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Artist Marc Quinn holds first exhibition in China

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Bread hands

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British artist Marc Quinn is known for his audacious use of materials, ranging from ice blocks, glass, and marble, to DNA, blood and other organic elements. The acclaimed artist is bringing some of his major works to Beijing, for his first solo exhibition in China.

"Bread Hands" is one of Marc Quinn's most iconic works. Since 1991, the artist has repeatedly traced the contours of his own hand in bread, each time creating a slightly different shape.

The series of works, originally intended to form an indexical pattern of the artist's own physical identity, is being given a fresh interpretation.

And this is what's capturing the imagination of art lovers at the exhibition, whether they're making hands or feet.

"Every participant here would like to make his or her sculpture outstanding and unique. This is my foot sculpture, with an S on it, the initial of my surname. It'll be easier to find my own foot shape among the others," said one visitor.

When baked, each one results in a unique sculpture. Through this experiment, the artist is suggesting that our destiny is within our own power and changes with every decision we make.

Another series of Quinn's - "body alterations" - has proved inspirational to many - particularly the sculpture Zombie Boy. It depicts Canadian Rick Genest, who was diagnosed with a brain tumor at the age of 15.

Over a number of years after that, Genest covered himself head-to-toe with tattoos of his complete skeleton.

In the creation of the sculpture, Quinn gave the boy a special facial look.

Marc Quinn is considered one of the leading artists of his generation. His work explores recurring themes of art and science, the human body, emotion, and the perception of beauty. In his Beijing exhibition, he sets out to present his enduring interest in identity by drawing together works from across his 30-year career and from multiple series.

The Marc Quinn exhibition runs through May 1 at the Central Academy of Fine Arts.

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Artist Marc Quinn holds first exhibition in China

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British artist Marc Quinn is known for his audacious use of materials, ranging from ice blocks, glass, and marble, to DNA, blood and other organic elements. The acclaimed artist is bringing some of his major works to Beijing, for his first solo exhibition in China.

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Floor Burger (Giant Hamburger), 1962 - Claes Oldenburg - WikiArt.org

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'Floor Burger (Giant Hamburger)' was created in 1962 by Claes Oldenburg in Pop Art style. Find more prominent pieces of sculpture at Wikiart.org - best visual art database.

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From studio to dining table: Marina Abramović

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Are artists particularly creative when it comes to cooking? We take a look around the kitchens of the art world, this time with six ingredients from the life and work of performance artist Marina Abramović.

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What Are They Eating? - Food in Photography | What Makes Art Great

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'I like to watch people eat': photographer on her over-the-top food imagery

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Photographer Jennifer Tang on why she wanted to encapsulate the thrill of being a glutton and eating without guilt in her debut solo exhibition in Hong Kong.

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Top view portrait of people asian eating their food served on top of banana leaf lay on the floor. kembulan javanese eating | CanStock

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koekhappen
geur als kunst
ijslollies van de spree
potretten van eters
ijssculptuur
4 and 20 blackbirds in a cake

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 Looking back, food has always played a role in art: Stone Age cave painters used vegetable juice and animal fats as binding ingredBrief History of Food as Art

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Contemporary artists have used food to make statements: political (especially feminist), economic, and social. They’ve opened restaurants as art projects, conducted performances in which food is prepared and served in galleries, and crafted elaborate sculptures from edible materials like chocolate and cheese. 

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Contemporary artists have used food to make statements: political (especially feminist), economic, and social. They’ve opened restaurants as art projects, conducted performances in which food is prepared and served in galleries, and crafted elaborate sculptures from edible materials like chocolate and cheese. 

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From subject to statement, food has played a role in art for millennia

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Wolfgang Laib (born 25 March 1950 in Metzingen, Germany) is a German artist, predominantly known as a sculptor. He lives and works in a small village in southern Germany, maintaining studios in New York and South India.

His work has been exhibited worldwide in many of the most important galleries and museums. He represented Germany in the 1982, Venice Biennale and was included with his works in the Documenta 7 in 1982, and then in the Documenta 8 in 1987. In 2015, he received the Praemium Imperiale for sculpture in Tokyo, Japan.

He became world-renowned for his "Milkstones", a pure geometry of white marble made complete with milk, as well as his vibrant installations of pollen. In 2013 The Museum of Modern Art in New York City presented his largest pollen piece - 7 m × 8 m - in the central atrium of the museum.

Wolfgang Laib was born 25 March 1950 in Metzingen, Germany, the son of a medical doctor Gustav Laib and his wife Lydia. In 1962 the family moved to a small village near to Biberach an der Riss, There his father had built a contemporary glass house of extreme and unique architecture set in a surroundings of meadows and forests. The life which developed there had a strong and remarkable impact on all the members of the family.

