2009 EAT-ART JAPAN AUSTRIA

CONCEPT

Concept (pdf)

The table and the mutual meal in art recipes from the transcultural cuisine

Concept and project direction Vienna: Caroline Fekete-Kaiser

Project direction Tokyo: Hiroko Inoue

“Transculturality – the Puzzling Form of Cultures Today”

Wolfgang Welsch

Transculturality – recognizing the foreign components,
of differing cultural origin, in us

Food: artistic media
Table: image-carrier, design object and basic symbol
for communication, sharing of meals, time and emotions

Recipe 1: Table landscape transcultural
Recipe 2: Fire Table
Recipe 3: Table fellowships

Transcultural Eat Art as a cookbook and ebook

An art project grounded on the occasion of the Austria-Japan-Year 2009. In an interdisciplinary approach the focus is directed on Eat-Art and Design. The table, especially the dining table or the guest table, serves herewith as metaphor, social allegory and central creative element. The underlying concept in the encounters between Austria and Japan is here the one of transculturality based on the article of the philosopher Wolfgang Welsch “Transculturality – the Puzzling Form of Cultures Today”. Whereas the traditional concept of single cultures, envisages cultures as closed spheres or autonomous islands, which in best case can exist next to each other in a separatist way, the concept of transculturality emphasizes interconnectedness, cultural entanglement, the heterogeneous and hybrid identity. While also the concepts of interculturality and multiculturality derive from the homogenizing exclusive idea of cultures, transculturality is based on inclusiveness, albeit differing from global uniformization.

Eat-Art as artistic expression enables the sensual perception of complex transcultural processes. The table and the mutual meal offer as stylistic device a plenitude of creative opportunities to express forms of unity. The table is the place for communication, sharing of food, time and emotions. Transcultural Eat-Art foresees a serial of events in Vienna and Tokyo, from May to November 2009, created by artists, designers, cultural actors and architects who live in Austria and Japan. All events will in different ways tackle the social and communicative aspects of sharing a table for a meal, the interplay of identities and metamorphosis. The projet participants from Austria and Japan will by means of exchange and interaction explore similarities, differences and overlappings.

The project is structured in three components which are compiled as recipe-collections 1 – 3 in an ebook, the “Cookbook Transcultural”:

Table landscape transcultural
The Fire-Table
Table fellowships

PROJECTS

Table landscape transcultural

is the mutual creation of a three-dimensional panel created by dishes. These dishes are based on 12 creative recipes from project participants from Austria and Japan. In each case a short personal story on Vienna or Tokyo will be translated into a recipe, a story of Vienna to be converted in a recipe with Japanese ingredients, and respectively a story of Tokyo using Austrian ingredients. There will be a trial cooking for each recipe in form of a cooking performance. In a first step the photo documentation of all results serves as base for the composition of a virtual table landscape. A full-scale print on canvas of this virtual table landscape is planned as an exhibit.

Der Feuertisch

is a changeable table that combines formal elements of Austria and Japan. The table consists of different layers that contain food and is equipped with an accumulation of cooking devices and the capability of generating different cooking grades. As such the dishes will be prepared on the table itself. This complex multifunctional design-table invites in an impressive way to experience the metamorphoses of food.

Table fellowships

consist of artistic photo serials from Vienna and Tokyo capturing the private frame of mutual meals, the family and friends table, as well as convivial circles of dinner guests in typical pubs.

ARTISTS

KYOKO ADANIYA-BAIER

www.shingolabel.com

Geboren in Tokyo, Japan.
1966-1970 Studium Malerei, Musik, Geographie,
Morehead State University, U.S.A.
1969-1970 Akademie der bildenden Künste, Wien
1972-1977 Universität für angewandte Kunst, Wien – Textil, Graphik.
Unterrichtstätigkeit an der Universität für Angewandte Kunst und am National Teachers College in Taiwan.
Mitglied Künstlerhaus Wien

Einzelausstellungen / Single Exhibitions (Auszug / Selection)

1998 „Moderne japanische Textilkunst,
Museum für Völkerkunde, Wien
Universitäts-Galerie, National Teachers
College in Taipei, Taiwan
1999 Art Studio Riki Allsop, Australien
2000 Aguni Rito Sogo Kultur Center, Okinawa, Japan
2001 Horizont 3000, Museum für Völkerkunde, Wien
2002/2003 MQ Kinder Museum
2003 Silber World Textil World,
Windspielgalerie, Wien
2004 „Federgewand für Göttin”,
Wort und Bild Galerie, Wien
2005 Galerie Marschalek,Wien
Aguni Rito Sogo Kultur Center, Okinawa, Japan

Auszeichnungen / Awards

Malereipreis des Staates Kentucky, USA
Grafikpreise der Universität für angewandte Kunst Wien
„Outstanding Award 2004” bei der International Fibre Art Biennale in Shanghai, China

HEIDULF GERNGROSS

Heidulf Gerngross was born 1939 in Carinthia/A. 1968 Architecture study in Vienna and Graz, Painting in Tokyo, postgraduate study (Urban Design) at UCLA Los Angeles, 1971 Master of Science in Urban Land Economics. 1976 Architecture office Gerngross-Richter; 1996 Gerngross-Workshop Vienna; Architecture presentations include: A Design now: Contemporary Design in Austria, Austrian Cultural Forum, New York (2003); 8th International Architecture-Biennial Venice (2002); Ars Electronica, Linz (1980). Since 2004 creation and publisher of the printmedium ST/A/R (Urban Planning, Architecture, Religion).

MARTIN HABLESREITER

http://www.honeyandbunny.com/

born 5th of February 1974 in Freistadt/ Austria

education:
1993 A-levels at the Higher Technical School for Interior Design Hallstatt
1993-00 student of architecture with Prof. Hans Hollein at the University of Applied Arts in Vienna
1999-00 pre Diploma Certificate at Bartlett School of Architecture/ London
2001 diploma with distinction at the University of Applied Arts in Vienna,
chairman Prof. Wolf D. Prix; project: “brand new world”

experience:
1995 actor and co writer at “Sprung ohne Flügel”/ Lokalbühne Freistadt, Austria
2000 project architect with Silja Tillner/ Vienna
2001 project architect with Prof. Helmut Richter/ Wien
2001-02 project architect with Arata Isozaki & Associates in Tokyo/ Japan
2003 project architect with Prof. Helmut Richter/Wien
since 1998 free lancing author, working for “Neue Zürcher Zeitung”, “Salzburger Nachrichten”, “Wiener Zeitung”, “Architektur Aktuell”, “Architektur und Wohnen”, “Frankfurter Allgemeine Zeitung”, and others;
2005 moderator of the “Festival of Austrian Theatre” in Bucharest/ Romania

honey & bunny productions
Sonja Stummerer & Martin Hablesreiter

Aktivitäten (Auszug)

BUCHPRODUKTION
title: „food design – von der Funktion zum Genuss“
type and date: book/ 2005; published with Springer Wien/ New York
authors: Sonja Stummerer & Martin Hablesreiter; pictures: Ullrike Köb

AUSSTELLUNG
title: „FOOD DESIGN“
location: Designforum Vienna/ Museumsquartier
type and date: exhibition from 8th Dec 2007 to 15th Feb 2008,
producer: Designforum Vienna, No Frontiere Design Vienna

FILM
title: „food design – the film“
type and date: documentary film (HD, 52 min); filmed 2007
producer: Nikolaus Geyrhalter Film; co producer: ORF,ARTE France

URBANISMUS
title: „Southbank Analyses“; Location: London/Southbank;
type and date: workshop/ 2000; title: „brand space“
Location: London/Bluewater; type and date: Master Thesis/ 2001
title: „mobility and emotion“, Location: Vienna/third district,
type and date: exhibition/ 2003
title: „city implants“, Location: London/St. Pauls
type and date: animation film/ 2000
title: „bluewater urbanism“, Location: London/Bluewater
type and date: workshop/ 2001

LEHRTÄTIGKEITEN
title: „BUL FICTION – Workshop“, location: mimar sinan university/
yeditepe university/ Istanbul, type and date: Workshop/2 weeks/ Feb 2007
partner: Austrian Cultural Forum Istanbul/ Halit Refig/ St. Georg

MASATO HORI

Personal History
1957 Born in Kashiwazaki City Niigata Prefecture Japan; 1980 Bachelor of Architecture, Tokyo National University of Fine Art and Music; 1982 Master of Architecture, Tokyo National University of Fine Art and Music; 1982~90 Worked at Arata Isozaki & Associates; Founded Hori&Okabe architects, Barcelona/E; 1995 Founded Hori architects, Tokyo; 1996-98 Lecturer Tama Art University, Tokyo; 2001~ Lecturer Special Engineering College of Kogakuin University, Tokyo; 2004~ Lecturer Kogakuin University, Tokyo; 2006~ Lecturer Nihon University, Kouriyama.

