa Wattolik entwickelt Kategorien zur Beschreibung solcher Zeitformungen. DAbei beleuchtet sie eine Vielzahl von Konzepten von der Lebenszeit uber die Entropie bis hin zur Beschleunigung und zeigt dabei, wie sich formale Techniken und Zeitkonzepte zueinander verhalten.
Die Parodie im Frühwerk Roy Lichtensteins
In den USA der 1950er Jahre waren die Wertewelten von Comics und Abstraktem Expressionismus nicht miteinander vereinbar. Bis Roy Lichtenstein Liebes- und Kriegs-Comics sammelte und Ausschnitte von ihnen in kleine Schulhefte klebte. Ein Blick auf die hier erstmals veröffentlichten Seiten dieser Hefte macht deutlich, was Lichtenstein an seinen Comic-Vorlagen interessierte. Er übernahm die Motive nicht einfach nur, sondern parodierte sie. Er verstieß gegen die damals etablierten Normen der Hochkultur - und befolgte sie zugleich. Dabei entstand etwas gänzlich Neues, das der Künstler in den weiteren Phasen seines Schaffens variierte und intensivierte. Um dies zeigen zu können, hat Eva Wattolik den literarischen Begriff der Parodie auf die bildende Kunst übertragen und damit eine wichtige Grundlage zum Verständnis von Gegenwartskunst geschaffen.
Fumie Sasabuchi
Presenting a series of drawings this work features the theme of young children and juveniles in advertisements. It chooses pictures in which they seem to have lost their innocence and are demeaned to become seductive sirens of consumption. It also point out that children in fashion editorials addresses needs of the adult viewer than their own.
