COMPRAR, COCINAR, COMER BUY, COOK, EAT Wolfgang Tillmans • Martha Rosler • Greta Alfaro • John Divola • Laurie Frankel • William Eggleston Stephen Shore • Larry Sultan • Jim Dow • Anna Fox • Jan Groover • Henry Hargreaves • Concha Prada Martin Parr • Xavier Ribas • Guillermo Srodek-Hart • Priscilla Monge • Jason Hindley • David Goldblatt Cindy Sherman • Amélie Lombard • Katie Swietlik • Takashi Yasumura • Tessa Traeger
Krista van der Niet. Fruit op tafel, 2012. Courtesy of the artist.
Compra r, c o c i n a r, c o m er B u y, c o o k , e at
Editado por / Published by Producciones de Arte y Pensamiento SL
Katie Swietlik. Dinner and a Show, Thinking About Food series, 2009. Courtesy of the artist.
Director / Editor Rosa Olivares / editor@exitmedia.net Director asociado / Associated Editor Sergio Rubira Gutiérrez / proyectos@exitmedia.net Editor Gerente / Managing Editor Clara López / logistica@exitmedia.net Coordinación editorial / Editorial Coordination Ana J. Revuelta / edicion@exitmedia.net Equipo Asesor / Advisory Committee Jens Friis, Lola Garrido, Marta Gili, Laura González, Gerardo Montiel Klint, Urs Stahel, Willem Van Zoetendaal , Paul Wombell Traducción / Translation Rogelio Sastre, Caroline Svensen, Sarah Whalley Diseño / Design Adrián y Ureña, S. L. Rediseño / Redesign José María Balguerías, Jaime Narváez Maquetación / Layout José María Balguerías (estudioblg.com) Publicidad / Advertising Isabel del Busto / publi@exitmedia.net (Tel. 617 429 755) Suscripciones / Subscriptions suscripciones@exitmedia.net Administración / Accounting ad@exitmedia.net Oficinas, Redacción y Publicidad / Main Offices España: Juan de Iziar, 5 · 28017 Madrid T. +34 91 404 97 40 / F. +34 91 326 00 12 México: Río Pánuco, 138 Colonia Cuauhtémoc · 06500 Ciudad de México redaccion@exitmedia.net www.exitmedia.net Distribución / Distribution España: Producciones de Arte y Pensamiento T. +34 91 405 84 85 circulacion@exitmedia.net Wabi-Sabi T. +34 95 499 92 29 Internacional: Francia, Suiza, Benelux, Canadá: DifPop / Pollen 81 rue Romain Rolland · 93260 Les Lilas T. 33 (0) 1 43 62 08 07 F. 33 (0) 1 72 71 84 51 info@pollen-diffusion.com México: EXIT La Librería Río Pánuco, 138 Colonia Cuauhtémoc · 06500 Ciudad de México T. +52 (55) 5207 7868 libreria@exitlalibreria.com www.exitlalibreria.com
Lucie Awards 2015 Mejor revista de fotografía del año Photography Magazine of the Year Kraszna-Krausz Foundation 2003 Mejor publicación de fotografía entre 2000 y 2003 Best Photography’s Publication 2000-03
Todos los derechos reservados. Ninguna parte de esta publicación puede ser reproducida o transmitida por ningún medio sin el permiso escrito del editor. All rights reserved. No part of this publication may be reproduced or transmitted by any means without written permission from the publisher. © of the edition: Producciones de Arte y Pensamiento, S.L. © of the images: its authors © of texts: its authors, © of translations: its authors © of authorised reproductions: VEGAP. Madrid, 2015. EXIT is member of the Asociación de Revistas Culturales de España, ARCE, and the Centro Español de Derechos Reprográficos, CEDRO. Printed in Spain / Printed by Artes Gráficas Campillo Nevado S.A., Madrid. D.L.: M-4001-2012 / ISSN: 1577-272-1
GOBIERNO DE ESPAÑA
MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE
Esta revista ha recibido una ayuda a la edición del Ministerio de Educación, Cultura y Deporte.