Jakob Braeckle, a landscape painter of the region, became a close friend of the Laibs and conveyed his deep respect and love for art. Through him the Laibs became personally acquainted with the paintings by Kazimir Malevich which were stored in Biberach by the architect Hugo Haering, having been later acquired by the Stedelijk Museum in Amsterdam. Through this friendship Laib became acquainted already in his early childhood with eastern culture and philosophies, together developing a very strong interest, especially in Lao-tse, Taoism and Zen Buddhism.

The family began to travel throughout Europe visiting those places where art, traces and treasures of the medieval culture are preserved. Assisi and the life and teachings of Saint Francis served as a very important influence upon Laib, his life and work. As the tendency toward travel developed, Laib journeyed outward to many different Asian countries, especially India.

In spite of his ever-growing passion for art, Laib begins to study medicine at the University of Tuebingen in 1968. As his studies progressed he began to question more and more what the medicine of this century actually is and means. Disillusioned with western medicine, he came to view the natural sciences, as well as most other modern thinking, as limited for their dependency on logic and the material world. His search led him to Eastern spiritualism, philosophy and pre-Renaissance thought. At this point Laib engaged himself in parallel studies of Sanskrit and eastern philosophies. In 1972, still in the middle of his medical studies, he began to work on a stone sculpture called "Brahmanda" - or "cosmic egg" in Sanskrit. At this moment Laib decided to finish his medical studies, but with the full intent of embarking on the career of an artist.

He returned to his village near Biberach, and in the intensity of his medical experience combined with all else, he intuited the creation of his first milkstones as an expression of all what he felt of at that time. Consisting of a rectangular polished pure white marble, the top center of the surface is sanded down to create a most subtle depression, into which Laib fills the milk, thus allowing the unity of the ephemeral milk with the solid density of the white marble.

In 1977, Laib began to collect pollen in the meadows and forests around the vicinity of his village. For many days and months, from early spring into summer he continued like this for decades up to the present. This engagement became a most important substance to his daily life. The pollen is presented in exhibitions in a variety of ways, best known as a radiant field sifted on the floor in a softened rectangular form providing a rich intensity of experience and emotion. In other special situations, the pollen could be presented in simple glass jars or piled openly in small mountains.

In 1976, he had his first exhibition at gallery Mueller-Roth in Stuttgart showing the early Milkstones. This was the beginning of many exhibitions around the world over many decades. In 1979 and 1981, he had his first exhibitions in New York. He lived and worked in Tribeca, a time during which he met Carolyn Reep, a conservator specialized in Asian art and antiquities, who would then after become his wife. In 1982, he took part in the Documenta 7 and represented Germany in the Venice Biennale together with Hanne Darboven and Gotthard Graubner.

In 1985, Carolyn moved to Germany and as his wife accompanied Laib over many decades until the present. This became a very intense and beautiful relationship, sharing the life, work and values they were seeking to achieve. In 1986, their daughter Chandra Maria was born.

Since 1983, onwards his involvement with materials progressed into rice, beeswax, sealing wax, Burmese lacquer and some metals. At first he made smaller beeswax pieces which then developed into major large-scale pieces like beeswax chambers and stepped pyramids called "Zikkurats". His selection of those materials are deeply meaningful, but they do not at all represent the limit of his intent in their essence; rather they serve as vehicles to by far greater complex ideas. He has always been less concerned with innovation or formal development than with the notion of continuity. His oeuvre is not to be approached in a chronological order, but in a cyclical manner, as he uses the same forms and materials regularly. Laib considers himself as a vehicle for ideas of universality and timelessness that are already present in nature. In his work, the micro often connects to the macro in a way that reconfigures our place in the universe. He can be quoted by saying: "I did with my art works what I wanted to do as a doctor. I never changed my profession." In 2000, he creates the first permanent wax chamber in Roc del Maure in the Pyrenees mountains near Perpignan. Other wax chambers follow near his studio in southern Germany, in the lower Engadin in Switzerland, in the Phillips Collection in Washington, D.C., and a 50-meter-long corridor for Anselm Kiefer in Barjac, southern France, realized in 2014.

In 2006, he finally decided to have a studio in a small village in the hills near Madurai in South India. Spending there at least two months yearly, he creates a whole body of new works with black granite, white ashes among some other materials. He made a proposal of a huge Brahmanda - 20 m long - on Pulimalai, a bare granite hill - nearby Madurai.

In 2010, Carolyn and Wolfgang purchased a small space in Manhattan to function as a sharing place of their life and works in this world crossroads, forging new relations within the art world in the US.

1976 : first exhibition at gallery Mueller-Roth, Stuttgart

1982 : Wolfgang Laib represents (Germany) in the Venice Biennale together with Hanne Darboven and Gotthard Graubner

1982 and 1987 : Laib participates in Documenta 7 and 8

1985 : Harald Szeemann invites Laib to participate in an exhibition "Spuren, Skulpturen und Monumente ihrer praezisen Reise" in Kunsthaus Zurich where he shows the pollen mountains ""The Five Mountains not to Climb on". Both feel that this work unites their visions and dreams about art and their life. This becomes the beginning of a long and intense relationship with many exhibitions worldwide.