Honors & Awards
1979 Prize for Fine works The Central grass International Architecture Design Competition; 1996 First Prize Aso-cho Art Project for Kumamoto Artpolis International Architecture Design Competition; 2003 First Prize Minakata Kumagusu Archives International Architecture Design Competition; 2007 Prize for Architecture Lighting Design Competition.

Principal Works and Projects (selection)
Works and Projects for Arata Isozaki & associates:
As Architect:1983~90 Sant Jordi Sports Hall (Barcelona); 1989~90 Proyect Para El Solar ‚K‘ -Donastia-San Sebastian Competition, Spain. As Chief Architect: 1996 University Park, Pavilion (Santiago de compostela/E); 2006~ University of Central Asia (Khorog Tajikistan, Naryn Kyrgyzstan, Tekeli Kazakhstan)
Works and Projects for Hori architects:
2002 Hara Masaki Retrospective Exhibition -space design : Tokyo University or Fine Art Museum (Tokyo) 2006~ University of Central Asia with AIA; 2009~ Fujimoto House (Fujiyosida Yamanashi)

Art Exhibition
1979 Drawings show 2men, gallery 412 (Tokyo); 1997 Tour Exhibition at 3towns for Earthwork Projects (Souryou, Mirasaka, Kisa, Hiroshima); 2004 Box Art Exhibition gallery Cyoubei (Kashiwazaki Niigata).

Publications
1982 Drawings by Japanese Contemporary Architects (Edition Graphic); 1992 Columns: Barcelona sketch (Niigata Daily News); 1995 Shinkenchiku, Dec. (Shinkenchiku-sha); 2002 MINE, Nov. (Koudansha); 2003 Catalogue for The Exhibition Kumamoto Artpolis: Architecture through Communication (The Japan Foundation); 2003 Kenchiku Journal, Dec. (Kenchiku Journal); 2006 GA JAPAN, Jul-Aug (A.D.A. EDITA TOKYO); 2006 LIVES, Jun-Jul (Daiichi Progress); 2006 TITLE, Nov. (Bungeishunjyu); 2007 Jutaku Joho, Aug. (Recruit)

HIROKO INOUE

Geboren in Osaka (JP); Lebt und arbeitet in Nara (JP);
1974 – 1975 Studium der Färberei und Weberei von Gewebestoffen in Okinowa;
1999 Stipendium Düsseldorf.

HIROKO INOUE lenkt mit ihren Arbeiten unseren Blick auf die Welt der inneren Realität, auf Geschichten, vor denen wir gerne die Augen verschließen, und fordert gerade durch das Bild der geschlossenen Augen dazu auf, diese zu öffnen und bewusst hinzusehen. Ihre Aufnahmen des Lichts, das durch Fenster in Räume geschichtsträchtiger Vergangenheit fällt, werden gleichsam zu Sinnbildern des Sehens.

Awards / Auszeichnungen (Selection / Auszug)
2005 Cultural Ambassador in Vienna for the Agency of Cultural Affairs
2004 Appointment as Special Advisor for Cultural Exchange by the Government of Japan
2002 Contemporary Art Works on City Vision-Nets by Curator’s Selection, Tokyo
1998 Osaka – Triennale, Mydome Osaka
1998 „Düsseldorf-Preis“, Kulturamt Düsseldorf / Goethe-Institut, Osoka-Triennale

Works in Public Collections / Werke im öffentlichen Besitz (Selection / Auszug)
The Japan Foundation
Osaka Prefecture
City of Vienna
Clemson University/South Carolina, USA

Born in Osaka, lives in Nara/JAP, Berlin, Mühlheim/D

Studied fabrics in Okinawa from 1974 to 1975. After seeing the devastating aftermath of Hanshin-Awaji Earthquakes, she started incorporating the concept of life and death into her works, leading to such pieces as „Contemporary Art Outdoors“ and „A Memory of Soul“. Hiroko Inoue has been based in both Germany and Japan as she is primarily captivated by the correlation between how we see ourselves in relation to others and how environmental/social factors mould the invisible boundaries amongst individuals. Her long and prolific career and artistic impressions have ranged from painting, photography, site-specific installation, photography and videos. In 2005, Inoue spent a year in Vienna as a cultural ambassador for the Agency of Cultural Affairs. During that period, she held six exhibitions as well as numerous workshops and lectures to introduce Japanese culture.

Works in Public Collections / Werke im öffentlichen Besitz (Selection / Auszug)
The Japan Foundation
Osaka Prefecture
City of Vienna
Clemson University/South Carolina, USA

Solo Exhibitions / Einzelausstellungen (Selection / Auszug)
2009 Inside-Out, Foil Gallery, Tokyo / Musashino Art University, Tokyo
2008 Inside-Out, Art Front Gallery, Tokyo /
Shimane Prefectual Convention Center, Shimane /
Art meets Care Academy, Osaka
2007 Inside-Out, Aquarius Wassermuseum, Mühlheim/D
Kunstpunkte – Atelier am Eck, Düsseldorf/D
Chameleon Meadw, Clemson, USA
2005 Inside-Out, Jugendstiltheater, Otto Wagner Spital, Wien
Group Exhibitions/Gruppenausstellungen (Auszug)
2008 Grosse Kunstausstellung, Kunstpalast Düsseldorf
Absence-Presence, masc foundation, Vienna
Afternoon of a Faun, Galerie Brüning, Düsseldorf
2007 Psychic Realities, Arena 21 Museumsquartier Wien
2006 Echigo Tsumari Art Triennal, Niigata

Group Exhibitions / Gruppenausstellungen (Selection / Auszug)
2009 ‚Counter-Photography, Japan’s Artists Today‘,
Photographic Center Northwest, Washington / USA
Inside-Out, ARTO BUSAN Art Fair, South Korea / Paris Photo, Paris
2008 ‚Afternoon of a Düsseldorf Faun‘, Galerie Andreas Brüning, Düsseldorf, D
Grosse Kunstausstellulng, Kunstpalast Düsseldorf / D
Absence – Presence – Masc foundation, Vienna / A
2007 Psychic Realities, Area 21, Museumsquartier Vienna
2006 Echigo – Tsumari Art Triennal, Niigata
2005 ‚Tor‘, Museum Rosenheim / D
‚Memory of Breath‘, Palais Porcia, Vienna / A
‚Counter Photography‘ lens-based works by 11 Japanese contemporary artists, Aberystwyth Arts Center, University of Wales, UK
2003 ‚Scènes d’esprit – Photographie japonaise contemporaine Acte II‘, Maison de la Culture du Japon, Paris

www.artfacts.net/…

HIROMICHI KOBAYASHI

KEISUKE KOYAMA

Designer
Born 1984; lives and works in Tokyo and Osaka.
Kyoto University Of Arts And Design, 2002-06 degree in Interior design.
Works for a design office in Tokyo now.

