Filed under: Seasons

Feminist Film Screening

Together with curator Kim McAleese, Underverk presented a set of feminist film screenings punctuated by food provided by meal ecologist Ayhan Aydin and experience designer Josefin Vargö, who translated certain elements from the film into taste.

A set of food snacks were presented during Underverk’s feminist film screenings, co-curated together with Kim McAleese.

For each film certain elements were translated into taste and interaction. Produced together with meal ecologist Ayhan Aydin.

Film 1: La Blanchisseuse, Rohesia Hamilton, 1993.

An experimental video examining the emotional and aesthetic underpinnings of the tendency that still exists for women to take a greater responsibility than men for domestic work and nurturing. The images of a woman ironing pay homage in their composition to paintings of laundresses by such artists as Edgar Degas, Honor, Daumier, Edouard Manet, Henri de Toulouse-Lautrec and others. Many of the paintings of laundresses by these artists create an ambiguously gentle impression, portraying the task of laundry as sensual, feminine, and producing contentment.

La Blanchisseuse examines the relationship between the images with which we have grown up and the expectations women place upon themselves. Equally poignant texts; from Intrusion (Denise Levertov), Snapshots of a Daughter-in-Law (Adrienne Rich), and To The Lighthouse (Virginia Woolfe) scroll over the images, alluding both to the pull of tradition for a woman to provide nurturing care to others and to the sense of betrayal and rejection that can be the reward for providing such care.

FOOD ACCOMPANIMENT: Steamed dumplings, filled with foraged greens, served in linens on an ironing board. The texture is very soft, while the taste goes from subtle to bitter tones to resemble the conflict of domestic labour.

Film 2: Semiotics of the Kitchen, Martha Rosler, 1975

In this performance Rosler takes on the role of an apron-clad housewife and parodies the television cooking demonstrations popularized by Julia Child in the 1960s. Standing in a kitchen, surrounded by refrigerator, table, and stove, she moves through the alphabet from A to Z, assigning a letter to the various tools found in this domestic space. Wielding knives, a nutcracker, and a rolling pin, she warms to her task, her gestures sharply punctuating the rage and frustration of oppressive women’s roles.
Rosler has said of this work, “I was concerned with something like the notion of ‘language speaking the subject,’ and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.”

FOOD ACCOMPANIMENT: ‘Semiotics of a carrot’; X small carrot cubes, Y dried purple carrots, Z carrot caramels, showing the value of an ingredient. This was shared on a long wooden board, between 3-4 people.

FIlm 3: Our Time Is Coming, Selma James, 1971.
Selma James, a socialist and feminist, uses her own experiences working in low-paid jobs and being a mother and housewife as a starting point in this investigation into whether women are exploited in all areas of society. Interviews with full-time housewives, and with females who work outside the home but still do almost all of the household chores, reveal the true extent of women’s work. James goes on to ask whether equal pay outside the home and a real division of housework between men and women will ever become a reality.

In 1972, a year after this programme was broadcast, a key work by Selma James, Power of Women and the Subversion of the Community, was published. In this, she expands on the ideas put forward in the programme and argues that the entire labour market is built upon the unpaid work of women. Also in 1972, James set up the International Wages for Housework Campaign, which argues that running the home should be recognised as work in official statistics and that people doing this labour should be paid a wage by the government.

FOOD ACCOMPANIMENT: A big pot with a miso-dashi soup, served in paper mugs. They will huddle around two small bonfires, the perfect environment to create a communal feeling for discussions and opinions.

Supported by Stockholms Stad and CuratorLab Konstfack.

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Feminist film screenings: 12 May

For many women, the home was a natural subject of artistic production as a highly charged site of rampantly contradictory meanings. As Lucy Lippard noted, ‘[women artists] work from such [household] imagery because it’s there, because it’s what they know best, because they can’t escape it.’

Together with curator Kim McAleese, Underverk presents a set of feminist film screenings punctuated by food provided by meal ecologist Ayhan Aydin and experience designer Josefin Vargö, who have translated certain elements from the film into taste.

In this film programme, the artists explore domestic issues such as motherhood, familial relationships, control of physical space and the preparation and consumption of food.

20:00-20:30 — Course 1: Blanchisseuse, a steamed introduction.
20:40-20:50 — Course 2: Semiotics of the Carrot, the value of an ingredient.
21:00-22:00 — Course 3: Our time is coming, communal soup experience.

