the exhibition catalog

DOROTHéE
SELZ
OFFERINGs
Eat
Art
a
state
of
mind
In this era of Fooding and other creative
culinar y experiences targeting our
taste buds, Eat Art seems a noteworthy
trend that many claim to have started,
simply because they share food as a
starting point. While Eat Art is subject
to all claims of membership and
unifying values, few people, however,
truly know what it is. Eat Ar t was
born well before the current craze for
food – more than 50 years ago, from
an exclusive relationship with artist
Daniel Spoerri, its creator, theoretician
and main agent. It emerged with links
to New Realism, a movement Spoerri
was involved in, and developed with a
happening approach reminiscent of the
artist’s links with theatre production
and later Fluxus.
what
is eat art ?
The
origins
Eat Art first of all describes the use of food as a
medium for artistic creation, thus doing away with
a formal representation of food. A chapter is closed
in the long pictorial tradition of the still life, making
way for a three dimensional, tangible form that is no
longer a brilliant copy of reality but, in accordance
with the precept of New Realism, reality itself.
Eat Art is expressed in two different, sometimes
complementary, forms: works of art and happenings
where food is actually present, more often than not
edible. At the heart of this 1960’s experimental art,
Daniel Spoerri decided to turn his focus to food and
our eating habits. By allowing spectators to create
new links with their most mundane environments, he
1960-63
dans sa chambre d’hotel
The works
of art
daniel spoerri
paris
urged them to reflect on these cultural habits while
questioning the very essence of art.
The
origins
While this new concept was only labelled by Daniel
Spoerri in 1970, it originated 10 years earlier in
1960
le petit déjeuner de kichka
the tableau-piège (snare-picture), as well as the
daniel spoerri
exhibit “L’épicerie” (the grocery store) organized
new york
1963
Tableau piège
DANIEL SPOERRI
restaurant galerie J
paris
in Copenhagen in 1961. For this exhibit, Spoerri
transformed a gallery into a grocery store where
spectators could buy cost-price food products
stamped with the words “Attention: Work of Art –
perishable food”. The exhibition Catalogue Tabou,
was made of bread rolls filled with household refuse.
The
works
of art
Already, the snare-picture concept (which captured
the momentary state of a table af ter a meal,
becoming a picture when mounted on a wall), had
been born into the world of art, particularly New
Realism, of which Spoerri was a founding member in
1964
eaten
1961
the grocery shop
m ar c el d u c h a m p
31 variations on a meal
new york
daniel spoerri
copenhagen
1960. In this way, everyday life was elevated to the
rank of works of art, while the artist was simply the
humble servant of chance petrifying his own meals
in the privacy of a hotel room. This state of servitude
became such a burden to Daniel Spoerri that he had
1978
TRAP-PAINTING
to create “developments” of this initial principle. Eat
Art was one of them.
DANIEL SPOERRI
baSEL
1961
catalogue tabou
daniel spoerri
copenhagen
The
banquets
The
banquets
From 1963 to 1965, “Chef Daniel” transformed art
galleries into restaurants, where he cooked the food,
assigned spectators the role of unwitting creators of
snare-pictures, and sometimes invited art critics to
wait on the tables.
Then gradually Eat Art banquets broke free of the
snare-picture and developed around themes obliging
the spectator-agent to react and act. For example,
in 1970, with Henkel Bankett (Henkel Banquet) and
L’Ultima Cena (The Last Supper), Daniel Spoerri
restaurant
invited spectators and artists to “digest” 1960’s art,
spoerri
both literally and figuratively. In 1983 in Jouy-enJosas, France, the ritual of Déjeuner sous l’herbe
(The Lunch under the Grass) led to the burial of the
snare-picture. Arm und Reich (Rich and Poor) gave
chance the upper hand and offered a slice of life
with social and cultural differences, as seen in eating
habits and traditions. The Menus Travestis (Disguised
Dinners), on the other hand, fooled guests as to the
nature of the prepared dishes, demonstrating that
taste was also conditioned by cultural codes.