ELKE KRASNY

www.musieum.at

Cultural theorist, curator, author, realizes cultural projects in the public social space; works, researches, curates, teaches and writes to explore the relationality and connectivity of architecture, art as public space, urbanism,gender as well and representation as well as museums and exhibitions as cultural formations; lecturer at the Academy of Fine Arts Vienna since 2003; visiting professor at the University of Bremen „Urban Transformation and its Narratives“ 2006; lecturer at the University of Salzburg 2008 „City Space Gender – The Production of Urban Narratives. Critical Reflection as Intervention“: her non-fiction book for children on light „Warum ist das Licht so schnell hell?“ was awarded the Austrian Youth Literature Prize and the Youth Literature Prize of the City of Vienna. Current Activities include „Wege über den Karlsplatz“ (Walking Karlsplatz), Installation in the exhibition „Karlsplatz. Am Puls der Stadt“, Wien Museum, Museum of the City of Vienna; Curator of: The Force is in the MInd. The Making of Architecture, Architekturzentrum Wien, Oct 2008â€“Feb 2009; a catalogue published in German and in English will accompany the exhibition.

2008 Essay “The Arts of Encounter” for the catalogue “Close Encounters, Vienna * Bratislava * Budapest” of KulturAXE and co-curator for the catalogue.

LENA LAPSCHINA

Born in 1965 in Kurgan, Western Siberia.
Graduated from the State Stroganow University of Fine and Applied Arts, Moscow, in 1991 and made her Ph. D. in 1996. Lives and works in Vienna and Lower Austria. Artist, co-founder of State of the Art magazine, curator for M21.

RECENT EXHIBITIONS
2007
public secrets, Galerie der Stadt Wels, Austria
Ausländer-Marathon, A4 Zero Space, Bratislava, Slovakia
Festival Transphotographiques, Lille, France
Schaurausch, O.K. Centrum, Linz, Austria
Diagonale, Graz, Austria
Videology, Gandy Gallery, Bratislava, Slovakia
Fire Bird, Swarovski Kristallwelten, Wattens, Austria
gestrobelt, Galerie 5020, Salzburg, Austria
2006
viel und wenig (more or less), Künstlervereinigung Maerz, Linz, Austria
right next to the distance, g. Galerija Krizic Roban, Zagreb, Croatia
trance_siberia – the film, Split Film Festival, Split, Croatia
1st St. Petersburg Biennial of Contemporary Art, St. Petersburg, Russia
Arbeitsprozesse, Artist-in-residence-Programm des Land Salzburg, Strobl, Austria
Überraschung 06, Dlouhá Chvíle, Czech Republic
trance_siberia, MAK, Vienna, Austria
Gagarin Party, Kunstraum Niederösterreich, Vienna, Austria
Siberian Beauty, Nordens Hus, Reykjavík, Iceland
2005
blank, Kunstverein Medienturm, Steirischer Herbst, Graz, Austria
INward OUTward, Flacc, Genk, Belgium
Artistic Flags Festival, The Golden Eye, Novi Sad, Serbia and Montenegro
8th Biennial of Photography „Fotonoviembre 05“, Centre of Photography, Santa Cruz de Tenerife/E
radikal lokal, Kunsthalle Wien/Tanzquartier, Vienna, Austria
minus 2005, IG Kultur Film Festival, Vienna, Austria

WORKS IN PUBLIC COLLECTIONS
Lower Austria Art Museum, St. Pölten, Austria (2004)
Kurgan Museum of Fine Art, Kurgan, Russia (2000)

FILMOGRAPHY
„Aufgenommene Landschaft“ („Absorbed Landscape“)
Première: Diagonale, Graz, 2007
„trance_siberia“
Première: MAK, Vienna, 2006
„1000 mm/ or The Bedroom Window“
Première: Kunsthalle Wien/Tanzquartier, 2005

www.kunstaspekte.de/…

KATALIN MESTERHAZY

www.nomad-museum.com

1980 in Budapest geboren; lebt und arbeitet in Budapest und Wien;
2002-2007 Studium Moholy-Nagy University of Art and Design, Budapest, visual communication and design manager;
2005-2006 Stipendium Erasmus, Universität der bildenden Kunst Wien (Prof Marina Grzinic, Post Conceptual Practice Class);
2005 Stipendium Ceepus, University of Applied Arts in Katowice, new Media Department, PL
2004 IVF Stipendium zur Teilnahme am Kunstsymposium KulturAXE, Festung Boyen, Gizycko, PL;
1998 Vestjyllands Hojskole, Velling Art College, DK;
Mitglied der MÉHKASAULA Cultural Association of Young Artists (www.mehkasaula.hu);
2008 ‚Modell des Neuen Nomadischen Typus‘, Projektentwicklung und Teilnahme an Close Encounters im Rahmen des Festivals SOHO in Ottakring (mit Julia Erzberger), Ragnarhof Wien; Webplattform „Museum and Archive of Nomadism” www.nomad-museum.com;
2007 Videopräsentation, Contemporary Architect Centre, Budapest;
2. Platz, Hungarian Art-Scient Conference, Pécs, HU;
Videopräsentation SISONKE ‚togetherness‘ South Africa- Europe, KulturAXE Cross Continental Film
Screening, Topkino Wien und ÖKF New York;
2006 ’10. Unimovie film festival‘, video, Pescara, I;
Videoproduktion, Architektur Performance ‚The First Archiquant House‘, Heidulf Gerngross beim Kunstsymposium KulturAXE im Schloss Fertörakos , MQ und MAK, Wien;
„Just for you”, Projektpräsentation, KulturAXE Wien;
„Exchanging recipes for personal reactions”, experimental cooking project, video, Semper Depot, Wien;
„Changing analyse” Interactive video-diary presentation, Székesfehérvár, H;
2005 OASE Open Art Space Esteplatz (VJ und cd rom Präsentation), KulturAXE Wien;
Project presentation – exhibition, Studio Galerie, Budapest;
2004 St Etienne Graphic Biennale, F;
Transzflexion, Gödör, Installation (mit Julia Erzberger), Budapest;
Textil-architect exhibition with Gizella Koppány, Julia Erzberger, visual, titled OUR, Nagyatád, H;
VI. Internacionale Performance and Noise Festival, Szentendre, video, H.

MINAMI NISHINO

SZYMON OLSZOWSKI

Szymon Olszowski wurde 1985 in Katowice/Polen geboren. 1989 ist mit seinen Eltern nach Wien gezogen, wo er zur Schule gegangen ist. Seit seiner frühen Jugend beschäftigt er sich mit der Fotografie.

Während seines Grafik Design Studiums an der „New Design University”, nahm er im Frühjahr 2007 aktiv als Produktionsleiter und Fotograf, am „Sisonke Cross Continental Design Catwalk”, organisiert von der KulturAXE, teil.

Daraufhin hat Szymon im Sommer 2007 ein und halb Monate in Südafrika verbracht und hat vor Ort die südafrikanische Werbeszene beleuchtet. Im Vordergrund standen handgemalte Plakate in den „Townships” um Johannesburg. Im Jahr 2008 entwarf Szymon ein Projekt für das Museumsquartier im Wien, im Rahmen seine praktischen Diplomarbeit und malte fünf 12m² große Plakate mit der Hand. Dieses Projekt konnte leider nicht realisiert werden, sein Studium beendete er im selben Jahr erfolgreich und erwarb die Qualifikation – „Bachelor of Arts”. Zurzeit bildet sich Szymon weiter und arbeitet als Foto-Assistent für Christian Maricic.

http://szymon-olszowski.com/

KATHARINA RAZUMOVSKY

www.razumovsky.at

Born 1961 in Frankfurt/D. 1982 one year in India, later several months in Africa and Asia. 1986 Master of Philosophy, 1991 Doctorate of Philosophy, University Munich/D. Studies of painting in summer academies. First exhibitions since 1987. Lived in Moscow from 1992 to 96 and 1997-99. Since 1999 lives and works in Vienna. 2001 Award of the Young Academy Berlin for the CD slide show “What is it that hurts in us?”