Limited food, available on first come, first served basis.
RSVP to hej@underverk.in

Ayhan Aydin (Meal Ecologist) works interdisciplinary with how the food system as a whole functions. Aydin integrates social sciences, natural sciences, food craftsmanship and practical farming. Ayhan has previously participated in the projects Restaurant roam (Parkteatern), Fittja Open (Botkyrka Konsthall), Nordic Sound Bite (New Nordic Food). In the three different projects, food has been a central and fundamental part of the story.

Photo from Rohesia Hamilton Metcalfe: La Blanchisseuse (1993)

Supported by Stockholms Stad and CuratorLab Konstfack.

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Housewarming Dinner at Konsthall C

In Konsthall C’s kitchen, together with curator Kim McAleese, Underverk invited commercial ‘chef’ and a domestic ‘cook’ to respond to the questions posed in the Mierle Laderman Ukeles’ Manifesto for Maintenance Art.

Produced in 1969, the manifesto connected to other feminist activities around the world which began to articulate the gendered inequities between paid and unpaid labour. The chefs Josefin Günther and Magdalena Günther were invited to make a dinner, using the food as their material to convey what they believe to be ‘maintenance work’ as an attempt to readdress the issues raised in Ukeles manifesto.

The dinner was part of the public program of the Ukeles exhibition at Konsthall C, the idea being that members of the public are invited to engage in some of her thoughts and artistic concepts over a meal in the space.

30 guests joined the dinner and together we discussed our thoughts about maintenance work with the following four courses:

First Course
The Perfect Façade
A selection of vegetarian and vegan canapés

Main Course
The Sacrifice…Blood, Sweat and Ears
Polish beetroot soup and Uszka

Dessert
The Disposal
To be enjoyed with your hands

After Dessert
The Notion
One for everyone to take away

Josefin Günther is a sommelier currently working as a freelance writer. Food, beverages, scents and flavours have always been a very big and natural part of her life and she is always looking to add new scents and flavours to her palate. Finding new ways of expressing what we experience when we eat and drink is an ongoing home-project of hers.

Originally from Poland, Magdalena Günther came to Stockholm via Copenhagen where she attended a College of Arts. Her entire professional career as a graphic designer/art director has been spent trying to juggle work, family and social interactions. Her passion lies in exploring gastronomy and culture from other countries, and she has always cooked.

Photos by Konsthall C and Underverk

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Season 5 • Köket: 7 April — 26 May

For Season 5 Underverk collaborates with curator Kim McAleese and together we present a series of food events spanning April and May 2015, which will focus on home labour and the gender divide in relation to domestic tasks (such as cooking, cleaning and maintenance). The projects will ask whether much has changed -if anything at all- since the feminist protests of the early 1970s.

The discussions and participation in the presented food events contribute a vital part of and act as the core material of the project’s research. The results and documentation will be presented in a printed matter acting as the final piece of the programme.

Housewarming Dinner
April 7, 19:00—21:00

In Konsthall C’s kitchen, an invited commercial ‘chef’ and a domestic ‘cook’ will respond to the questions posed in the Mierle Laderman Ukeles’ Manifesto for Maintenance Art.

Produced in 1969, the manifesto connected to other feminist activities around the world which began to articulate the gendered inequities between paid and unpaid labour. The chefs Josefin Günther and Magdalena Günther are invited to make a dinner, using the food as their material to convey what they believe to be ‘maintenance work’ as an attempt to readdress the issues raised in Ukeles manifesto.

The dinner is part of the public program of the Ukeles exhibition at Konsthall C, the idea being that members of the public are invited to engage in some of her thoughts and artistic concepts over a meal in the space.

Josefin Günther is a sommelier currently working as a freelance writer. Food, beverages, scents and flavours have always been a very big and natural part of her life and she is always looking to add new scents and flavours to her palate. Finding new ways of expressing what we experience when we eat and drink is an ongoing home-project of hers.

Originally from Poland, Magdalena Günther came to Stockholm via Copenhagen where she attended a College of Arts. Her entire professional career as a graphic designer/art director has been spent trying to juggle work, family and social interactions. Her passion lies in exploring gastronomy and culture from other countries, and she has always cooked.

Feminist Film screenings
May 21, 19:00—21:00
Underverk’s studio, Brännkyrkagatan 13c

For many women, the home was a natural subject of artistic production as a highly charged site of rampantly contradictory meanings. As Lucy Lippard noted, ‘[women artists] work from such [household] imagery because it’s there, because it’s what they know best, because they can’t escape it.’

