Kicking off June 18, we will introduce a new artist every Friday until August 9. Learn more about Norwegian artists, sustainable gastronomy, and the link between art and science by following Norwegian BioArt Arena – NOBA on Instagram and #NOBA_DishOfTheDay.
DISH OF THE DAY
Exhibition Period: June 18 – August 9
Exhibition Curator: Adam Bartley
June 18 – June 21
David Stenmark – Urban salad: queen Ingrid Espelid
June 25 – June 28
Roland van Dierendonck – Everything eats and is eaten
July 2 – July 5
Annike Flo – s h i f t salon
July 9 – July 12
Kvae and Bark – «Et flytende måltid» (A floating meal)
July 16 – July 19
Karolina Bieszczad-Stie – The Last Supper
July 23 – July 26
Zane Cerpina & Stahl Stenslie – The Anthropocene Feast
July 30 – August 2
Center for Genomic Gastronomy – TO FLAVOUR OUR TEARS
August 6 – August 9
Anja Carr – Soup (Bigeye fish)
Sustainable Gastronomy Day
Our 2021 BioArt + Food Exhibition Programme is devoted to the relationship between art, science, and food. Food is an essential part of our lives. However, food production is also one of the main contributors to climate change.
Launched in 2016 by the United Nations, Sustainable Gastronomy Day (June 18) celebrates a sustainable approach to food production and consumption.
At the core of our work at NOBA and Vitenparken are care for the environment, support for local food producers, and contribution towards sustainable development. That is why we take a particular interest in Sustainable Gastronomy Day.
To recognize and support Sustainable Gastronomy Day, NOBA launches an Instagram Exhibition Dish of the Day. Kicking off June 18, we will introduce a new artist every Friday until August 9.
Learn more about Norwegian artists, sustainable gastronomy, and the link between art and science by following Norwegian BioArt Arena – NOBA on Instagram and use #NOBA_DishOfTheDay.
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Urban salad: queen Ingrid Espelid Hovig by David Stenmarck
Ingrid Espelid Hovig was a Norwegian television chef and author of cook books. Upon joining the Norwegian broadcasting corporation in 1962 as program secretary for nutrition and consumer material, she became part of the country’s first generation of television celebrities. Between 1965 and 1998, she recorded 300 episodes of her cooking programme.
She came to be considered the «culinary mother» of Norway, through appearances on her cooking show «Fjernsynskjøkkenet» over 26 years.
The mural depicts a fairly abstract portrait of Ingrid Espelid Hovig, mixed up with different fruit and veggies. This homage to Ingrid Espelid Hovig was made for our local food festival Smak Ås back in
Meet David Stenmark, the artist behind “Urban salad: queen Ingrid Espelid Hovig.” You can find the art piece in the previous post. #NOBA_DishOfTheDay
“My name is David Stenmarck, and I like to paint, draw, build, cut, and make things with a lot of colors. I work as a visual communicator and project manager. Mostly within projects in art, advertising and illustration.”
“Everything eats and is eaten” by Roland van Dierendonck
Microscopy footage treated with chronomicroscopy code in Processing 3 to observe the motions of small living things over time. Music created with a Fender Mustang and the BOSS ME-50 multiple effects pedal. Soundbite recorded from the session “Oceans, Overfishing and Sustainable Gastronomy ” at The Ocean Conference (5 to 9 June 2017) organised by the UN. The quote you hear is by Hector Soldi, Vice Minister of Fisheries and Aquaculture of Peru: “We mostly associate overfishing with overcapacity, illegal fishery and lack of fishing regulations and poor monitoring and enforcement. Rarely do we associate the possibility of reducing overfishing with gastronomy.”
Chronomicroscopy is an audiovisual work in four parts, combining the playful traces of life under the microscope with a soundtrack of developing loops. It encourages the viewer to be attentive and look at the microcosmos and its inhabitants with open eyes, discovering patterns and disruptions in both the visuals as well as the audio. Chronomicroscopy raises questions for future art, as well as science, such as: “can we identify micro-organisms not by using their morphology or genetics, but by looking at their movements?” and “can observe interactions that were previously unknown?”
Although the project builds upon the histories of chronophotography and microscopic imaging dating back to the late 19th century, the choreographies of microscopic life are relatively understudied and underappreciated. Chronomicroscopy fits into the bigger theme of my art practice and ongoing research within my PhD research, realising a connection with the non-human across spatial and temporal scales. It follows earlier works with the micro-organism Euglena gracilis, Euglena spaceships (2016) and Euglenizer (2017), and builds upon the technique developed for workshops at Die Angewandte in Vienna (2019) and the DARWIN festival (2020).