1970
l’utima cena
daniel spoerri
t in g u el y
ar m an
c é sar
ni k i de sain t p h alle
des c h a m ps
restaurant
spoerri
y v es k lein
m ar t ial ra y sse
c h ris t o
ro t ella
milano
In parallel to these culinary happenings, one place
was of particular importance in the history of Eat
Art: Düsseldorf. In June 1968, after his return from
his stay on the Greek island of Symi, Daniel Spoerri
decided not to set himself up again as an artist
but to start a bar-restaurant, Restaurant Spoerri,
leaving clients to decide whether it was an ordinary
establishment or a permanent happening. On the
menu, the dish of the day and meat dishes were
featured alongside the chef’s specialities (omelette
with grilled ants, bear paws, python stew or elephant
trunk steak), considered food aberrations.Certain
1968-72
the restaurant spoerri
artists went to Restaurant Spoerri to cook. In 1970,
the Lalannes organized a Dîner Cannibale (Cannibal
Dinner) of food made in moulds of Spoerri’s own
daniel spoerri
body. And in 1971, Dorothée Selz and Antoni Miralda,
the “colorist caterers” created an Eat Art Banquet
of food (aspic, chicken stock, vegetarian steak,
snipe with foie gras, cheese, cake, etc.) that was
unrecognizable with the use of food coloring.
düsseldorf
1970
banana trap dinner
menu
daniel spoerri
edinburgh
1988
the dinner in disguise
menu
daniel spoerri
graz
austria
Eat Art
Galerie
In 1970, the opening of the Eat Art Galerie, specialized
in the creation and exhibition of Eat Art, much of
which was made from foodstuffs. It established
Eat Art as a practice that brought people together
since, from 1970 to 1972, about 30 artist friends
exposed their work there.
In this way, Arman reworked his Accumulations, this
time in marzipan, César updated his Compressions
using several kilos of sweets and remade his Pouce
1971
pouce
(Thumb) in caramel, Joseph Beuys presented fish
bones in wooden boxes with Freitagsobjekt (Friday
Object), Ben shut himself in a box and fasted for
24 hours, Roy Lichtenstein hung his Brushstrokes in
c é sar
sponge cake with brightly colored icing, and Dieter
eat art galerie
Roth made self-portraits from chocolate…Eat Art
düssseldorf
Galerie and Editions Eat Art:Richard Lindner, Joseph
Beuys, Ben, Arman, George Brecht, Robert Filliou,
André Thomkins, Dieter Roth, Ugo Dossi, César,
Claude et François-Xavier Lalanne, Dorothée Selz et
Antoni Miralda.
1970
souliers de femme
petit fourneau
daniel spoerri
eat art galerie
düsseldorf
1971
BRUSHSTROKE
ro y li c h t ens t ein
editions eat art
düsseldorf
1970
jeûne de 24 h
b en
eat art galerie
düssseldorf
1971
pains colorés
et paysages meringue
doro t h é e sel z
an t oni m iralda
eat art galerie
düsseldorf
dorothée
selz
architect
of
ephemeral
edible
constructions
Dorothée Selz plays and makes fun
of images and materials of everyday
life. As an ar tist she sublimates
food, transforms foodstuffs , makes
sculptures of fleeting moments,
architecture of food, underlines
monuments and popular art objects
with a piping bag, and takes a humorous
look at languid mens’ bodies. She feeds
her art on travels, meetings and dreams.
Her art is by nature filled with poetry
and pleasure. It is no wonder then that
the French Cheese Board devoted as it
is to research in arts dealing with food,
should put on a retrospective of this
pleasure-loving artist’s work.
Dorothée Selz has been upsetting our
eating habits in various ways for over
thirty years. Curious visitors are invited
to take part in the experiments, and
sometimes take the plunge by tasting
rice dishes, salads or buns died bright
blue or red. Not everyone is able to take
it in stride. Remorselessly, Dorothée goes
on astonishing us with her daring edible
installations. Delving deeply into our
perceptions of the in situ, Dorothée Selz
has never ceased to tease us with her
unusual shapes. She prefers the role of
re-interpreter rather than that of
c om p l ete i n n ova tor d e m a n d e d by
advertising,and is aware that she is
known not so much for her formal
innovations as for her style.
Her work can be read in bitter-sweet
half tones. It is the work of a prolix
artist,a colorer of food and images,
a creator of images and icons on the
fringe of the mainstream contemporary
art scene.
1967
Croque Jesus
Christmas 1967, instead of greetings cards, Antoni
Miralda and Dorothée Selz sent their friends one
hundred copies of a baby Jesus made of almond
paste carefully packaged in a transparent plastic
case.