Veröffentlichungen, Kataloge / Publications:
Close Encounters, Wien*Bratislava*Budapest,
Hrsg. KulturAXE Wien 2008
Final Casting, Wien 2008
Interview mit Lisa Grotz in die Welt, 20.12.2008
Portrait durch Andrea Schurian in der Zeitschrift
Compliment April/Mai 2008
Katalog Inspiracje
Katalog Monat der Fotografie, Wien 2006

Messebeteiligungen / Fairs (Auszug):
Art Cologne 2007 (Projektraum Viktor Bucher) 2006 Viennafair 2006, Projektraum Viktor Bucher
2005 Viennafair (Projektraum Viktor Bucher),
Art-Frankfurt 05 (Galerie Lang)
2004 Kunst-Wien 04 (Projektraum Viktor Bucher),
Art-Frankfurt 04 (Galerie Lang)
2003 Kunst-Wien 03 (Galerie Lang), Internationale Kunstmesse Wien 03 (Gal. Karenina)
1999 Neue Manege Moskau, 99 (focom)

Einzelausstellungen / Single Exhibitions (Auszug):
ART-STOPP! Museum auf Abruf, Wien, 19.11.08,
2008 final casting Künstlerhaus Wien mit Judith Baum
2007 Kitsch´en Sex, Gal. mel-art contemporary, factory
2006 – Projektraum Vktor Bucher, „Kissen“, Kurzfilm „Kissen“
2006 Projektraum Viktor Bucher, neue Ölbilder
2004 galerie art position, wien
2003 Galerie Lacandonna, Wien: “ein: -zelln, -sam, -zig“
Galerie die Rampe, Bielefeld: “durch.blick II“
2002 “durch.blick“ Deutsche Bank, Lippstadt
1999 Galerie Gabriel, “it´s just a glimpse“, Wien
1998 Oberhessisches Museum, Gießen
1995 Zentrales Haus der Kunst, Moskau
Museum F. Dostojevskij, St. Petersburg
Museum M. Zwetajewa, Moskau

Gruppenausstellungen / Group Exhibitions (Auszug):
2008 „Auf Amors FlŸgeln“, Schloss Riegersburg
2008 Munch on the beach, Atelier Mölker Steig, Wien
2007 Kunstfestival „Inspiracje“, memories, in Stettin
2006 Museum Angewandte Kunst, Wien, Kunstauktion
Schloß Aichberg, „Paradiese“,
2005 „lebt und arbeitet auch in Wien“, Projektraum Viktor Bucher
KulturAXE Festival „OASE“, Wien, öffentliche Vorführung des Kurzfilms Salat
Europa, MOYA, museum of young art, Wien
2004 Galerie Lang, Wien “hallo rubens“
Projektraum Viktor Bucher, Wien, in Abu Dabi (VAE)
Galerie Art-Position, Wien, Winterausstellung
Galerie Lang, Wien: “come and see, hot stuff“
1999 international Focom 2000, Moskau
1995 Internationales Haus der Kunst, Moskau

LÁSZLÓ LÁSZLÓ RÉVÉSZ

www.revesz.info

Lebt in Budapest und in Wien

Professional background:
Hungarian Academy of Arts, 1977/82 degree in painting
Hungarian Academy of Applied Arts, 1983/85 degree in animation film
senior lecturer from 1999 at the Hungarian University of Crafts and Arts, Budapest, H
2005/06 works at the Hungarian Cultural Center, New York, USA
producer, director at the Cperu (a linear and non-linear content developer company) from 1999.

Selected exhibitions:
2008 Central Europe Revisited II. , Esterhazy Palace, Eisenstadt, A
2008 Minden Mozi, Ludwig Muzeum, Budapest, H
2008 MICRO NARRATIVES; Musée d’Art Moderne, Saint-Etienne, F
2007 Micro Narratives, October Salon, Belgrade, Ser
2005 The Giving Person, Palazzo delle Arti, Naples, I (cat)
Conflict, Slought Foundation, Philadelphia, USA
2004 Passage d’Europe, Musee d’Art Moderne, St. Etienne, F
Elhallgatott Holokauszt, Mücsarnok, Budapest, H (cat)
2003 Aura, Millenáris, Budapest, H (cat)
2002 Poppies on the Palatinus, Ludwig Museum, Budapest, H
Vision, Mücsarnok , Budapest, H (cat.)
Bildbetrachtung, H. Quinque-Wessels, Berlin, D (cat.)
2001 2001 – Science and fiction, Trafó, Budapest, H (cat.)
2000 Mediamodell, Mücsarnok, Budapest, H (cat.)
1998 Paradise lost, Slovanska Narodna Galeria, Bratislava, Sk (cat.)
Bel Tempo, Galerie Municipiale, Trieste, I (cat.)

Selected performances:
2001 The Apple of the ballerina, Narodna Galeria, Bratislava, Sk
1998 Vintage – Trans Art Communication Festival, Mücsarnok, Budapest, H
1992 His masters‘ voice – Revisions Contemporary Hungarian Art,
Adelaide Festival, E.A.F., Adelaide, Aus (cat.)
1988 Prager Student – Radiokunst beim Steierischer Herbst 88/ORF Landstudio, Graz, A
between 1981 – 1991 several performances with
András Böröcz such as: Dawn, documenta8, Kassel, D, 1987 (cat.)

Selected awards, grants:
Eötvös Grant, San Fransisco – New York 1997
E.M.A.R.E., Werkleitz, Germany, 1996-97
Accademia d’Ungheria, Rom, Italy, 1995-96
Meryll-Hart Award for International Screenwriting 1993
II.prize; Digitart, International Computergraphic
Competition, 1990
Canada Council, Visiting Artist, 1984

Works in public collections:
Ludwig Museum, Budapest, H
Lentos Museum, Linz, A
Hungarian National Gallery, Budapest, H
István Csók Museum, Székesfehérvár, H
Mihály Munkácsy Museum, Békéscsaba, H
C3, Budapest, H
Petõfi Literature Museum, Budapest, H

SONJA STUMMERER

http://www.honeyandbunny.com/

born 22nd of February 1973 in Vienna

education:
1991 A-levels with distinction in Vienna
1991-98 student of architecture with Prof. Hans Hollein at the University of Applied Arts in Vienna
1995 student at the Elisava Design School in Barcelona,
1998 diploma with distinction at the University of Applied Arts in Vienna,
chairman Prof. Hans Hollein, project: “glacier museum”
1999-01 Master of Architecture at the Architectural Association in London

experience:
1994 assistant set designer for the movie
“Exit II” by Franz Novotny, Wega-Film, Vienna
1998 project architect with Henke & Schreieck architects, Vienna
2001-02 project architect with Arata Isozaki & Associates in Tokyo/ Japan
2002-03 project architect with “Serda Architects” Vienna/ London

since 1998 free lancing author, working for “Neue Zürcher Zeitung”, “Salzburger Nachrichten”, “Wiener Zeitung”, “Architektur Aktuell”, “Architektur und Wohnen”, “Frankfurter Allgemeine Zeitung”, and others.

honey & bunny productions
Sonja Stummerer & Martin Hablesreiter

Aktivitäten (Auszug)

FILM
title: „food design – the film“
type and date: documentary film (HD, 52 min); filmed 2007
producer: Nikolaus Geyrhalter Film; co producer: ORF,ARTE France

STORIES VIENNA TOKIO

At the shrine
Kyoko Adaniya-Baier
A personal story about Tokyo

We eat the Archiquant
Heidulf Gerngross
A personal story about Vienna

My experience with Space and Food of Tokyo
Masato Hori
A personal story about Tokyo

My Tokyo
Hiroko Inoue
A personal story about Tokyo

Honey Bee Life
Hiromichi Kobayashi
A personal story on Tokyo

Metro Column
Keisuke Koyama
A personal story on Tokyo

The City
Elke Krasny
A personal story about Vienna

First time in Vienna…
Lena Lapschina
A personal story about Vienna

Walking on a famous Viennese street
Katalin Mesterhazy
A personal story about Vienna

FIVE SENSES
Minami Nishino
A personal story on Tokyo

And Edeltraud never greets
Katharina Razumovsky
A personal story about Vienna

Danube Island
László László Révész
A personal story about Vienna

at the shrine

TANKA

oomisoka kagaribimaitobu keidai ni
imoto to susuru atsukiamazake

Bamboo torch sparkle
at the place of the shrine
where my little sister and I
drink (hot) sweet rice wine

Mangetsuno hikari kagayaku natsuzorani
jasuminnioite nakichichiomou.