Roland van Dierendonck. 2021
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Roland van Dierendonck
Roland van Dierendonck is an artist and Ph.D. candidate at Lab4Living, Sheffield Hallam University, using haptics (touch) and other media to connect with nature and biological materials across temporal and spatial scales. Roland has had a long interest in bio-digital hybrid collaborations, including (slow) biotic game research, TeleAgriCulture, and, currently, Chronomicroscopy. Furthermore, Roland has given two workshops at the Norwegian BioArt Arena – NOBA with the artist Hege Tapio.
Second slide: Chronomicroscopy (2021) is a short film observing the motions of microbes over time. It combines the playful traces of life under the microscope with a soundtrack of developing loops. It encourages the viewer to be attentive and look at the microcosmos and its inhabitants with open eyes, discovering patterns and disruptions in both the visuals as well as the audio.
s h i f t salon by Annike Flo
In the s h i f t salon by artist Annike Flo, visitors are invited to commune with the gallery’s microbes by sitting down, taking a break and sharing a meal with them. Both human visitors and resident microbes are fed Agar- a jelly based on algae. The microbe’s jelly is packed with nutritional malt (a favourite by fungal microbes) and the audience’s jelly is made with strawberry, orange and kombucha- to boost the visitors’ own gut flora.
s h i f t is inspired by the Human Microbiome Project which, among other discoveries, has revealed that microorganisms living within us play key parts in, and influence our immune system, our brain, and our genome, which all used to be biological explanations of the individual self. Now that there is no clear line between us and other, you and your surroundings, will we start to treat the world in a different way and make more sustainable choices?
Annike Flo (b. 1986) is a multidisciplinary artist and scenographer. Through her practice Annike investigates what it means to create in the proposed age of the Anthropocene and works with themes of agency, our imagined nature-culture divide and relationship to non-human beings from an artistic and scenographic perspective.
By including other beings who do their own worlding in staged spatial events, together with a human audience and herself, her work plays with the fusing of reality and performance to conjure new and possible realities. Currently her work is focusing around how to artistically engage with Habitats, as well as investigating the human as a metaorganism- composed of many organisms.
Annike’s current project Metaorganism will be shown as a part of galleri Format’s 30th jubilee exhibition Are we human? (Oslo,29.09-30.10.21).
Annike holds an MA in scenography from the Norwegian Theatre Academy (2018) and a BA in costume for performance from London College of Fashion, University of the Arts (2010). After graduating from London College of Fashion she specialised in design for immersive and participatory theatre (Secret Cinema, Punch Drunk, Immersive Cult and more), which she brings into her current artistic practice.
Annike had previously served as a Project Manager at the Norwegian BioArt Arena – NOBA.
«Et flytende måltid» (A floating meal) by KVAE & BARK
«Et flytende måltid» was a part of @openoutfestival in Tromsø in september 2020. The performance consisted of a homemade raft, a three-course menu based on locally foraged plants, and a reading. The menu was prepared by Øyvind from the floating raft, while the narrative of the plants and our bodies through the landscape, was read by Karoline in the kelp. The menu consisted of the following:
1. A snack with chanterelle and «rimsopp» (Cortinarius caperatus) mixed with «tangmelde» (Atriplex prostrata) and «strandkjempe» (Plantago maritima), topped with sea urchin mayonnaise, marigold, and dill. It was all served in Iceland scallop, soft shell clam, and Ocean quahog.
2. A miso soup cooked on «sukkertare» (Saccharina latissima), cep mushroom, and blue mussel stock. With some cep mushroom, samphire, and «strandkjeks» (Ligusticum scoticum) on top.
3. A dessert with stone bramble and a vanilla and pineapple weed cream, topped with red clover, sorrel, and blackcurrant leaf oil served in sea urchin shells.
Documentation Credits: Stephanie Imbeau
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KVAE & BARK
KVAE & BARK is a Norwegian artist duo focusing on performative events including food in different ways. The duo consists of Karoline Sætre and Øyvind Novak Jenssen, they both have their separate practices as well. Øyvind is also educated as a chef, and in their collaboration, they use locally foraged plants and materials to build and create their projects.
The pictures are from the project «Taxi Take Away» for Barents Spektakel 2021 organized by @pikenepaabroen.