1969-70
gâteaux paysages
1967
Croque Jesus
t rai t e u rs c oloris t es
doro t h é e sel z
an t oni m iralda
pariS
1971
Fête en 4 couleurs
Antoni Miralda and Dorothée Selz produced
meringue pastry sculptures or entire miniature sugar
worlds inhabited by tiny plastic characters and all
D oro t h é e S el z
sorts of objects symbolizing the advent of a new
A n t oni Miralda
lifestyle, such as their City Cake, Bathroom Cake and
J a u m e X i f ra
enormous Love Birthday Cake. These were followed
Biennale de Paris
by their many Meringue Landscapes, depicting all
the mod cons and luxuries of that affluent period,
which critics of the consumer society denounced as
being a meretricious promise of artificial and short
lived happiness.
1970
repas 4 couleurs
1969-70
gâteaux paysages
t rai t e u rs c oloris t es
doro t h é e sel z
an t oni m iralda
On 12 March 1970, seven years to the day after
Galerie J had been turned into a restaurant by chef
Daniel Spoerri, Dorothée Selz and Antoni Miralda
hannover gallery
londres
eat art gallery
düsseldorf
organised a Meal in 4 colors at the Givaudan
gallery. Four variations on foods, artificially altered
with food dies provided guests with the choice
cake as a kitsch package
and festive symbol
of eating blue, red, yellow or green, thus making
a deceptive promise of different flavors that our
natural synaesthesia might lead us to believe in.
This event marked the start of their new activity as
«color caterers». They decided that this should not
be limited to the formal context of art, and that
they would also work on private commissions.
1971
1971
Eat Art gallery
Daniel Spoerri invited the young «color caterers»
to come to take part in Eat Art which was then
booming in Düsseldorf.
This is how in June 1971 their Landscapes in meringue
Eat Art gallery
t rai t e u rs c oloris t es
EARTH DAY CAKE
doro t h é e sel z
an t oni m iralda
t rai t e u rs - c oloris t es
Restaurant Daniel Spoerri
doro t h é e sel z
Düsseldorf
an t oni m iralda
look magazine
USA
and royal icing came to be exhibited at the Eat
Art gallery, and were thereby included in Eat Art
publications. Spoerri Restaurant ordered an «Eat
Art Bankett» made up of colored dishes made
unrecognizable. This collaboration enabled them
to declare their affiliation to the trend first set by
Spoerri.
1971
Fête en blanc
These monochrome feasts were aesthetic and
ritual celebrations, but there was nothing religious
about them. During performances the public
became the actors of the actions. That was also
1970
repas 4 couleurs
1971
Fête en blanc
D oro t h é e S el z
A n t oni Miralda
when they met Pierre Restany, who was intrigued
t rai t e u rs c oloris t es
J oan R a b as c all
by their «actitude» and enthusiasm. In these rather
doro t h é e sel z
J a u m e X i f ra
an t oni m iralda
ceremonial celebrations they expressed themselves
Galerie Claude Givaudan
in all sorts of ways - with sound, smells, poems,
gestures, coordinated marches, and of course food.
Chateau de Verderonne
Paris
in the mid-80s Dorothée Selz
developed her most individual form of
expression by becoming the architect
of ephemeral edible constructions
(monumental arches and columns)
which she topped with savory or sweet
foodstuffs mounted on peaks. These in
situ assemblages were made to order,
and adapted to particular places and
functions, while retaining their ritual
function in the context of a private
1975
view, an opening ceremony or other
magazine 100 idées
commemorative event.
doro t h é e sel z
Paris
1978
table
D oro t h é e S el z
Paris
Today she continues to develop this
spectacular aspect of her edible
work, while at the same time she has
managed, through her pictorial work,
to establish a connection between her
two forms of expression.
It was by re-working photographs
gâteau arc-en-ciel
of popular Salinese or Mexican ritual
t rai t e u rs - c oloris t es
featuring food that the artist managed
m iralda - sel z
to transcend this contradiction.
Paris
In the forty-five years during which
this epicurean has been transforming
life into a kind of transitory feast, she
1985
sculpture de pastèques
avec danseuse du ventre
has contributed her own individual
conception to the spirit of Eat Art.