In the radiant full moon
of the summer sky
jasmine scent
and the thought of my deceased/departed father

A genre of classical Japanese verse from the Heian period, ‚tanka‘ meaning short poem. Tanka consists of five units (often treated as separate lines when translated) usually with the following mora pattern: 5-7-5-7-7.
The 5-7-5 is called the kami-no-ku („upper phrase“), and the 7-7 is called the shimo-no-ku („lower phrase“). Tanka is a much older form of Japanese poetry than haiku.

We eat the Archiquant

Heidulf Gerngross

Since Iâ€ˆdiscovered a new geometrical form in Vienna, I have wanted to eat it. This was in 1989. The form was born as a design for a Tea Table in a Viennese residence.

The width B is its radius R, its depth T is the golden section of R or B. Its surface is R²ϕ.
Its circumference is 2Rπ/3 + 2Rϕ.

I called the new geometric form “Archiquant”, an architectural particle, a message from Vienna
to the world for human measurement and proportion. Through the everlasting presence of the irrational π and ϕ as natural constants, the Archiquant radiates familiarity. The Archiquant is a benchmark, it is the right angle of the 21st Century and he should be eaten, especially when spiced
in a Japanese way.

My experience with Space and Food of Tokyo

20 TANKA Poetry
Masato Hori

May
When I close my eyes
I remember the past time
With the image of red flowers of Azalea on borders
Spreading here and there

Days passing
I changed myself
Now I don’t look for signs in a station
I am hovering in the transfer station
Like a 3 dimensional Labyrinth

A man is crying
Smell of Macdonald hamburger
Subway train carrying both
One night

She says
Eat fast
If not they will decay
Sushi is Fast food invented in Edo period
The roads of Edo are full of sea food from Tokyo bay

Millions of food in a supermarket
They are waiting
While
They are sitting in pale blue artificial light

TV programs
Every day
Every time
Surely
You can see someone eating and drinking

In a convenience store
Various packed lunches and dinners are sitting silently
For someone who they don’t know

I was surprised at the man next to me in a Ramen restaurant
He ate Ramen in his order
Laver
Slices of roast pork
Menma
Welsh onion
And noodle
Just like eating a course dinner

Desire
Enlarged in the display
Desire
Spread in the Kaleidoscope
Desire
Made by Japanese blood

She has her opinion
New Japanese style sweets influenced by occidental style
They are never good
She always buys YOUKAN

My old Red Brick Street
With typical stores
No more
TOUFU-store
Butcher, Fish-store
Fruit and Vegetable store
Gone

You were looking for something
On the stepladder in the kitchen
I saw you for the first time in the morning

They discuss philosophy of FU in the kitchen
Seisyounagon would write down this scene
And also
Each of them is Seisyounagon in the early afternoon

Various thoughts
Not only tastes
Penetrated into
White things
TOUFU
Rice
Turnip
Radish

He makes a monologue about NATTOU eating lonely
I want to ask him
Why do you make this monologue?

Summer has come
I dream the scene of slopes and strait of Onomichi city in Setonaikai
Onomichi is standing on opposite side of a mirror

In her Kingdom
The citizen live on
Fermented sticky food
NAMA-FU
And Whisky bonbon

Tokyo is the city you cannot find the sea
But
You come back
And
Your eyes reflect the message from the seaside

I am overlooking huge Green
Huge void of Tokyo, Roland Barthes says
Marunouchi, Inside of the Circle Center of Tokyo
I visit Ink painting, SUIBOKUGA exposition

Rainy day
On my way home
I found a handkerchief on the platform
And
I get on the underground
Of the opposite direction

Translated and adapted from Japanese by
Maki Nomura and Manuel Reyes

MEIN TOKIO

Hiroko Inoue

Meine erste Begegnung mit Tokio
Ich hatte einen sehr netten Onkel, Shin’ichir, der mit seiner Familie in Tokio und New York lebte. In New York leitete er die Niederlassung von Mitsui Bussan, einer japanischen Handelsgesellschaft. Hin und wieder besuchte er mein Elternhaus in Takarazuka, und jedes Mal brachte er eine Menge Spielzeug für mich mit: Stofftiere, Stoffpuppen und Märchenbücher. Durch diese Geschenke bekam ich eine erste Vorstellung von der großen Stadt Tokio.

Mein Lieblingsort in Tokio
Wisst Ihr, was „Akachochin” heißt? „Akachochin” nennt man ein volkstümliches japanisches Restaurant mit einer „roten Laterne” davor. Das „Akachochin”, das ich in Tokio besonders gern aufsuche, befindet sich in einer Eisenbahnunterführung nicht weit vom Yūrakuchō-Bahnhof. In dieser Gegend gibt es viele Restaurants mit traditioneller japanischer Küche. Wenn Ihr dorthin zum Essen geht, bestellt Ihr einen Sake, einen japanischen Reiswein, und dazu „Oden”, ein beliebtes Eintopfgericht, Yakitori, gegrilltes Hühnchen und Nabe, eine kräftige Suppe, besonders für die kältere Jahreszeit. Wenn Ihr Euch ein solches Menü auftischen lasst und zu Euch nehmt, werdet Ihr Euch im „Akachochin” viele Freunde machen, die Euch mit einem fröhlichen „kampai” zuprosten werden.

Ein Ort, vor dem ich mich fürchte in Tokio
Wenn ich mit dem Fahrstuhl auf den Tokyo Tower fahre, unter mir die große Stadt Tokio sehe, die vielen, dicht gedrängten Gebäude und Hochhäuser ohne jedes Grün dazwischen, dann stelle ich mir manchmal vor, dass dieses ganze, riesige Häusermeer durch ein Erdbeben zerstört wird. Davor fürchten wir uns die ganze Zeit.

Honey Bee Life

In the midst of the office district of Tokyo, there are a large amount of honey bees living. In one corner of “Ginza”, which is known as the biggest art gallery area in Tokyo, nest boxes are set up on the roof-top of a building for more than 150,000 bees, and from spring to autumn honey collected by those active bees is being harvested. The center of Ginza is known as ‚a concrete jungle‘ where a forest of inorganic office buildings and commercial buildings stands. We are inclined to doubt if it is at all possible to raise bees and harvest honey in such a place. To start with, when we walk and look around numerous galleries to see if natural flowers are blooming from which honey can be collected, there is nothing but grey walls and such constructions as various metal boards, and it is difficult to feel any sense of natural creatures. It is said that honey bees‘ radius of activity is 2 km, and so, since Ginza is located to the east of the central part of Tokyo, in the surroundings, there are rich green park areas such as Hama Detached Palace to the south, Hibiya park to the west, and Sumida-river park to the east. There is also a vast green area in the Emperor’s Palace to the north. Flowers of trees there rather than flowers of grass have become attractive feeding ground for bees. Even a person like me who was born and raised in Tokyo can actually feel in Ginza, through the rich harvest of honey in the nest boxes, the existence of a natural environment that we tend to forget about, where the honey bees‘ soaring and honey-collecting are continuing without people noticing. From the time when Tokyo was called “Yedo”, the distribution and transportation network of beautiful rivers and canals were functioning, but in recent years they have disappeared one by one either underground, or converted to roads in the interests of city development. We tend to think of the inorganic transportation network of railroads and automobiles as inevitable functions of a city. However, in parallel, the ecological network that links the environment and the lives unfolded by those extremely minute honey bees‘ micro-activities afford us a new image of Tokyo landscape. Once those large army of crows that fed noisily on trash in the early mornings in Ginza and Shinjuku presented a negative image of the city environment, but the approach of maintaining the environment or recreation of nature by converting roof tops to green areas, and by securing the honey bees‘ radius of activities, becomes a positive action. In these several years, many honeybees were raised and the honey produced has provided ingredients for cakes and cocktails served in Ginza, and has thus brought joy to the hearts of many visitors there. Such activities are now spreading from Ginza to such suburbs as Jiyugaoka in Setagaya Ward as well as Tama Center in Tama city. In Tama city the places where the honeybee nest boxes are set up is on the roof-top of the art museum where I work. Soon the raising of honeybees on the roof-tops of art museums will even be become an art …

