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Eating distance

7. Juni 2021, ab 12.00 Uhr Dokapi, Kollegiumgasse 2, 4020 Linz und Aotu Space, Beijing

Ausstellung Studierender der Experimentellen Gestaltung zum Thema Gastfreundschaft und Gedankenaustausch in einer Zeit eingeschränkter Mobilität.

Teilnehmende KünstlerInnen / 艺术家名单
Walentina Ammann, Felix Brinkmann, Amanda Burzić, Sabine Dichatschek & Tabitha Haynes, David Kapl, Dasol Kim, Anja Korherr, Catrin Manoli aka Cooky, NiR & Pan Kaijian潘开建, Miriam Pranter & Miriam Roithinger, Emily Ramharter, Georg Schuchlenz

Gastronomy : Mohammad Reza Rasouli

Distant digital Zoom curation by / 远距离数字策展团队
I: project space
Marlene Hausegger
Muxia Liu 刘沐夏

Collaboration between
Kunst Universität Linz (Department of Experimental Design) and I: project space
此项目由林茨艺术设计大学(实验艺术系)和I:project space合作呈现。

Eating distance
The group exhibition “Eating distance” is a constellation of works that attempt to restart hospitality and sharing thoughts in a time of reduced mobility worldwide. Through hosting the visitors at a dinner table while sharing a meal between Linz and Beijing, they start to untangle complex histories and question current issues, from globalisation, cross-cultural communication to predicting the future through fortune telling. This first serving of art, food and politics introduces some of the issues and ideas that are pressing for our current time.
Mobility has been an important factor in the art world since the 1950s. Creating art has become synonymous with movement, travel and encounters. However, the mobile art world has been facing new challenges since last year: What does it mean to displace our experimental group, from one continent to another? How does such an initiative engage with a new local context without a real physical presence? How do we take account socio-cultural dynamics? Now a radical questioning of the conventional artistic production and presentation system is necessary: ​​research, creation and presentation as well as, above all, international exchange.
As part of the course “Thinking over borders” the students of the Kunst Universität Linz discussed and tested new ways of art production and exhibition practice on the basis of an exhibition at Aotu Space in Beijing.

群展“吃饭的距离”试图通过一系列作品在全球范围内活动仍然受限的情况下重启热情好客的款待并分享思考。通过在餐桌上招待访客,在林茨和北京两地同时共享餐点,该展览尝试开启拆解复杂历史并质疑当前问题的渠道—— 从全球化、跨文化交流到通过占卜预测未来等。这一份融合艺术、食物与政治的项目介绍了我们当前紧迫的问题和想法。


Walentina Ammann
Mixed media, e-piano, cotton, 2021
The inability to express emotion.
Thoughts that cannot be put into words.
Choking up on the verge of crying.
Missed opportunities.
Stifling social situations.
Suffocating family patterns.
The deliberate destruction of the black keys limits the expression the instrument and its player.

Walentin Ammann

Felix Brinkmann
Mixed media, silicon hands, delivery bag, stickers, pen, 2021
We form these hands; we shape these lives.

A hand holding a food delivery reaches through the wall into the gallery space. The visitors are engaged to write down reasons for ordering online and to afterwards adhere them to the hand.
The bare working-hand objectifies anonymized and unpersonalised labour. It is frozen in the gesture of serving. In todays digitalized world the production and shipping of goods obscures more and more in the background behind one-way-designed, “customer-oriented” ordering-platforms. The delivery of an ordered good to the customer as the last visible link in the chain of production is used as a gate through which can be reached back into this chain.
The small interaction with the hand of an abstract servant can build up empathy for the people involved in production, those seemingly faceless other(s) behind the wall, and it can also contribute to an awareness for the weight of one’s own habits and justifications in the very shaping of their hands and their movements.
Ultimately the question thrown up is: What do we want to do with the hand(s) that feed us?
The whole sculpture has itself been ordered on Taobao.

Felix Brinkmann

Amanda Burzić
Portraits of people that have prepared food for me
Postcards, 2021
Burzić visited friends and family and they cook food for her. After they finished eating, she took a photo of them in their kitchen.

Amanda Burzić
Burzić 拜访了朋友和家人——他们都为她准备了食物。当他们吃完饭之后,她为他们在各自的厨房中拍了一张照片。

Sabine Dichatschek & Tabitha Haynes
HD video, 03:33 min, 2021
A film by Sabine Dichatschek with music by Tabitha Haynes.
On the theme of science fiction, the video features futuristic food with a surreal twist. It is sensual, beautiful and delicious.
In the video, tension builds in an uncanny atmosphere. The food served, undefined shapes on a plate, begin to throb and come alive. Questions arise about artificiality and reality. The distributed roles become blurred.  Who is the food and who is eating?

Sabine Dichatschek & Tabitha Haynes
Blob是一个由Sabine Dichatschek 创作的影像作品,音乐由Tabitha Haynes创作。

David Kapl
versus 1
Digital photo print, 70 x 50 cm on alu dibond, 2021
All rivers flow into the sea.
A dialog that is guided by thousands of miles of fishing line in the silent, underwater.