2000 : Laib realizes his first permanent wax chamber in the mountains of the southern Pyrenees, Roc del Maure, near Perpignan, France

2000 - 2002 : a major retrospective, curated by Klaus Ottmann, is shown in five important American museums, first at the Hirshhorn Museum and Sculpture Garden, Washington D.C. and will be shown last at the Haus der Kunst in Munich

2002 - 2003 : major exhibitions in museums in Japan and Korea, among them The National Museum of Modern Art, Tokyo, the Municipal Museum of Art, Toyota City and The National Museum of Contemporary Art, Seoul

2004 : He realizes a major wax chamber near his studio in southern Germany

2005 : the Fondation Beyeler in Basel dedicates a major exhibition to him

2010 : Laib makes a proposal for a huge Brahmanda - 20 m long - on Pulimalai, a bare granite hill near Madurai, South India

2013 : The Museum of Modern Art in New York exhibits a huge pollen piece - 7 m x 8 m - in the main atrium of the museum. At the same time he realizes a permanent wax chamber in the Phillips Collection in Washington D.C.

2014 : Anselm Kiefer invites him to create a huge wax corridor - 50 m long - in Barjac, Southern France. Laib exhibits his big beeswax steppyramid "Zikkurat" in the Basilica Sant'Apollinare in Classe, Ravenna, Italy

Over many years the following galleries showed his work up to the present:

Gallery Konrad Fischer, Duesseldorf, Germany

Gallery Sperone Westwater, New York

Gallery Buchmann, Berlin, Lugano

Gallery Thaddaeus Ropac, Salzburg, Paris

Gallery Kenji Taki, Tokyo, Nagoya

Gallery Alfonso Artiaco, Naples

Museum MASI Lugano: Franciolli, Marco and Menegoi, Simone. Wolfgang Laib. Lugano, MASI and Edizioni Casagrande, 2017. Contains a detailed chronology of the artist

Ravenna: Wolfgang Laib at Sant'Apollinare in Classe. With texts selected by Wolfgang Laib and an interview with the artist by Maria Rita Bentini. Gian Enzo Sperone, Turin 2016

Fondazione Merz: Wolfgang Laib.Mahayagna - vedic fire ritual - with Brahmins from South India. Texts by Beatrice Merz and Maria Centonze, Federico Squarcini, interview with the artist by Klaus Ottmann, Turin 2009

Museum Grenoble: Wolfgang Laib. Without place - without time - without body. Text by Guy Tosatto, selected texts by Wolfgang Laib. Musée de Grenoble and Actes Sud 2008

Museum Reina Sofia Madrid: Wolfgang Laib. Sin Principio Sin Fin. Texts by Antonio Gamoneda, José Maria-Medina and Carlos Ortega. Museo Nacional Centro de Arte Reina Sofia. Madrid 2007

Fondation Beyeler, Basel: Wolfgang Laib. Das Vergängliche ist das Ewige. Texts by Katharina Schmidt, Philipp Büttner, Ulf Küster, Christoph Vitali, Harald Szeemann and Wolfgang Laib. With a short chronology of the artist. Fondation Beyeler and Hatje Cantz, Basel, 2005

Museum Macro, Rome: Wolfgang Laib. Text by Danilo Eccher. Museo Macro Roma and Electa Editore, Milano, 2005. With a chronology of the artist and a bibliography

Kunstmuseum Bonn and De Pont Museum, Tilburg: The Essence of the Real. Wolfgang Laib. Drawings and Photographs. Texts by Christoph Schreier and Klaus Ottmann. Kunstmuseum Bonn and De Pont Museum Tilburg, 2005

Toyota Municipal Museum of Art: Wolfgang Laib.Text by Tadashi Kanai. Toyota City, 2003

National Museum of Contemporary Art, Seoul: Wolfgang Laib. Text by Seungwan Kang and Others, Seoul, 2003

The National Museum of Modern Art, Tokyo: Wolfgang Laib. Text by Tohru Matsumoto, Tokyo, 2003

Retrospective USA and German version Haus der Kunst: Wolfgang Laib. A Retrospective. Texts by Klaus Ottmann, Margit Rowell, Conversation with the artist by Harald Szeemann. With a chronology and a bibliography. English version: AFA and Hatje Cantz, 2000 German version: Haus der Kunst and Hatje Cantz, 2002

Kunsthaus Bregenz: Wolfgang Laib. Text by Elisabeth Samsonow. Interview with the artist by Rudolf Sagmeister. Bregenz 1999

Museum Carré d'Art, Nîmes: Wolfgang Laib. Somewhere Else. Text by Guy Tosatto. Nîmes 1999