Kobayashi, Hiromichi/Curator

METRO COLUMN

By Keisuke Koyama

For me, Tokyo is the first place where I live alone. That is the reason why vague days are continuing when each day appears to be the same, or different. Therefore, here I am going to write about the fact that I have changed for sure, especially about “something I have come not to do”, and “something I started to do”.

AS IF I KNEW. AS IF I WERE NOT HEARING.

For example, when I visit some town on a trip, everything appears fresh before my eyes-such things as a road which makes us think of past history, or an old house with a special feeling, or people’s unique local accent, or any insignificant but subtle sounds. The more I walk, the more I come across scenes that I have not encountered before. I have always liked to take trips, and so I have numerous experiences like that.

Only recently I have moved to Tokyo, and so I am only a mere beginner here. This is also the first time I live alone. I commute to work mainly by bike and train. I commuted in the same way when I was a student. It is not that I commute such a great distance, but depending on how I think, it could sometimes become a small journey. Since it is the gigantic city of Tokyo, I never run out of ideas of where to visit. Other people also share such information, and if I only ask them, I can get more information than what I can gather from actual visits. I often benefit from that.

However, as I spend days like that, strangely I have come not to actually stop by places. That is because I end up forming a doubt “whether it is worthwhile visiting?” This way, I could actually be missing an opportunity to make a different discovery (from what I was told), or to reach a new idea by actually walking on my own feet. I might be missing such possibilities. But the ideas found in Tokyo are ’sweet‘, ’simple‘, ‚instant‘, ‚convenient‘, ‚ubiquitous‘, ‚global‘, and so forth. If one touches those, one falls into the illusion that one has already got to know them, and has seen them already. There seems to be this kind of hallucination, and it is threatening my life of traveling. It could be a normal matter, but I cannot help feeling that it is damaging my senses. I mean the senses have become not my own, but something that are “shared with others”. There seems to be little room for freedom, and it looks as if there were a program involved that draws answers in an instant. Or from a different perspective, I am thinking that such state as “not being able to figure an answer”, or “a conclusion being ambiguous”, or “being not easy to understand” becomes a ‚knock‘ (on the door) of awakening the sense of a life of one’s own.

So, daily I’m feeling that “getting lost” on purpose is actually very human, and is good. (“Not being tormented”) I purposely strike up a conversation with someone I don’t know. I purposely go into a shop that I don’t know. I purposely visit a town that I haven’t even heard of. And I get lost. There is no one to rely on, or to give me help. Because of this very environment, I get the benefit of my five senses and my body fully at work. I feel I should experience something like that.

People might have already said it many times, but this is something I felt in Tokyo.

THE CITY

Elke Krasny

What the city has given me, is its longing. Longing is contagious. It seduces you to more and more, it transforms the city to this space of longing in which passion and fantasy meet, exploration and investigation, projection and imagination. The city is such a structure which today already is what it wasn’t anymore yesterday. The city is such a structure that raises sympathy and promises anonymity. The city is such a structure that reinvents itself constantly while still remaining true to itself. The city is such a structure which gives you more to read than the eye can reach. In this cosmos of polyphony I see the city as space of articulation between dissonance and harmony, between discontinuity and traditions. Precisely there in between, the city is nearest and most vulnerable: in short most alive.
I see the city as a storehouse of times, vivid and yet still aloof, familiar and yet distant. Which traditions can be read in a city, is a question of attitudes and politics. I read Vienna as a city of those arriving. The possibility to arrive is interdependent on the mindset of those already arrived. Mindsets relate to politics and opinions, education and views. If the city could read itself differently in historical distances, then its proximities would relocate themselves.
In the course of the 19th Century the city became more. Also my ancestors immigrated at that time. Czech, Jewish, Hungarian, Moravian, Slovak, Polish, Ruthenian, Ukrainian, Gallien, Slavonian, Romanian, Croatian, Italian, Slovenian… How the city became more, can be felt today, as the city tries again to become more. How the city became more is something that the present is trying not to let feel, as the city tries to become more again. Hungarian, Polish, Serbian, Croatian, Bosnian, Herzegovinian, Philippine, Turkish, Chilean, Colombian, Nigerian, Albanian, Venezuelan, US-American, German, Chechen, Iranian, Russian, Iraqi, Angolan, Mexican, Vietnamese, Chinese, Japanese, Latvian, Indian … The histories of the city are located just there, in its heterogeneity, in its specificity of diversity.
If the city is close to you, then grief, angriness and melancholy rise as well as the dissatisfaction with the city not being as close to itself as it could be in its function as multiethnic metropolis of transnational lifestyle. The city can’t live its longings, it is hindering itself to arrive in the Present.
It is noticeable that the city has not arrived yet in its Present, although today it is already such as it wasn’t anymore yesterday. But just because of that, the city has remained a space of longings for me. Not the childish joy of recognizing the known accompanies the path of the adult, but the urge to discover the permanence of change, breathing also and precisely there, in all micro-tracks of the big motions of the world. Precisely therefore, I follow the city and read in its rhythm, what it has to say.
Again and again.

Lena Lapschina

First time in Vienna…

Once upon a time I was in Vienna for the first time. Maybe it was the second or third anyway, but not more.

Together with Jacob (an artistic director of a huge Russian museum) we tried to find a nice place for dinner. But no chance – every inner city-gasthaus was closed for the weekend or any other reason. We walked through the drab town of Vienna (what it was like in those days) but there was no hope. At nightfall we found ourselves in Loos-Bar, savouring martini, olives and a great interior Adolf Loos left over. After that we made a second try. But again with the same result of nothing. On the way we ran into the Onyx-Bar on the top of one building in the very inner city of Vienna. Very strict clothes-order. But Jacob wore a tie, as he always does, and we were inside. Very stylish designed, fine people, waitress in short skirts… „Back in Moscow I have to organize the same bar in my museum”, – whispered Jacob.

What did we eat? Difficult to say. Of course some oysters with Crimean champagne and an exquisite chicken soup with calvados, apple and truffle and enjoyed aurora borealis-cocktails. Sometime the night was over. I never met Jacob in Vienna again.

Walking on a famous Viennese street

Katalin Mesterhazy

When I was around seven years old, we always came to shop at this typical Viennese shopping street. That time was the “Gorenje Shopping Fever” or “Gorenje-tourism” period. Masses of people bought some kind of technical or electronical stuff (which was not possible in Hungary as for example: fridge, TV, video player) and sold it then at home or simply used it in the family. As I remember, I was mad about getting some “West sweet, coco-rum-chocolates”. Nowadays I can feel this madness too, when I am walking on this special street in Vienna. I must buy something, I must shop. Even if I know, it is an addiction or needless or contradictory to my global position.

I am also part of the consumer society if I wish or not. Even my thoughts on global problems may stop when I turn into a fashion store although I know very well that the clothes from this company are made in poor countries, maybe even by children. Do I really want to do something? Could I?

