Original title: Večera za troje
Camera: Raphael Etienne and Aymeric Francois
Sound editing: Ognjen Šavija
Special thanks to Ilvana Dizdarević and Hadži-Ganija
The work is part of imai archive (inter media art institute)
(…) Changing raw to cooked food marks first of all a cultural development, transmutes human from primate state into the social man. According to Claude Levi-Strauss, humans contains both; they are at once biological beings and social individuals since with the act of cooking they are able to transform natural material into cultural products. In the socio-biological study A Zoologist’s Of The Human Animal, Desmond Morris describes the behavior and the compartmental human history of evolution. For their survivor, people had to hunt. They needed a better-evolved brain to replace the absence of strength. Also their natural physique wasn’t as agile compared to the other animals.
As a consequence, to educate and develop the brain, humans needed a more prolonged childhood. To achieve this, among other reasons, human began to live in couples and practice monogamy. Gender roles were inevitably separated to the detriment of women that mostly had to stay home and take care of the private sphere by giving birth to children, educating, nurturing etc., while men were out providing food through hunting and warfare.
The couple’s construction scheme, and as a result the essential transformation of the entire society has remained mostly unchanged until today. However, the emergence of the first feminist wave, almost two centuries ago, questioned a whole worldview about gender roles that was completely obsolete, also reviewed and criticized its institutionalized division, of gender roles, the positions of women inside the heterosexual patriarchal patterns, where women continued to perform the functions of the female primate.
Once again, as in the age of cavemen, the male provides food and the female remains trapped in the passive role, deceiving herself with the ridiculous illusion of happy housewife. Lastly after entering the labor market in huge numbers women were left with double burden, still performing the unpaid domestic and reproductive labor.
The works of the three artists have food as common object of cultural value that carries the meaningful symbolism of the society we live in. A changing value that sometimes divides and others merges and connects as we can see in Family by Beškida Kraja, the bread wraps in a holy ritual life of the couple and the family. In the video-installation Food with experience by Nardina Zubanović, this value becomes a game, which triggers the imagination, transforms the ordinary alimentary context and inquiries the gender role clichés and stereotypes in an ironic and humorous way. In A Dinner for Three, a video performance by Adela Jušić, eating is a powerful ritual with symbolic representation of gender, religious and generational differences.
Blerta Hocia, Soft Meal, exhibition text