A set of feminist film screenings punctuate by food provided by meal ecologist Ayhan Aydin and experience designer Josefin Vargö, which is designed to create and host an environment to foster discussions.

In this film programme, the artists explore domestic issues such as motherhood, sexuality, death, familial relationships, control of physical space and the preparation and consumption of food.

Ayhan Aydin (Meal Ecologist) works interdisciplinary with how the food system as a whole functions. Aydin integrates social sciences, natural sciences, food craftsmanship and practical farming. Ayhan has previously participated in the projects Restaurant roam (Parkteatern), Fittja Open (Botkyrka Konsthall), Nordic Sound Bite (New Nordic Food). In the three different projects, food has been a central and fundamental part of the story.
Supper club dinner
May 26
Time and place TBC

We finish the season with a dinner to bring people together in a private and intimate setting to encourage an exchange of ideas regarding identity, work and activities in the domestic space. We invite a chef to lead the workshop and discussion. More information soon!

Supported by Stockholms stad, CuratorLab/Konstfack and Konsthall C

Photo by: Suzanne Lacy, ‘Learn where the meat comes from’ (1976)

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Housewarming Dinner: 7 April

The first event for Season 5 takes place at Konsthall C and deals with the value of domestic work in the kitchen.

In Konsthall C’s kitchen, curators Kim McAleese and Josefin Vargö have invited a commercial ‘chef’ and a domestic ‘cook’ to respond to the questions posed in the Mierle Laderman Ukeles’ Manifesto for Maintenance Art 1969!

Produced in 1969, the manifesto connected to other feminist activities around the world which began to articulate the gendered inequities between paid and unpaid labour. The chefs Aaron Colman and Josefin Günther are invited to make a dinner, using the food as their material to convey what they believe to be ‘maintenance work’ as an attempt to readdress the issues raised in Ukeles manifesto.

Invited guests will be asked the same questions to encourage a discussion about gendered division of labour and how that looks today.

The event is free but has limited capacity – you can register your attendance, before 6th of April, at osa@konsthallc.se

With support from Stockholm stad and Konstfack/CuratorLab.

Photo by: Wages for Housework c.1975 Designed by B. Warrior

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OAZA GOES NORTH • FOOD WORKSHOP

During Stockholm Design Week 2015 Nina Bačun and Maja Kolar from the OAZA design collective held a one hour food workshop in conjunction with an exhibition showcasing products from their ’Handed Down Collection’.

Participants were first given a descriptive presentation of the products, their functional contemporary use and their historical background relating to Croatian traditions and craft. OAZA then served a traditional wine soup together with polenta, bread, anchovies and olive oil, all ingredients from Croatia.

Leading up to the exhibition Studio Daphne Zuilhof lured in curious visitors with intriguing light reflections. Zuilhof works with the subtle beauty of light reflections, evoking wonder and curiosity. In the outside space leading up to the exhibition lights are placed with an intriguing effect, created with the modest means of light and water.

Underverk’s co-founder Josefin Vargö curated the experience and graphic designer Ludwig Haslberger designed a limited edition towel for the event.

Photography: Stephanie Wiegner

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OAZA GOES NORTH • FOOD WORKSHOP: 3 February

During Stockholm Design Week 2015 and in collaboration with UNDERVERK, Nina Bačun and Maja Kolar from the design collective OAZA hold a one hour food workshop while discussing Croatian ingredients, craft and design. Guests get to taste a traditional Croatian wine soup served with polenta, bread, anchovies and Croatian olive oil inspired by their showcased products. Together we learn how to pickle anchovies using their product ‘Preserving Summer’.

*All guests receive an exclusive kitchen towel designed by Ludwig Haslberger made for the event.

Guests must be 18 years of age and older.

Book tickets here.

Time: 17:30 – 18:30
Location: Brännkyrkagatan 13, Stockholm

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Kitchen Towel OAZA GOES NORTH

A kitchen towel print designed by Underverk’s graphic designer Ludwig Haslberger for OAZA GOES NORTH.

Limited edition, 80 SEK
Send an email to hej@underverk.in if you would like to purchase one.

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SEASON 4 — OAZA GOES NORTH: 3 February

For Season 4 Underverk has invited the design collective OAZA from Croatia to exhibit their ‘Handed Down’ collection in Stockholm. Together we host a food workshop and discuss Croatian food and craft traditions.