SUMARIO / CONTENTS Editorial Esto no es un bodegón This is not a Still Life
8
Rosa Olivares
Los filósofos a la mesa Philosophers at the Dinner Table
16
Carolyn Korsmeyer
Comprar To Buy
32
Breve historia de la imagen de la comida A Photographic Tasting through the History of Food Images
66
Toya Legido
Cocina The Kitchen
84
Entrevista a / Interview with Martin Parr 108
La comida como subgénero Food as a Subgenre Rosa Olivares
Comer 122 To Eat Las Sobras 148 The Leftovers Índice de artistas / Index of artists 174
David Goldblatt. In the Sofasonke Dairy, Orlando West, Soweto, 1972. Courtesy of the artist and Goodman Gallery.
COMPRAR TO BUY La materia prima es lo esencial en todo el proceso que genera la alimentación, la comida. Más allá del mercado existe un mundo de campos agrícolas, piscifactorías, granjas, procesos de transformación, envasado y manufactura de los alimentos que se canalizan en los mercados, las tiendas y todo tipo de formas de comercialización. Desde el supermercado a la pequeña tienda especializada, sin olvidarse la primera mano: la lonja, el mercado de los productores. En cada país, en cada cultura, la economía define la comercialización y visibilidad de la comida. Raw materials are the foundation of a finished meal and everything it entails. Beyond the market, there is a world of agricultural fields, fish hatcheries, farms, transformation processes, packaging, and food manufacturing that are funnelled through markets, stores and other commercialization channels. It starts at La Lonja—the farmer’s market—and goes from the supermarket to the small specialty store. In each country, in each culture, the economy defines the commercialization and visibility of food.
E X I T Nº 66-2017 32
COCINA THE KITCHEN El laboratorio, el alambique, el lugar donde se transforma la energía es sin duda la cocina. En cada casa, no importa el país, ni la cultura ni el nivel económico, hay una cocina que convierte unas hortalizas en un guiso exquisito, unos huevos en una tortilla, un pedazo de carne sangrante en un asado para que toda la familia esté alimentada. Los elementos naturales, el fuego, el agua, los metales, son los utensilios de la magia diaria que se desarrolla en todas las cocinas del mundo. Undoubtedly, the kitchen constitutes the laboratory, the distiller, the place where the food’s energy is transformed. Regardless of the country, culture or economic level, every household has a kitchen where vegetables are turned into an exquisite stew, eggs into an omelette and a hunk of raw meat into a roast for the whole family. The natural elements —fire, water, metals—enable the magic that occurs daily in the world’s kitchens.
Amélie Lombard. Hacher, Pas-a-Pas series, 2010. Courtesy of the artist.
E X I T Nº 66-2017 84
Interview with Martin Parr
Food as a Subgenre Rosa Olivares
A photographer of current times praised by the public and critics alike is undoubtedly Martin Parr. He is a professor and Magnum photographer, specialist in photography books and artist, capable of filling galleries such as the Reina Sofía with hundreds of his photographs, images that document an ironic and autobiographical view of society, a society seen increasingly as less deserving of public visibility. Many view him as a social artist whose images depict society from the working classes to the new rich. A common theme present throughout the different phases of his career is food and eating as an act that defines who we are and our position within the food and social chain. During the 1980s, his work dealt with the lifestyles of ordinary people in Great Britain and the social decline and problems experienced by the working classes during the years of Margaret Thatcher’s government. There is however more martin parr behind the popular face of Martin Parr, a semblance of beauty perhaps, hiding behind the vision of social decay, trying to help us forget what we inevitably see all over the world. At a time where photography finds itself trapped between the denial of the author and the invasion of the selfie, resistance is manifest through the photos with the application of irony and skill. Martin Parr is a great strategist who has managed to make photos that remain in our visual memory as if they were ready made images, becoming synonymous with photographic ubiquity. This is no small feat for a man who simply photographs what he sees, the things that surround him, his everyday world.