David Kapl
对抗 1
数码照片印刷,铝板装裱,70 x 50 cm, 2021

Dasol Kim
Difference of System, 2021
Textile, 40x35cm, 60x50cm
Video, 0:32 sec
Looking at the different eating cultures reveals a lot about Austria and China. While Austria divides food into categories of pre-meal, main and dessert, Chinese food is not served with that distinction. Also, sharing food is less common in Austria and more the norm in China. What both countries share is that eating is the most basic factor in a person’s life.

Dasol Kim

Anja Korherr
Untitled (Tablecloth)
Tablecloth, 2021
Every tablecloth carries the story of a past event. It can tell you about people eating together, coming together and connecting over the food they share. In this case, the story was made visible right before it was written. So, take a seat, enjoy, and let us come together on this dinner table.

Anja Korherr

Catrin Manoli aka Cooky
Video, 01:12 min, 2021
Installation, chicken bones, 2021
Bones are thrown into a fire. The over heating is creating cracks in the bones. They are encoded signs to read the future. Just as the bones always consisted out of a certain carbon compound, the pattern of cracks in the bones were repeated. Like the pattern on a capped smartphone. But if people live in the same era, they are more likely to experience something similar. A cross in the middle divides the time into two, or more. Looking up to the unconscious. The further away and closer to you, the bones are, they becoming aware who are. They fall in the past, the present and the future. If they all fall in the middle, it is manifesting the purest me, the purest you. The attraction of perception is arbitrary visible. But why is the earth draw forced pull the bones down forced to make the disbelief invisible. It is just a game, you always have to be aware of that. Otherwise, a chicken had to die for nothing, for your desire and for your knowledge. Bones like them are always cleaned with honor.

Catrin Manoli aka Cooky

NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words –  吃词 – Wenn du isst
Napkins, 2021
This napkin artist book deals with the topics of food, communication, and mistranslations in a transnational exchange between the two artists. The expression ‘eating words’ refers to when we talk and accidentally miss words, affecting to the final sense of the message. But thanks to new technologies or a good disposition, communication happens.

NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words – 吃词 – Wenn du isst

Miriam Pranter & Miriam Roithinger
Conflicting feelings
Fortune cookies, 2021
Two women named Miriam were pregnant.
Miriam had her baby and Miriam lost hers. Both tell of experiences that any Miriam in this world could have and that affect every human being.
It is a careful attempt to bring the conflicting feelings and taboo subjects of this event, which has such a positive connotation, to the big table, sheltered in a biscuit. It is a first step towards bringing these human experiences into consciousness and integrating them into society as a whole.
Emotional, personal, secret feelings can thus be transformed into a spiritual general knowledge for men and women.

Miriam Pranter & Miriam Roithinger
Miriam生下了她的孩子,而Miriam失去了她的孩子—— 两者的经历可以发生在这世界上任何的Miriam身上同时也可能会影响到每个个体。

Emily Ramharter
the smell of winter" / "运 ⽓气
Photography, 100 x 66 cm on alu dibond, 2021
"the smell of winter" / "运 ⽓气" is an artwork that deliberately deals with the different cultural associations of one and the same motif. An attempt to connect/bring both cultures closer to each other through an image.
In Austria we eat mandarins in the wintertime, mostly due Christmas. After eating we put the leftover peel on the heater, to make the room smell amazing.
In the traditional Chinese medicine (TCM) mandarins are considered as „cold fruits“.
The sour taste causes the body juices to stay inside and helps against too much sweating, therefore keeps the pathogenic moisture in the body, which is very unfavorable especially in case of mucous lungs with cough or cold. From this point of view, it makes little sense to eat citrus fruits in the cold wintertime.
Mandarins also stand for luck & fortune in China. Like a fruit, you can cut up the Chinese word for “fortune” and it turns into “gas”, which closes the circle to heating.
Apart from the fruit, in German we also say "Mandarin" for the Chinese language.

Emily Ramharter
the smell of winter" / "运 ⽓气
摄影,铝板装裱, 100 x 66 cm,2021
"the smell of winter" / "运 ⽓气” 是一件旨在处同一主题下不同文化联想的作品,也是一次通过图像联结/拉近两种文化距离的尝试。
除了水果之外,在德语中,我们也将中文称为“Mandarin” (橘子。

Georg Schuchlenz
Assembled in China   
Mixed media, chopsticks, 2021
The artwork deals on the one hand with the supply chain and the exchange of goods between Austria and China and on the other hand with product labeling. A fabric produced in Austria and transported by freight train to China serves as working material for a product finished in China. Furthermore, a video draws attention to disposable chopsticks, every year 45 billion disposable chopsticks made of bamboo or wood are consumed, per year 25 million trees are cut down in China and two million cubic meters of wood from the forests are processed which are then sold worldwide.

Georg Schuchlenz


©️ Plakat: Marlene Hausegger