The collection investigates different aspects of Croatian tradition within craft, as well as various possibilities of innovations in the given context. Series of projects and developed products related to ‘Handed Down’ concept are a result of a strategy which mainly uses historical, cultural and social resources throughout the developing phases, and acts as a reflection on forming new relations in specific local environment and its requirements. By strong virtue of conceptual and problem-based character, the project unfolds space for possible deliberation and positive promotion of Croatian design.

The selected collection of objects and concepts establishes a direct relation with existing artefacts strongly rooted in tradition, as well as it provides their new modernity by using new technologies, which helps to bring new values and functions of these objects. The design approach reflects itself by activating and preserving forgotten crafts and techniques, and through the exchange of knowledge between designers and artisans, consequently opening up a discourse for potential follow-up and collaborative scenarios, which Oaza is very keen on realising.

Opening Reception
OAZA GOES NORTH
February 3, 19:00—21:00
B13, Brännkyrkagatan 13c

An exhibition showcasing five unique products from OAZA’s ‘Handed Down’ concept. Come meet Nina Bačun and Maja Kolar from the collective and enjoy some Croatian treats.

Rogoz backpacks will be available to purchase, limited supply. Underverk’s graphic designer Ludwig Haslberger has designed an exclusive kitchen towel for the exhibition which will also be for sale.

Leading up to the exhibition Studio Daphne Zuilhof will lure in the curious visitors with intriguing light reflections. Zuilhof works with the subtle beauty of light reflections, evoking wonder and curiosity. In the outside space leading up to the exhibition lights are placed with an intriguing effect, created with the modest means of light and water.

EXHIBITION OBJECTS
Rogoz, 2013
Rogoz (backpack) was made as the Logožar (bag), from the past, used mostly for the purchase of food from the market. It is part of the material culture associated with the dying
tradition of wickerwork. Both are made on a loom from the bulrush plant treads. Elaboration and reinterpretation of logožar include updating of existing forms with the addition of new materials and functions (introducing backpack form), with the aim to target younger population.
Rogoz, model A (large) 900 SEK
Rogoz, model B (small) 800 SEK

Lightwear, 2012/13
Intriguing pageantry of women’s national costumes, as well as their fall into oblivion, have inspired a contemplation about the new contextualization that would bring them back to life
outside the museums. The bottom part of the costume from Bizovac (Croatia) embeds specific traditional handwork techniques, such as embroidery, needle lace and pleating. As a lampshade, it preserves the shape, typological layering and decorative details. In 2013 Lightwear was transferred from the realm of handmade to the industrial realm by using
the laser-cutting machine. New technology brings modern perspective to traditional handmade work, and enables a model for the preservation of certain motives from the
tradition.

Perserving Summer, 2013
Preserving Summer is the study of old-fashioned food preservation methods (conservation of value and quality). Existing utilitarian objects, containers or tools are mostly improvised versions, and their usage only suggests lack of a better solution. The intention of designing products for canning that combine several functions (food processing, storage and serving her) tends to popularize these traditional methods. The
usage logic is being read from the design and selection and finishing of materials. The finished product promotes locally specific food combinations and their preparation together
with a recipe for its reconstruction.

Oil on 2013
Functional set highlights the value and quality of olive oil as an independent food and investigating influence of its serving in relation to its use. Container for olive oil consists of an applicator in the form of a ball for controlled dispensing and smearing oil on the bread on the principle of a roll on.

Rakija to go, 2013
Collective fascination with the national drink is a product of mystical effect of this liquid that practically cures and fixes everything. Glass modification of Rakija obtaining apparatus,
literally exposes chemical processes of fermentation and distillation, otherwise hidden within the context of the house and backyard. The project problematizes home alcohol production restriction regulated by EU laws, and forced upon this very important segment of the country’s tradition.

Photo by Domagoj Kunić and Mare Milin.

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Bitter Sweet Sound

Meal ecologist Ayhan Aydin, Product Designer John Astbury and Experience Designer Josefin Vargö presented a sensoric installation that experimented with the effect of sound on taste. The installation that used findings from Condiment Junkie to explore how the tastes of chocolate, infused popcorn and fresh pressed juice is altered when listening to different frequencies. Set in Tegnérlundens serene Pavilion, it included 3 tastings.

Menu designed by Andrejs Ljunggren and Clara Chague.

Thanks to Angela Woda.

Photography: Jesper Ohlsson

Supported by Stockholms Stad

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