Where as its founder Daniel Spoerri was
fascinated by the ways and customs of
D oro t h é e S el z
eating and by human behavior faced
festival international
with food, Dorothée Selz focused on the
de danse contemporaine
aix-en-provence
playful, festive and colorful aspect of
gastronomy. The greatest contribution
1978
she made to the Eat Art movement lies
sucre d’art
in this complementary aspect which
D oro t h é e S el z
provides us with imaginative insights
musée des arts decoratifs
into the many facets of her expression.
paris
1986
table
D oro t h é e sel z
collection Fnac
2
0
1
5
2006
trois tétraèdres
D oro t h é e sel z
Hôtel Hyatt Palacio Duhau
buenos aires
1988
sugar Arche
Hôtel Hyatt mendoza
argentine
D oro t h é e S el z
american craft museum
2013
sculpture optimiste
New York
2007
déguste
D oro t h é e sel z
palais de tokyo
paris
D oro t h é e sel z
alliance française
1990
arche double
Bogota
popayan
D oro t h é e sel z
arcs & cracs
barcelone
2009
tables comestibles
D oro t h é e sel z
alliance française
abu dhabi
2013
sphere all over
D oro t h é e sel z
art basel
1995
métronomes
D oro t h é e sel z
inauguration
de cité de la musique
paris
miami art fair
miami
2010
espièglerie
D oro t h é e sel z
saint-étienne
France
2015
lignes dans l’espace
D oro t h é e sel z
unicredit pavilion
michele de lucchi
milan
2002
parterre comestible
D oro t h é e sel z
2012
Arcs-boutants
D oro t h é e sel z
museo del barro
Asunciòn
la conciergerie
paraguay
o
f
f
e
r
i
n
g
s
paris
D oro t h é e sel z
french cheese board
new york
dorothée selz
and
monsieur gus
preparing
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c
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t h e ar t is t and t h e b a k er
a t t h e openinin g
m onsie u r g u s
preparin g t h e do u g h
C O L O R E D B A L L S res t in g
doro t h é e sel z
preparin g t h e c olors
b a k in g TH E C O L O R E D B R E A D
m ixin g TH E D O UGH
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NY 11237
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TH E C O L O R E D B R E A D
MOULDING
TH E C O L O R E D D O UGH
INTO
COLORED BALLS
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E X H I B I T S E T- U P
s c u lp t in g t h e s t r u c t u res
wall se t - u p
i c in g t h e c ons t r u c t ions
M I M O L E TT E
C O MTÉ
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A D D I N G CH E E S E
FRUITS AND CANDIES
O N TH E S T R UCTU R E S
F R E N CH E MM E N T A L
D O R O THÉ E S E L Z
M I M O L E TT E
O S S A U - I R A TY
C A N TA L
french
cheese
board
M I M O L E TT E
The French Cheese Board is a studio
devoted to all things French cheese.
Conceived as an idea lab, it is a space
for consumers a
nd trade members to
discover the diversity and richness that
French cheese has to offer through
a series of interactive showings and
events.
THE GALLERY
The new home to French Cheese in
New York, we blend the culinary arts
with contemporary art installations,
meshing lifestyle, art, cheese and more.
We put art and design at the forefront
the exhibition took place
from october 8 to november 12, 2015
at the French Cheese Board
26 West 39th Street
New York, NY 10018
exhibition management
Laurent Damiens
curator
Christophe Spotti
art direction and set design
Ich&Kar
coordinator
Julien Garrec
sculptures technician
Romain Martenet-Cuidet
baker
Monsieur Gus L’imprimerie
o f m o d e r n i t y, d e v e l o p m e n t , a n d
innovation. We invite artists, designers,
chefs, and researchers to work together
on projects related to French cheese and
the nutrition of today and tomorrow.
The French Cheese Board provides a
platform for the exchanging of ideas,
for education, and for the celebration
of French cheese.
THE KITCHEN
Modern and sleek our kitchen serves
various purposes. We lend it out to
chefs to prep and create r ecipes to
share with our followers.
THE SHOP
The little corner shop was conceived
in par tnership with our French
cheesemakers. Offering a small but
curated selection we pride ourselves in
showing all that France has to offer.
Our selection rotates monthly and
you’re always sure to find one cheese at
fifty per cent off retail. We’ll announce
our promotional item through social
media at the beginning of each month
to keep you coming back! We also
streamlined our retail process and only
take card payments to get you in and
out and closer to enjoying your French
cheese. Bon appetit!
catalog design
Ich&Kar
Photos
Francesco Merlini
Prospekt
Antoni Miralda
Becket Logan
François Voisin
Brice Martenet-Cuidet
Romain Martenet-Cuidet
Javier Medina
Benet Rossell
Pierre Béranger
Christophe Dellière
Jean Koscher
Régis Glaas
AFP New York
Daniel Spoerri ‘Archives,
The Swiss National Library, Bern
Teddy Wolff
DR
french
cheese
board