Kunstmuseum Bonn and The Museum of Contemporary Art Los Angeles: Wolfgang Laib. Texts by Klaus Schrenk, Kerry Brougher and Donald Kuspit Bonn, Los Angeles, 1992

Museum Ascona: Wolfgang Laib.Text by Harald Szeemann. Ascona, 1992

Museum Capc Bordeaux: Wolfgang Laib. Text by Jean-Marc Avrilla. Bordeaux 1992

Kunstverein Stuttgart: Wolfgang Laib. Texts by Tilman Osterwold, Johannes Cladders, Hans-Joachim Müller, Harald Szeemann, Stuttgart 1989

ARC - Musée d'Art Moderne de la Ville de Paris: Wolfgang Laib. Text by Harald Szeemann, Interview with the artist by Suzanne Pagé, Paris, 1986

Venice Biennale, German Pavillon: Wolfgang Laib. Text by Johannes Cladders. Venice 1982 and Museum Abteiberg, Mönchengladbach, 1983

Kunstraum München: Wolfgang Laib.Text by Hermann Kern. München 1978

Museum of Modern Art, New York

The Hirshhorn Museum and Sculpture Garden, Washington D.C.

The Phillips Collection, Washington D.C.

The Art Institute Chicago

The Museum of Modern Art, San Francisco

Centre Pompidou, Paris

Musée de Grenoble

Carré d'Art Nîmes

Musée de Rochechouart

Kunsthaus Zurich

Museum St Gallen

LAC Lugano

The National Museum of Modern Art, Tokyo

Toyota Municipal Museum of Art, Toyoto City, Japan

The National Museum of Contemporary Art, Seoul

Leum, Seoul

The National Gallery of Australia, Canberra

The Museum of New South Wales, Sydney

The Museum of Modern and Contemporary Art, Helsinki

De Pont Museum, Tilburg, Netherlands

Pinakothek der Moderne, Munich

Kunstmuseum Stuttgart

Kunstmuseum Bonn

Kunsthalle Karlsruhe

Sprengel Museum, Hannover

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Wolfgang Laib (born 25 March 1950 in Metzingen, Germany) is a German artist, predominantly known as a sculptor. He lives and works in a small village in southern Germany, maintaining studios in New York and South India.

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Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo Fillia's Manifesto of Futurist Cooking

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Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo Fillia's Manifesto of Futurist Cooking

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Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo Fillia's Manifesto of Futurist Cooking, published in Turin's Gazzetta del Popolo on December 28, 1930. In 1932, Marinetti and Fillìa expanded upon these concepts with The Futurist Cookbook.

According to Marinetti, he developed his concept of Futurism on October 11, 1908 while he was pondering the liberation of the Italian lyrical genius. He concluded that, for this to happen, it is necessary to change the method by going down into the streets, by attacking the theaters, and by bringing "the fist into the midst of the artistic struggle." When he introduced Futurist cooking, it was directed at combining gastronomy and art as well as the transformation of dining into a performance art. The Futurist movement recognized that people "think, dream and act according to what they eat and drink" so cooking and eating needed to become subservient to the proper aesthetic experience that Futurism favored. It has been associated with the notion of avant-garde in the sense that Futurist banquets are seen as great performances. Futurist food is also considered a means to address political and social issues. Marinetti's Manifesto has been described as a satirical polemic more than a cooking manual and was published in response to the Italian economic needs during the Depression.

As it expects the overturning of set patterns, some of its more interesting ideas for the realm of cuisine include the rejection of pasta, as it causes lassitude, pessimism and lack of passion. The omission is in preparation for war as it is seen as a novel way to strengthen the Italian race. The historian Carol Helstosky explains that "the Futurist proposal to abolish pasta was intended to transform Italians from pasta-eating brigands and mandolin players to modern, active citizens. The abolition of pasta would also reduce Italy's dependence on foreign wheat supplies." This was also in accordance with Benito Mussolini's "Battle for Wheat," begun in 1925, which aimed to decrease Italian dependence on foreign wheat. Another idea in the Manifesto establishes that perfect meals require two elements: originality and harmony in table setting. Futurists maintain that these include all implements, food aesthetics and tastes, and absolute originality in the food. Marinetti also stressed the importance of sculpted foods, including meats whose main appeal is to the eye and imagination. This was demonstrated in the case of the Equator + North Pole edible food sculpture by Enrico Prampolini, which involved a cone of firmly whipped egg whites adorned with orange segments that resembled the rays of the sun and set on an equatorial sea of poached egg yolks. In futurist cooking, the knife and fork are also abolished while perfumes are added to enhance the tasting experience.