E X I T Nº 66-2017 116
Martin Parr has become a champion for new social documentary photography, a form of photography that is subjective in nature and not so much used to illustrate news stories or events, but to offer stand alone images that speak for themselves, capturing life itself. We have briefly spoken to Martin Parr about his view of the role that food plays throughout his career. Exit: New documentary photography is one of the most important trends in current photography, and you and your photographic work one of the key references in this field. Could you explain to me how it is that this type of photography, both social and subjective, has outlived other 80s trends and what are the most characteristic aspects of the new documentary photography? Martin Parr: Umm, well I guess people are always going to be interested in stories... which is really what all of this is about, so you can see that that interest is never going to wane. And I guess the thing that has really turned it around is the subjectivity, people realize that the most important thing to have now... is the personal view point, you know the perspective from the photographer. So it’s almost like the subject is the relationship of the photographer to the subject rather than the subject itself. That’s the thing that makes things interesting, because we all see things differently, and I think that when you have an articulate photographer, they talk about that territory and that’s what makes it more compelling. So I think that’s what has helped it to survive and to flourish and why there’s still a lot of interest in it.
Martin Parr. Ramsgate, England, UK, Common Sense and New British series, 1996. Courtesy of the artist.
COMER TO EAT La puesta en escena de la comida tiene lugar casi siempre en una mesa. Solamente en casos excepcionales la cama, el campo, puede sustituir una mesa, aunque repita su utilidad. Comer se puede convertir en una performance, en una acción donde el color y las formas, los rituales y los movimientos definen las clases sociales, la urgencia, la época histórica. Hacer de una necesidad primaria una actividad social. Comer a solas, en familia, con amigos, en una ceremonia pública, diversos escenarios cuyo objetivo es el mismo: alimentarse, pero que inevitablemente significan mucho más. Entre la alegría y el autismo una buena mesa puede marcar la diferencia. Commonly, the staging of food takes place at the table. On exceptional cases, the bed or an outdoors setting can replace the table, although they serve the same purpose. Eating can become a performance, an action where the colours, shapes, rituals and movements involved define a historical epoch, its social classes and their pressing needs. Ultimately, it transforms a basic need into a social activity. Whether eating alone, as a family, with friends or in a public ceremony, the goal is always the same: being fed. However, all these scenarios inevitably represent much more than that. Between joy and autism, a good table can make the difference. “Fortunes are being made that are in line with the dreams of avarice” Anna Fox. Business 1987, Work Stations series, 1987. Courtesy of the artist.
E X I T Nº 66-2017 122
Greta Alfaro. In ictu oculi #2, 2009. Courtesy of the artist and Galería Rosa Santos.
LAS SOBRAS THE LEFTOVERS Después de la fiesta el escenario es parecido al que encontramos después de la batalla: manchas en los manteles, el vino rojo mancha de sangre las mesas que fueron blancas, los restos de la comida que fue cuidadosamente presentada, migas, peladuras de fruta, servilletas arrugadas… suciedad donde hubo esplendor. Los restos, las raspas, los huesos mondos,… irán a la basura. Nuestra basura habla de nosotros como la mejor de las radiografías, son el selfie de nuestra vida cotidiana. Y, al igual que una mesa dispuesta a comer, los restos, nos dicen quiénes somos, qué somos. After the party, the scene resembles a battlefield: stains on the tablecloths, red wine spots resembling blood spilled over the once white tables, leftovers of food that was carefully presented, crumbs, peeling fruit, wrinkled napkins … dirt where there once was splendour. The remains, the scrapes and the clean-picked bones will go to the garbage. Our trash speaks of us like an x-ray, they are the selfie of our everyday life. And like a well-set table, the leftovers reveal what and who we are.
E X I T Nº 66-2017 148
E X IT I ma g en y Cu l t ur a / I ma g e & Cu lt u re R e v i s ta tri m e st r al / Q u a rte r l y Ma g a z i ne • Añ o 1 7 - # 6 6 M ay o / J un i o / J ul i o 201 7 • PV P Es pa ñ a : 25 Eur o s