Photo: Michael Miller
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The Last Supper by Karolina Bieszczad-Stie
A chef is invited to compose a gourmet dinner. Daisuke Yoshimoto dances with the food during a seated performance in a restaurant where the audience are the guests of the specific venue. A restaurant dissolves into Leonardo da Vinci’s “Last supper” images filled with taste, smell, memory and gestures. The Last Supper is a spectacle that enriches ephemeral and sensual experience of dining. In this experimental concept eating becomes much more than a physiological need and dinning becomes much more than eating food. Haute cuisine is brought into life, while Daisuke celebrates textures, flavours, scents and colours, craftly combined by a chef. The chef and the dancer are equal creators of the event. This intriguing, yet non intrusive performance is a visual and somatic food narration.
Premiere: 26th August 2017 at Losæter, Oslo
Concept and direction: Karolina Bieszczad-Stie
Producer: Food Studio & Butoh Encounters
Chef: Magnus Morveto
Dancers: Daisuke Yoshimoto & Megumi Wakasa
Music used in the video: www.bensound.com
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Karolina Bieszczad-Stie holds a PhD in Butoh dance photography from Brunel University in London. Since 2017 she runs a creative platform Butoh Encounters where Butoh dance serves as an umbrella for various collaborative projects, such as “New You New Me” – a fashion show presented at Oslo Runway, “The Last Supper” – a Butoh dining experience, or “Multiverse” – a holographic performance. Her recent interest lies in contextualising Butoh within futurology, and she is currently working on new projects: “Rebellion of the Cell” in collaboration with the Centre for Cancer Cell Reprogramming and Yuko Kaseki, “Inside out” in collaboration with Void, and “Limit(less)” in collaboration with the Department of Engineering Cybernetics at NTNU, KUKA Robotics, and Azumaru.
– A portrait of Karolina Bieszczad-Stie. Photo: Lukasz Bielawski
– “New You New Me.” Photo: Jan Khur. Concept: Karolina Bieszczad-Stie. Collection: HAiKw/. Dancers: Kristin Nango, Margete Slettebø, Megumi Wakasa, Azumaru, Daisuke Yoshimoto. Light design: Stein Stie, Music: Bendik Baksaas
– “Multiverse.” Photo: Lukasz Bielawski. Concept & direction: Karolina Bieszczad-Stie. Producer: Sophie Barth. Dancers: Yoshito Ohno, Daisuke Yoshimoto, Saga Kobayashi. Cinematography & light design: Stein Stie. Digital artist: Damien Serban, Music: Simen Korsmo Robertsen, Technical director: Anders Nybø
– Pilot project “Rebellion of the Cell.” Photo: Stein Stie. Concept & direction: Karolina Bieszczad-Stie. Co-direction & scenography: Adam Bartley. Dancer: Azumaru. Collaborators: Centre for Cancer Cell Reprogramming at UiO. Premiere of the full-scale production scheduled for 6th November with Yuko Kaseki as a dancer.
– Pilot project “Rebellion of the Cell.” Photo: Stein Stie. Dancer: Azumaru
The Anthropocene Feast by Zane Cerpina & Stahl Stenslie
The Anthropocene Feast was a food experiment about eating the last dragon on Earth. This extraordinary event took place in the Medieval Castle of Cesis, Latvia in August 2017 and was organized as a celebration of eating in the Anthropocene – Earth’s new geological epoch.
We humans have become a major geological force on the planet Earth, massively contributing to the acceleration of the current sixth mass extinction of species. Our hunt for new tastes makes us challenge the biodiversity on Earth by eating it away. As with the mammoths we might not have known at the time that we were eating the last one. What would it taste like if you knew you ate the last specimen?
For the Anthropocene Feast we caught, slaughtered, cooked, and served the last dragon on Earth as a public event. This time we knew we ate the last of its kind. Eating the last dragon not only allowed us to reflect on the dishes of the past, but also fantasize about food futures. Meals beyond imagination will be possible by the scientists, artists, and researchers experimenting with the kitchen of the future.
“Dish of the Day” is an Instagram exhibition by Norwegian BioArt Arena – NOBA devoted to UN’s Sustainable Gastronomy Day #SustainableGastronomyDay. Follow the exhibition #NOBA_DishofTheDay.