The Manifesto of Futurist Cooking also proposed that the way in which meals were served be fundamentally changed. For example:

Some food on the table would not be eaten, but only experienced by the eyes and nose

Food would arrive rapidly and contain many flavors, but only a few mouthfuls in size

All political discussion and speeches would be forbidden

Music and poetry would be forbidden except during certain intervals

One of the proposed settings for these "perfect meals" incorporated the Futurist love of machinery. The diners would eat in a mock aircraft, whose engines' vibrations would stimulate the appetite. The tilted seats and tables would "shake out" the diners' pre-conceived notions, while their taste buds would be overwhelmed by highly original dishes listed on aluminium cards.

Traditional kitchen equipment would be replaced by scientific equipment, bringing modernity and science to the kitchen. Suggested equipment included:

Ozonizers-to give food the smell of ozone

Ultraviolet ray lamps-to activate vitamins and other "active properties"

Electrolyzers-to decompose items into new forms and properties

Colloidal mills-to pulverize any food item

Autoclaves, dialyzers, atmospheric and vacuum stills-to cook food without destroying vitamins

Chemical indicators or analyzers-to help the cook determine if sauces need more salt, sugar, or vinegar

By the time Marinetti published La Cucina Futurista in 1932, a rift had developed between the Futurist movement and Fascism, as evidenced by their contrasting orientation towards cuisine; the Futurists advocated for new methods of cooking, broadening the sensory experience, while Fascism worked to consolidate and spread classic "Italian" cuisine to the masses as a means of producing a modern and unified nation-state. Futurist cooking emphasized presentation and multisensory impression, revelling in transgression and shock value. As the historian Carol Helstosky demonstrates, "food sculptures and seemingly odd food pairings (meat and cologne or mussels and vanilla creme) heightened the tactile and sensory experience of the meal." Furthermore, the controversy generated by the anti-pasta campaign and the bizarre recipes in La Cucina Futurista succeeded in generating media attention for Futurism at a time when the movement had been in decline, by directly addressing Italian food supply and consumption, concerns which had become central to the political agenda of Fascism during the 1920s.

Mussolini's " Battle for Grain" was inaugurated in 1925 as part of a broader goal of Autarky, or self-reliance of the Italian food system by increasing domestic food production and reducing or eliminating the import of foreign food. According to Helstosky, "Italy's mounting debt and growing dependence on external powers for subsistence" had become untenable by the end of World War I, and thus "food performed a great deal of cultural and political 'work' under fascism." The ideological differences between Fascism and Futurism had grown as Fascism negotiated a compromise with the middle-class and embraced tradition while Marinetti and the Futurists continued their evangelism for the new.

Nonetheless there were still important areas of convergence, particularly the shared embrace of aluminium. According to Daniele Conversi, a researcher in nationalism studies, "Aluminum was the futurist material par excellence: it was shiny, modern and entirely produced in Italy." For the latter reason, Fascism too had embraced the material as Italy's national metal, which continues to be central to Italian identity due to its relationship with the preparation of coffee. Caffé espresso was first introduced during this period in order to make the consumption of coffee quicker, and to minimize opportunities for political discussion. Caffeine's properties a stimulate made it a natural fit with both Fascist and Futurist ideologies, and Marinetti quite famously regularly introduced himself as "the caffeine of Europe." The first espresso coffee maker, the Moka Express, was created and marketed by Alfonso Bialetti in 1933, and benefited from Futurist advertising and publicity.

The Italian public was not won over by Marinetti's manifesto regarding cuisine. In fact, immediately following its publication the Italian press broke into uproar. Doctors were measured in their response, agreeing that habitual consumption of pasta was fattening and recommending a varied diet; but the Duke of Bovino, Mayor of Naples, was firmer in his views: "The angels in Paradise," he told a reporter, "eat nothing but vermicelli al pomodoro [fine spaghetti with tomato sauce]." Marinetti replied that this confirmed his suspicions about the monotony of Paradise.

The Futurists amused themselves and outraged the public by inventing preposterous new dishes, most of which were shocking due to their unusual combinations and exotic ingredients. For example, mortadella with nougat or pineapples with sardines. Marinetti wanted Italians to stop eating foreign food and to stop using foreign food words: a bar should be called quisibeve (literally, "here one drinks" in Italian), a sandwich should be called traidue (between-two), a maître d'hôtel a guidopalato (palate-guide), and so on. Elizabeth David, the cookery writer, comments that Marinetti's ideas about food contained a germ of common sense, but behind his jesting lay the Fascist obsession with nationalism. Marinetti wanted to prepare the Italians for war. "Spaghetti is no food for fighters," he declared.