FIVE SENSES

Minami Nishino

the feel of the smelly asphalt that changes every 3.4m
the sky amidst the concrete

You cannot breathe?
You, fool, it is because you aren’t covering your ears.

I can see a moving figure in that window
(Surely I, too, am being seen.)

This is a place to sleep.
This is a place to return to.
This is a place to operate.

the foundation and the (military/airforce) base

Could be the yearning itself

confining nature
(but it is resilient and strong)

Residents across (from us) are yelling at each other
(Tonight, too, it might go on for a long time.)
That smell,
I really hate it.

Because I was born in Tokyo, I don’t feel so special about “Tokyo”, but still

Inside of inside of inside of me

Grandma’s bedtime story
Catches my finger

this town

“on the river bank at the edge of town”
“in order to sell kids to a circus”

“A beggar is approaching.”

I, sound of footsteps, cigarette smoke, miniature altar, sigh, a beggar, sound footsteps of a beggar

Clang clang clang
Grandma’s heart beat resembled
that of a gigantic ventilator

the feel of the smelly asphalt that changes every 3.4m
the sky amidst the concrete

Five senses

I have seen long ago

And Edeltraud never greets

KATHARINA RAZUMOVSKY

Nearly ten years ago I moved to Vienna. I was married and had four small children. No, I’m not going to tell you the story of my life, not to worry, only the beginning of my relationship with my present partner, the coolest guy in town.

Speaking from the time I meet him, I am divorced for quite a while, my children are not so small anymore, my partner is a handsome lawyer. We are a couple since four years, the lawyer and me, and all runs smoothly, just that I am bored. Boored.

Then I get to know HIM : tall, spindle, yellow-green speckled eyes like a saurian. And fun. No, I have to start again. Flashback: My daughter Olga is 5 years old. We have just moved to Vienna. She is loudly screaming downstairs on the street, right outside our front door, under my window, as she doesn’t want to go to the park with her siblings and the au pair girl. My husband – I am still married then-, blocks his ears and pretends not to hear. Our Olga is shouting MAMI! Me too, I don’t listen as I have to work and my au pair girl has to be good for something too after all.

Somebody rings our door bell. And then once again. A sharp bell. A skinny woman, unknown to me, stands in the half open door, looking angry. Holding her hand and looking triumphantly, is Olga. “You seem to have forgotten your child downstairs,” says the skinny woman with a sourish voice. “I am returning her to you”.
“But no, I am retorting, I am working, the au pair…” I stop in the middle of the sentence: Now I am a bad mother, Oh great! And where did I strand, in a city, where everybody schoolmasters everyone else!
The meager woman gets more angry, she had expected gratitude.

During five years I see her again and again as she lives just opposite me, and during five years she ignores me totally, also when we nearly bump into each other on the street, or if we bring our children to the same school, or when we cue together at the supermarket. We meet constantly – but she doesn’t see me.

And then: the man with the crocodile eyes is a friend of the lawyer, an architect who comes often to visit for business reasons. Strangely he keeps crawling across the floor, sits on the parquet of the living room or leans tightly against the wall. At the opening of the architecture fair the skinny woman stands next to him. We are getting introduced, Edeltraud warms up and emerges as a cheerful affectionate person, as someone to be fond of.

Edeltraud and me return home together from the fair, as we are neighbours. Vis à vis, bon amis, as it is said in French. The two of us wait on our mutual friend, the crocodile-eye-man, whith whom I have fallen in love a bit, just slightly, as I am living in a partnership – and we drink tea as we wait in vain and finally we eat dinner. She cooks exquisitely and also in the next days and weeks there is always something tasty for all of us. We become friends. I consider myself fortunate to have such a nice neighbor. In the meantime I am head over heels in love with the skinny architect, although his behaviour continues to be very strange when he visits me: he runs to the entrance door, stays covered in the shadow, and in my living room he still favors the floor. Edeltraud and me have grown together to a real team.

And then, all of a sudden, it is FINISHED.
I am leaning against the window of Edeltraud’s dining room, we joke about how one can see into my flat from this spot, and we tell each other stories of our hearts: I tell her about the end of my relationship to the lawyer and that I have fallen in love again, and she tells me about the man who just left her, like a pig: MY crocodile-eye-architect.

I return to my flat and test the view. From my couch you can see into the flat of Edeltraud. From the left corner in the room to her bed room, from my dining table to her kitchen. If you sit on the floor, you are invisible to Edeltraud. Also when you hide in the corners. OK, now I understand!

Since then years have gone. My distrust in the coolest guy of the world has vanished in the meantime, we are still a couple.. soon ten years have elapsed since my moving to Vienna. I walk on the street with Olga. Olga is nearly grown up. In two to three months we will move out of this flat. Then I see Edeltraut. She doesn’t greet me.

DANUBE ISLAND

László László Révész

This is 2027, August the 8th, my boat arrives slowly floating on the Danube, to the Danube Island. This is night time probably after midnight. The darkness is perfect. Back in 2015 this city was hit by a devastating series of nuclear rockets, at the very beginning of the Big Quick War. I think no one survived that here. When I docked my boat under a wreck of a former autobahn bridge, some clapping and young woman’s singing can be heard. I quickly and as carefully as possible get out of the boat and try to get close to the voices. I thought this must be a machine from the Old Technology’s period. But to my surprise I see some real young woman dancing and clapping. They have dark gowns and they sit around a bonfire. This moment some of them spotted me hiding in the dark. Their voices get louder and louder. This whole scene, their reaction is very much like a flock monkeys. It seems they cannot speak like humans. To my defense I pull my flute and start playing the Blue Danube Waltz. It works, the kids line up and follow me. Nobody knows where we go, except me…

REZEPTE

„Borschtsuppe, Brot, Wurst und Käse”

LENA von LAPSCHINA

Rezept nach einer Geschichte von Kyoko Adaniya-Baier „Beim Schrein”

Käse, Brot, Wurst, Gurke, Kartoffel
Borschtsch Suppe: Rote Bete, Zwiebel, Weißkohl, Karotten, Kartoffel, Tomaten

Weltsuppe

Heidulf Gerngross

Rezept nach einer Geschichte von Masato Hori „My experience with Space and Food of Tokyo”

1. Markknochen
2. Kruspelspitz
3. Beinfleisch
4. Ochsenschlepp
5. Kavalierspitz
6. Kalbsbrust
7. Kalbskarree
8. Kalbshirn
9. Kalbsnierndln
10. Kalbsbeuschel
11. Kalbsherz
12. Kalbszunge
13. Kalbsbries
14. Schweinshaxe
15. Kalbshaxe
16. Rindsmilz
17. Rindsleber
18. Zwiebel rot und weiß, Knoblauch, Chilischoten, Tomaten, Sellerie
19. Karotten, Kartoffel, Pastinaken
20. Mangold, Porree, Petersilie, Meersalz

Rosenduft, Katia’s Rosenparfait

Katharina Razumovsky

Rezept nach einer Geschichte von Hiroko Inoue, „Meine erste Begegnung mit Tokio”

Biorosen aus Katia’s Rosengarten
Erdbeermousse mit Zitrone
Topfennockerl mit Bourbon Vanille
Liebesperlen

Glasur Schokolade

Lena Lapschina

Rezept nach einer Geschichte von Hiroko Inoue, „Mein Lieblingsort in Tokio”
und „Ein Ort, vor dem ich mich fürchte in Tokio”

Glasur Schokolade im Wasserbad
Erdbeer- und Vanilleeis
Bananenscheiben

Rotklee, Löwenzahn, Kürbis, Kabeljau u.v.m.

