june–oktober 2017

Temporary exhibition

Open furniture storage, Kino Partizan


The kitchen is a space that reflects many social aspects of the society in its micro or macro appearances. With its culinary delights and radial balance positions of the participants of the space sitting around the table within which the informal hyperboles reflect the relationships in communities. Related relation is formed as a reflection of social relations within selected communities, in the expression of visual art. The latter could provide answers, questions, doubts, tips and facts on the assessment of movements or standstill positions in different forms of community.

In terms of content and expressive, project COOK THAT IS HARDWORKING AND PRETTY IS MOST PRAISEWORTHY is based on the underlying terms – conceptual elements that are related to the kitchen as well the visual art:

SPACE – kitchen and visual arts are reflection of a certain material and abstract space. Material space defines the physical layout of the exhibited material and reflects its characteristics, restrictions and advantages. The exhibited material reflects the abstract, a wider space of social, cultural and economic context. The dynamics of movement and association of different spaces is present in the kitchen (influence of different cuisines, kitchenware, people etc.) and visual art (exhibiting worldwide in different exhibition grounds, exhibition events are influencing on one another etc.). 

ART VALUE  – the visual elements (e.g. color, line, texture, shape) of the exhibited material is evaluated and analyzed. Terms are also used in food and are included as elementary building blocks of visual perception.

LIFE STYLE – kitchen/food are part of constructing our life style. Cafés are an integral part of museums and galleries. 

In the Slovene kitchen history people use paper or textile embroidered wall cloth that was placed over the stove. They were extremely visually narrative and at the same time exposing an argument related cooking and social context of domestic life, and establish a certain sociological position of gender equality in the context of cooking and kitchen. Historical images of wall cloths are taken as an inspirational visual starting point. The motifs of five female and one men human figures who are drown to the wall cloths are excluded from the original whole and social context of emergence, and in its contemporary updated version positioned as spatial installation in real size ratio. By moving around the space, visitors experience human figures from various angles and due to different perspective of viewing them and deconstruction of basic visuals of the body, a new body structure is formed responsive to the exhibited space. In addition to the deconstructed bodily forms with various visual interventions, around the exhibited room are hanging inscriptions, which are modified texts taken from the original embroidered wall cloths. The texts are witty, humorous, playful, instructive and sometimes even educational (Blessed is a woman who has a good man; There is nothing more beautiful in the world, as if home stands on happiness; Do not save the water, clean the dishes! etc.). Inscriptions define different identities that women acquire in the context of social consensus in process of cooking and in relation to the kitchen space. The exhibition is accompanied by the music.