Futurist cooking has had a wide influence, and like other aspects of the movement, some manifestations of this influence would only be realized many decades later. La Cucina Futurista anticipated that science would play a growing role in food consumption and diet. Marinetti expected synthetic foods to redefine nutrition, correctly anticipating the important role played by food science. Futurism was, however, largely an artistic and cultural movement, and its influence in these areas is vast. The first Futurist restaurant, the Taverna del Santopalato, was opened in Turin at Via Vanchiglia 2, on March 8, 1931. Designed by Marinetti, Fillìa, and Nikolay Diulgheroff, its clean and minimalist interior, marked by a prevailing use of aluminium, was in stark contrast to the traditional Italian dining experience, anticipating future restaurant design. It has also been suggested that Marinetti's pioneering interest in food chemistry anticipated the Molecular gastronomy of chef's like Ferran Adrià, or the incorporation of influences from contemporary art by chef Massimo Bottura. The influence of Futurist cooking also has had more mundane manifestations, including the tactile experience of Finger food, the emergence of Fusion cuisine, and the emphasis on presentation developed in Visual Food or Food design. It has also been suggested that some of the ideals of Futurist cooking influenced the Slow food movement, founded by Carlo Petrini in Italy in 1986 in reaction to the spread of Fast food. While slowness is certainly not a value shared by the Futurists, both movements propose alternative models of in opposition to a globalized food system.

Italian Breasts in the Sunshine: A Futurist dessert that features almond paste topped with a strawberry, then sprinkled with fresh black pepper.

Diabolical Roses: Deep-fried red rose heads in full bloom.

Divorced Eggs: Hard boiled eggs are cut in half; their yolks are removed and put on a "poltiglia" (puree) of potatoes, and their whites on one of carrots.

Milk in a Green Light: A large bowl of cold milk, a few teaspoons of honey, many black grapes, and several red radishes illuminated by a green light. The author suggest it be served with a "polibibita" or cocktail of mineral water, beer, and blackberry juice.

Tactile Dinner: A multi-course meal featured in Marinetti's The Futurist Cookbook. Pajamas have been prepared for the dinner, each one covered with a different material such as sponge, cork, sandpaper, or felt. As the guests arrive, each puts on a pair of the pajamas. Once all have arrived and are dressed in pajamas, they are taken to an unlit, empty room. Without being able to see, each guest chooses a dinner partner according to their tactile impression. The guests then enter the dining room, which consists of tables for two, and discover the partner they have selected.

Sequence is essential to traditional Italian meals, and thus the Futurist cooking also manipulated expectations by inverting the order of course and other modifications.

The meal begins. The first course is a 'polyrhythmic salad,' which consists of a box containing a bowl of undressed lettuce leaves, dates and grapes. The box has a crank on the left side. Without using cutlery, the guests eat with their right hand while turning the crank with their left. This produces music to which the waiters dance until the course is finishe

The second course is 'magic food', which is served in small bowls covered with tactile materials. The bowl is held in the left hand while the right picks out balls made of caramel and filled with different ingredients such as dried fruits, raw meat, garlic, mashed banana, chocolate, or pepper. The guests cannot guess what flavor they will encounter next.

The third course is 'tactile vegetable garden,' which is a plate of cooked and raw green vegetables without dressing. The guest eats the vegetables without the use of their hands, instead burying their face in the plate of vegetables, feeling the sensation of the greens on their face and lips. Each time a guest raises their head to chew, the waiters spray their face with perfume.

Apollinaire, Guillaume. Le gastro-astronomisme ou la cuisine nouvelle / Il gastro-astronomismo o la cucina nuova./ L'ami Méritarte / L'amico Méritarte, Venezia: Damocle Edizione 2018.

Conversi, Daniele. "Art, Nationalism and War: Political Futurism in Italy (1909-1944)." Sociology Compass, January 2009. 3(1): 92 - 117.

Cutini, Paola (20 February 2016). "Culinaria e il "Manifesto della Cucina futurista"". RAI. Retrieved 2 November 2021.

Davidson, Alan. "Futurist meals," in Oxford Companion to Food. Oxford: Oxford UP, 1999: 327.

Helstosky, Carol. "Recipe For The Nation: Reading Italian History Through La Scienza In Cucina And La Cucina Futurista." Food and Foodways, 11:2-3, (2003) 113-140.

Ibba, Roberto, and Domenico Sanna. "Food and the Futurist 'Revolution'. A Note." Journal of Interdisciplinary History of Ideas, 2016-04-01, Vol.4 (8)

Marinetti, Filippo Tommaso, e Fillìa, (1932) La Cucina Futurista, (ed. Pietro Frassica). Milan: Viennepierre Edizioni, 2009.

Marinetti, F.T. (1932) The Futurist Cookbook. Suzanne Brill, trans, Lesley Chamberlain, ed. New York: Penguin Classics, 2014.

Novero, Cecilia. "Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art." University of Minnesota Press, 2010.

Schnapp, Jeffrey T. (2001). "The Romance of Caffeine and Aluminum". Critical Inquiry. 28: 244-269.

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Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo Fillia's Manifesto of Futurist Cooking, published in Turin's Gazzetta del Popolo on December 28, 1930.

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Mound of Butter is a still life painting of a mound of butter, by the 19th-century French realist painter Antoine Vollon made between 1875 and 1885. The painting is in the National Gallery of Art in Washington D.C., with the New York Times calling it one of "Washington's Crown Jewels".