Katharina Razumovsky

Rezept nach einer Geschichte von Hiromichi Kobayashi, „Honey Bee Life”

Tomaten, Löwenzahn, Rotklee, Oliven, Erbsen, Kürbis, Kabeljau, Basilikum, Schwarzer Sesam, grüner Pfeffer, Yogurt, Rote Linsen mit Zwiebel, Knoblauch und Rosmarin …

Faschierter Truthahn und Peperoncini

László László Révész

Rezept nach einer Geschichte von Keisuke Koyama „Metro Column”

Faschierter Truthahn in Öl gebacken, keine Gewürze, nur Zwiebel zugefügt;

2 Arten Karotten gekocht in Gemüsebrühe mit Vin Santo (klassischer Dessertwein der Toskana) oder Tokajer (ungarischer Wein) und verschiedenen Gewürzen wie Marjoram, Lorbeer, Thymian, Pfeffer, Peperoncini (süße italienische Chili Peppers).

Schiff der Vergangenheit, Rakete der Zukunft

Hiroko Inoue

Rezept nach einer Geschichte von Elke Krasny „Die Stadt”

Zutaten:
Kunststoffplatte, Lichter
Gemüsegelatine, Viele Gemüsesorten, Gemüsekeime, Milch, Wein, Consommé
Maße: 150 cm x 35 cm x 30 cm

Essbarer Stadtplan

Kyoko Adaniya-Baier und Thomas Shingo Baier

Rezept nach einer Geschichte von Lena Lapschina „Zum ersten Mal in Wien …”

Zutaten:
Reis, Seetang, Eier, Somen (Japanische Nudelsorte), Mentsuyu (Nudelbrühe), Bierrettich
Für Tempura: Karotten, Kürbis, Melanzani, Brokoli, Mehl, Ei
Für Maki: Reis, Karotten, Spinat, Eier, Gurke
Für Sushi: Ingwer, Eier, Tofu, Ingwer, Poree, Lotuswurzel
Nachspeise: Mochi (Süsser Reisteig), Ahornlätter, Bambusblätter, Hijiki

Rot – Weiß – Grün

Minami Nishino

Rezept nach einer Geschichte von Katalin Mesterhazy

Gemüse, Shrips, Hühnersuppe, Agar, Tomaten, Basilikum

Vergangene Identität und Gegenwärtige (verwirrte) Identität

Katalin Mesterhazy

Rezept nach einer Geschichte von Minami Nishino „Fünf Sinne”

1. ingredients of „past identity“
short pastry, butter, olive-oil, onion, garlic, carrots, chicken, potatoes, hungarian pepper, marinade

2. ingredients of „present confused identity“
canneloni, butter, olive-oil, onion, elder, garlic, carrots, strawberry, cranberry, dry mango, turkey, salad, chives

Salad with dressing:
chives, grapes, pepper, tomato, lamb’s lettuce, rocked leaves, pickled cucumber, strawberryjam, mustard, cabernet sauvignon, whiskey, curry, herbs, balsamico, olive-oil, rosemary, basil…

⁓2027⁓ Signal

Keisuke KOYAMA

Rezept nach einer Geschichte von László László Révész „Donau Insel 2027”

(Braille text)
Heard melodies are sweet, but those unheard are sweeter.
John Keats

Kandis, Gelee, Gewürz

A FLOWER OF “ARCHIQUANT”

Masato Hori
Ein Rezept von Masato Hori, der die Geschichte von Heidulf Gerngross über Wien in ein Rezept mit japanischen Zutaten umgewandelt hat.

I discovered a form of ARCHIQUANT that you would like to eat in a form of KAMABOKO. KAMABOKO is family of Sausage. Although, this Sausage is made from meat of ground fish but not that of beast, which is put on a small wood board, and then heated. For this time, I used MUSHI (steam) ITA (wood board) KAMABOKO. It is the most popular one in many KAMABOKO kinds. The surface is colored in red pail. The body is cut into pieces with some thickness like cutting a sausage. I deformed each piece to have a shape of ARCHIQUANT FORM. Now they look like petals to be made into a flower. A petal with the great ARCHIQUANT image will go into human mouth. Please enjoy this flower with SOY SAUCE and WASABI (Japanese horseradish).

Translated from Japanese by Mariko Hamada
Photograph by Susumu Nomura, STUDIO ARS

PERFORMANCES

Performance Adaniya-Baier, Wien

Kyoko Adaniya-Baier translates the story from Lena Lapschina into a recipe and cooks it within the frame of an Eat-Art performance with Japanese ingredients in the Studiogallery KulturAXE, Vienna 1030. The first piece of the table landscape evolves in the format 100 x 60 cm.

Performance Lapschina, Wien

Lena Lapschina translates the story from Kyoko Adaniya-Baier into a recipe and cooks it within the frame of an Eat-Art performance with Austrian ingredients in the Studiogallery KulturAXE, Vienna 1030. The next piece of the table landscape evolves in the format 100 x 60 cm.

EXHIBITION

TRANSCULTURAL EAT ART JAPAN AUSTRIA

The table and the mutual meal in art recipes from the transcultural cuisine

Studiogallery KulturAXE, 1030 Vienna, Esteplatz 7

Opening Fri. 6.11., 19 hrs
With an Eat-Art Installation by Katharina Razumovsky

Exhibition duration: 06.11.-04.12.2009
Daily except sunday 10 a.m. – 6 p.m.

Finissage and Book presentation: 4th December 2009, 7 p.m.

Transcultural Eat-Art Japan Austria is part of the official programme of the Japan-Austria-Year 2009
www.austria-japan2009.org
Curated by Caroline Fekete-Kaiser
Curator Tokyo: Hiroko Inoue

An art project grounded on the occasion of the Austria-Japan-Year 2009.

In an interdisciplinary approach the focus is directed on Eat-Art and Design. The table, especially the dining table or the guest table, serves as metaphor, social allegory and central creative element.

The transcultural table: A collection of recipes, which when realized all together, result in one table landscape. Artists, designers, cultural actors and architects created the recipes with which they bear personal reference to Vienna or Tokyo. As such each recipe is based on a short story on Vienna or Tokyo, which is transformed in food, dishes, eat-sculptures. A story about Vienna was for example sent to Tokyo and was there translated into a recipe by a second person using ingredients from Japan. Reciprocally stories from Tokyo were converted to recipes with Austrian ingredients.

Each recipe was granted a specific space on the tabletop in the phase of realization. Together they fill the whole table – an eatable panel of Austrian and Japanese ingredients is generated, from stories about Vienna and Tokyo, interwoven into a transcultural landscape.

The recipes were performed in trial cookings in Vienna and in Tokyo. All results were documented by photography, allowing the composition of a virtual panel combining all recipes. This table landscape was then printed on a full-scale canvas (6 x 1,20 m), mounted on wooden stretcher, therewith being reshaped into a two-dimensional panel.

The Fire-Table is a changeable table that combines formal elements of Austria and Japan. The table consists of different layers that contain food and is equipped with an accumulation of cooking devices and the capability of generating different cooking grades. As such the dishes will be prepared on the table itself. This complex multifunctional design-table invites in an impressive way to experience the metamorphoses of food.

Project participants, Artists:

KYOKO ADANIYA-BAIER, HEIDULF GERNGROSS, MARTIN HABLESREITER, MASATO HORI, HIROKO INOUE, HIROMICHI KOBAYASHI, KEISUKE KOYAMA, ELKE KRASNY. LENA LAPSCHINA, KATALIN MESTERHAZY, MINAMI NISHINO, KATHARINA RAZUMOVSKY, LÁSZLÓ LÁSZLÓ RÉVÉSZ, SONJA STUMMERER.

Bundesministerium für Unterricht, Kunst und Kultur
www.bmukk.gv.at/…

Kulturkommission des 3. Bezirkes
MA 7 – Bezirksaktivitäten
www.wien.gv.at

MA 7 – Kulturabteilung der Stadt Wien – Bildende Kunst
www.wien.gv.at

Eine Veranstaltung im Rahmen des Österreich-Japan-Jahres 09
www.austria-japan2009.org