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Zane Cerpina and Stahl Stenslie
Dr. Stahl Stenslie is curator and researcher specializing in experimental and emerging aesthetics, embodied spaces, and disruptive technologies. He has worked as a professor in experimental arts for two decades (Academy of Media Arts Cologne, Oslo National Academy of the Arts, Aalborg University). A frequent lecturer at major international events (ISEA, DEAF, Ars Electronica, SIGGRAPH) and has moderated various symposiums like Ars Electronica (Next Sex), ArcArt, and Oslo Lux. He co-founded The Journal of Somaesthetics and is the editor of EE – Experimental Emerging Art magazine.
Zane Cerpina is an artist, curator, and writer working within experimental new media and electronic arts. Her extensive body of work includes curating and producing events that call for critical reflection on the current age of the catastrophes such as The Dangerous Futures Conference and Digital Wild Conference. Cerpina has initiated and been part of several important archival and research projects such as The Temporary Library of Norwegian Media Art and is one of the editors for the upcoming Book of Electronic Arts Norway. Cerpina is also an advocate for young female artists working with experimental arts through her project FAEN – Female Artistic Experiments Norway.
The Meal-in-a-pill is a three-course dinner consisting of three swallowable pills: the starter – energy pill (synthesized caffeine), the main dish – protein pill (insect infused powder), and desert – edible PLA microplastics coated with sweetened cellulose. The concept has taken inspiration from the classic staple of science fiction. The three-course meal-in-a-pill was served during the visit to Vilnius Art Academy, Lithuania in 2017. In 2019 the project was presented at the “Thinking Through Matter” Symposium at NOBA.
TO FLAVOUR OUR TEARS (TFOT) by THE CENTER FOR GENOMIC GASTRONOMY
The Center for Genomic Gastronomy
The Center for Genomic Gastronomy is an artist-led think tank that examines the biotechnologies and biodiversity of human food systems.
Launched in 2010 by Cathrine Kramer (NO) and Zack Denfeld (US) the Center has collaborated with scientists, chefs, hackers and farmers in Europe, Asia, and North America. Their mission is to map food controversies, prototype alternative culinary futures and imagine a more just, biodiverse & beautiful food system.
The Center presents research about the organisms and environments manipulated by human food cultures in the form of public lectures, research publications, meals and exhibitions. The Center’s work has been published in We Make Money Not Art, Science, Nature and Gastronomica and has been exhibited at the World Health Organization, Jeu de Paume, Kew Gardens, Science Gallery Dublin and the V&A Museum.
Soup (Bigeye fish) by Anja Carr
“Soup (Bigeye fish)” is part of @anja_carr‘s photo series “Soup” (2019) consisting of 12 photographs. Each photo is a different “soup”; octopus soup, snail soup, bird soup, etc. Fish and meat partly covering the artist’s face show Carr’s interest in the “abject” which mixes “subject” (the artist) and “object” (the food) and can be fascinating and repulsive at the same time.
The series points to one of our biggest environmental challenges; all the microplastics in the ocean, through the different plastic objects that float on the water surface. The artist literally bathes in food and hints at another global problem: overconsumption. The seductive language of advertising – which results in increased consumption – is imitated in the images, through glistening surfaces, strong lighting, and the use of bright colors.
The artist has taken the pictures herself with a tripod, while she was pregnant, lying in the bathtub. Each photograph is 68 x 68 cm and has an edition of 5 (+2AP). For inquiries about sales, contact the artist @anja_carr.
Anja Carr (Oslo) transforms bodies, faces, toys, and food in a theatrical, abject, and colorful world of photography, sculpture, installation, performance, video, and self-invented techniques. Her 30+ solo exhibitions include galleries in Los Angeles, London, Stockholm, and Berlin and she has performed in Amsterdam, London, New York, Miami, Paris, etc.
60+ group exhibitions include Triumph Gallery (Moscow, upcoming), the famous Cankarjev dom (Ljubljana), Somerset House (London), the National Museum / Mellomstasjonen (Oslo), and the Tadeusz Kantor Museum (Kraków). Carr founded the pink gallery PINK CUBE in Oslo in 2011, with a wall-paint containing body fluids.
🐙 Image: Anja Carr inflating her installation “Missed call” @officialxGHOST, Los Angeles, 2019. Octopuses release ink from their anus when in danger and the ink is often used in Japanese and Greek cuisines, with its rich umami or savory flavor. Carr’s octopus is bathing (or drowning?) in a kid’s pool filled with its own ink, like an oversized plastic toy with dystopian hints to the current climate crisis.
A bigger pool with the ink will be in place when “Missed call” is shown as part of Carr’s solo exhibition @BuerGallery in Oslo, 2nd – 26th of September 2021, together with new works and #Soup_series_by_Anja_Carr (see the previous post).