Throughout his career, Vollon was best known as a painter of still lifes, this including his landscapes and figures. He was part of the French Realist movement, and in his lifetime achieved celebrity status, earning a number of prestigious awards such as the Legion of Honor, and declared "the Chardin of his day" (alluding to the French master of still life paintings, Jean-Baptiste-Siméon Chardin). In the late nineteenth century, Vollon's paintings maintained popularity, and thus many of his works are in private collections today. French writer Alexandre Dumas, fils and fellow American painter William Merritt Chase, for example, collected his various artworks.

Vollon was a member of the Académie des Beaux-Arts, and his works were present at the Paris Salon for over thirty years, together with other realist French painters like Charles-François Daubigny, Alexandre-Gabriel Decamps, Jean-Baptiste-Camille Corot, Henri Fantin-Latour and Eugène Boudin, but Vollon is not quite as celebrated or remembered today as his other French Realist colleagues such as Corot and Fantin-Latour.

The painting is a great example of Vollon's still life art, depicting a mound of butter, coloured in rich, deep yellow colour (presumably from the carotene of the fresh plants that grazing cows commonly eat on barn fields). At the time when Antoine Vollon lived, it was usual to purchase the butter from the farmer, handmade.

Typically, after milking, the cream is to be collected, churned and the butter lumps are kneaded by hand or worked with a spatula to get rid of the moisture from it, because the high amounts of buttermilk would shorten its storage life. Back then, butter was usually stored wrapped in a cheesecloth, in a cool place. In the painting, the butter mound's cloth is falling loosely over a couple of eggs beside it.

The painting also has thick marks layered on top of the artist's brush-work, probably meant to illustrate the marks after the butter knife was used to spread butter with; or the wooden spatula, used to spread the butter with and also used in producing the butter. Kitchen scenes, food preparation, and depiction of everyday objects were a usual subject for still lifes in Vollon's time.

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Mound of Butter is a still life painting of a mound of butter, by the 19th-century French realist painter Antoine Vollon made between 1875 and 1885. The painting is in the National Gallery of Art in Washington D.C., with the New York Times calling it one of "Washington's Crown Jewels".

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Food Photography 101: How to Take Perfect Pictures of Your Food

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Professional-looking photographs can be shot by beginners on something as simple as an iPhone. Here’s how... 1. Prepare your food to be photo-ready.

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The kids made graham cracker gingerbread houses at school on Friday to celebrate the last day of school before the winter break. Being the way cool mom that I am, I let the kids have 10 minutes to go to town on the houses on Friday night and on Saturday night- which proved to be a great bribe to get kids to eat their dinner each night. Friday night, they ate 3/4 of the candy off of the houses. Saturday night, candy gone from one house completely and almost gone from the other, the kids discovered that they could eat the houses themselves. Hilarity- and an insane sugar high- ensued.

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The kids made graham cracker gingerbread houses at school on Friday to celebrate the last day of school before the winter break. Being the way cool mom that I am, I let the kids have 10 minutes to go to town on the houses on Friday night and on Saturday night- which proved to be a great bribe to get kids to eat their dinner each night.

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Learn how to make a vegan cake that will impress even non-vegans! This list has all the delicious vegan cake recipes you could ever need!
30 Epic Vegan Cake Recipes

Is it still my birthday? I think I'm still in celebration mode because I've got cake cake cake on the brain. But honestly, what's new?

Is there really any better way to show someone love than by baking them a cake? Yeah, you can cook them a casserole or a big pot of pasta, but a cake? It's like a universal way to say I LOVE YOU.

I've always loved to bake. The height of my baking phase included obsessively watching Ace of Cakes and buying lots of fondant. That was fun. But now, I go for the vegan cake, and I'm totally not missing out on anything. I promise you can learn how to make a vegan cake that will taste just as good as the classics you love.

If these 30 EPIC cakes don't show you that vegan cake can be absolutely delicious, then nothing will. This list has a vegan version of every cake you could possibly want - vegan chocolate cake, lemon olive oil cake, vegan strawberry cake, classic vanilla. We've got it all. Consider this your vegan cake bible. In fact, I highly recommend you pin it so you have it saved the next time you need to make a delicious vegan cake!

Classic Vegan Vanilla Cake Recipes

Chocolate or vanilla? In my opinion, they each have their time and place, but I feel like there's nothing more classic than a slice of vanilla cake. And believe me when I tell you that you don't need dairy-based butter to make a rich, buttery tasting vanilla cake. Here are three takes on vegan vanilla cake that will please anyone at your party.

Vegan Fruit-Based Cake

How do you jazz up a vanilla cake? Add fruit! Zesty lemons, luscious coconut and juicy strawberries can all liven up a vegan cake recipe. Here are all of my favorite fruit-baed vegan cakes to enjoy during the warmer months. Or really any time of year, let's be honest!

