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Empty plates, The Food Project, 2013. Source: The Food Project (foodproject.utopiantheatres.co.uk)

Figure 6 Empty plates, The Food Project, 2013. Source: The Food Project (foodproject.utopiantheatres.co.uk)

Related Figures (6)

and the fetishization of the female body. It was probably too early for Oppenheim to be fully understood.
and the fetishization of the female body. It was probably too early for Oppenheim to be fully understood.
This is evident in Yayoi Kusama’s sculpture Oven-pan (1963), who used a pan, a slotted spoon lying among organic-looking sculptural elements resembling vegetables or penises, thus creating a “phallophagic” plate. By referring to items associated with the female domain of the kitchen, cooking and food presentation, Yayoi Kusama claimed a position in the art scene as a woman artist against the establishment (since time immemorial) of male creators whose genitals were now offered to be consumed. There was a lot of rage, resentment and é need to reclaim agency in this artwork: kitchen items became violent tools, spilling over death and revenge.
This is evident in Yayoi Kusama’s sculpture Oven-pan (1963), who used a pan, a slotted spoon lying among organic-looking sculptural elements resembling vegetables or penises, thus creating a “phallophagic” plate. By referring to items associated with the female domain of the kitchen, cooking and food presentation, Yayoi Kusama claimed a position in the art scene as a woman artist against the establishment (since time immemorial) of male creators whose genitals were now offered to be consumed. There was a lot of rage, resentment and é need to reclaim agency in this artwork: kitchen items became violent tools, spilling over death and revenge.
Whittuck. Source: Barrett Michéle & Baker Bobby (eds.),
Whittuck. Source: Barrett Michéle & Baker Bobby (eds.),
Medea’s Kitchen, The Food Project/Athena Stourna, 2013. Vine stills: Rachel Hann. Source: The Food Project (foodproject.utopiantheatres.co.uk) My own “performed recipe” echoed my frustration of coping with my responsibilities as a young mother and the insurmountable need to resume my life as an artist. Titled Medea’s Kitchen, it decomposed the stereotypical image of the woman-nurturer and focused on the “dark side” of female cooking. It looked at mythical women, such as Eve, Medea, and Circe who used their cooking, feeding, or deprivation in order to take revenge, kill, disseminate hatred, and display authority, in terms of a private matter or as part of a political act. While prepared the recipe for a traditional Greek cake, Mariana Kutulas-Vrsalovic played the accordion in the background of the kitchen and the other participants had their eyes blindfolded and listened to the stories. Traces of this cooking performance were left on the white tablecloth.
Medea’s Kitchen, The Food Project/Athena Stourna, 2013. Vine stills: Rachel Hann. Source: The Food Project (foodproject.utopiantheatres.co.uk) My own “performed recipe” echoed my frustration of coping with my responsibilities as a young mother and the insurmountable need to resume my life as an artist. Titled Medea’s Kitchen, it decomposed the stereotypical image of the woman-nurturer and focused on the “dark side” of female cooking. It looked at mythical women, such as Eve, Medea, and Circe who used their cooking, feeding, or deprivation in order to take revenge, kill, disseminate hatred, and display authority, in terms of a private matter or as part of a political act. While prepared the recipe for a traditional Greek cake, Mariana Kutulas-Vrsalovic played the accordion in the background of the kitchen and the other participants had their eyes blindfolded and listened to the stories. Traces of this cooking performance were left on the white tablecloth.
Rivers of Blood, performer: Anna Birch, director: Emmanouela Vogiatzaki-Krukowski, 2020 (video still) Jomestic Kitchen: From the Hidden Margins to the Virtual Epicentre
Rivers of Blood, performer: Anna Birch, director: Emmanouela Vogiatzaki-Krukowski, 2020 (video still) Jomestic Kitchen: From the Hidden Margins to the Virtual Epicentre
Related topics:
Female ArtistsPerformance SpacesFood and PerformanceExpanding ScenographyHistory of Kitchen
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