Vegan Chocolate Cake Recipes

I think at some point in our lives, we have all experienced a chocolate cake craving. Is there a more crave-able food? It's rich, fudgy, and my mouth is honestly watering just thinking about it. Here are my favorite vegan chocolate cake recipes. I promise these won't disappoint the next time you want something decadent!

Vegan Spice Cakes

Spiced cakes are synonymous with winter. Warming spices are so comforting, and when combined with cake I swear there's truly nothing cozier. We use warm spices in gingerbread, cinnamon rolls and chai, and it's time to translate some of those delicious flavors into cake! Here are some of my favorite vegan cake recipes filled with cozy spiced notes.

Vegan Coffee Cake Recipes

I don't know about you, but I love a good slice of coffee cake in the morning. Especially one with that classic crumbly, streusel topping or a drizzle of glaze. My mouth is watering just thinking about it! Coffee cakes are also typically pretty easy to make! Here are a few vegan coffee cake recipes to try the next time you're looking for a fun morning treat!

Vegan Cheesecake Recipes

We could argue allllll day over whether or not cheesecake is a cake or a pie, but for today, we're counting it as a cake because it belongs on this list of vegan cake recipes. Don't let the name deceive you - you can absolutely make a delicious vegan cheesecake, even without dairy-based cheese. There are so many delicious flavors that you can infuse into a cheesecake, and these are just a few of my favorites!

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Learn how to make a vegan cake that will impress even non-vegans! This list has all the delicious vegan cake recipes you could ever need! Is it still my birthday? I think I'm still in celebration mode because I've got cake cake cake on the brain. But honestly, what's new?

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Ooit gegeten: een amuse, geheten 'cappuccino van verse doperwten', een schuimig soepje, heerlijk luchtig. Ik vind de smaakbeleving van schuimige soepen heerlijk, hoe wordt dit gemaakt? En hoe behoud je de luchtige structuur, wanneer je dit voor meerdere mensen wilt maken?

Marianne Kramer

Hoewel ik de huidige schuimrage onder chefkoks maar matig vind (ik at eens hutspotschuim met rookworstschuim en moest eerder aan Olvarit dan aan haute cuisine denken), is zo'n schuimige soep wel een mooie culi-uitvinding. Schuim bestaat uit minuscule luchtbelletjes en die vormen een ideaal transportmiddel voor aroma's. Door een soep op te kloppen zorg je dus voor een intensere smaakbeleving. In restaurantkeukens komen aan zulke hippe schuimen hippe hulpmiddelen te pas die wij thuiskoks ontberen. (Of u moet toevallig een adresje hebben voor schuimpoedertjes als Ovoneve of Pro Espuma.) Maar geen nood. Met een staafmixer en een pak sojamelk komt u er ook. In sojamelk zit namelijk lecithine en dat helpt bij het omzetten van een vloeistof in lucht. Wie een koemelkallergie heeft, en zijn cappuccino maakt met sojamelk, weet wat een riant en bovendien stabiel schuim dat oplevert.

Voorjaarsschuimsoepje

voor 4 personen

2 el olijfolie 1 bosje lente-ui, fijngesneden snuf zout snuf gedroogde lavaswortel (natuurwinkel) of een paar blaadjes verse lavas 1 bosje platte peterselie 100 g (diepvries)doperwten 250 ml ongezoete sojamelk 100 g (wilde) spinazie een paar takjes verse dille

Smoor de lente-ui zachtjes 10 minuten in de olijfolie, samen met de grof gehakte peterseliestelen, een snuf zout en de lavaswortel. Voeg de doperwten, de sojamelk en 350 ml water toe en breng aan de kook. Laat zachtjes 10 minuten koken en voeg dan de grof gehakte spinazie en grof gehakte dille toe. Kook nog een paar minuten en haal de pan van het vuur. Pureer de soep volkomen glad met een staafmixer. De soep is nu vanzelf ietsje afgekoeld, en dat is mooi, want de optimale temperatuur om hem op te schuimen is rond de 80 graden. Houd de pan schuin en ga met de staafmixer oppervlakkig op en neer om er zoveel mogelijk lucht in te kloppen. Verdeel de schuimende soep over 4 koffiekopjes of glaasjes en serveer direct.

Janneke Vreugdenhil heeft een kookrubriek op nrc.tv

Nieuwsbrief NRC Eten & Gezondheid

De laatste inzichten over eten, de lekkerste recepten en slimme tips om gezond te leven

Een versie van dit artikel verscheen ook in NRC Handelsblad van 28 maart 2009.

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Ooit gegeten: een amuse, geheten 'cappuccino van verse doperwten', een schuimig soepje, heerlijk luchtig. Ik vind de smaakbeleving van schuimige soepen heerlijk, hoe wordt dit gemaakt? En hoe behoud je de luchtige structuur, wanneer je dit voor meerdere mensen wilt maken?

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