Exhibition Review: “Food: Bigger than the Plate”

By Catherine Price

Fig. 1. Wallpaper designed by Fallen Fruit. Image Credit: Catherine Price.
Fig. 1. Wallpaper designed by Fallen Fruit. Image Credit: Catherine Price.

The Food: Bigger than the Plate exhibition is taking place at the Victoria and Albert Museum in London from May until October 2019. The exhibition takes you on a journey through the four zones of Composting; Farming; Trading; and Eating. Here, I highlight what I feel are the most thought-provoking exhibits.

The aim in the “Composting” zone is to encourage you to reimagine waste. Instead of considering waste as disposable and to be forgotten about, either in landfill or oceans, the aim is to think about waste as valuable and beautiful. By doing this, humans become reconnected to ecosystems.

Fig. 2. Oyster mushrooms growing in a bed containing used coffee grounds. Image credit: Catherine Price.
Fig. 2. Oyster mushrooms growing in a bed containing used coffee grounds. Image credit: Catherine Price.

Used coffee grounds from the Victoria and Albert Museum café are used in a bed to grow oyster mushrooms. These mushrooms are used as ingredients in the café, reducing waste and illustrating how food can be grown in the city.

Fig. 3. Totomoxtle created from the discarded husks of heirloom corn varieties. Image credit: Catherine Price.
Fig. 3. Totomoxtle created from the discarded husks of heirloom corn varieties. Image credit: Catherine Price.

The exhibit also showcases composting efforts from around the world, beyond the walls of the V&A. For example, Mexico has over sixty varieties of native corn. The show exhibits Totomoxtle, a veneer material created from the discarded husks of heirloom corn varieties. It was designed in response to the loss of native varieties of corn following the implementation of industrialized agriculture in the country. This supports the villagers of Tonahuixtla who are replanting heirloom corn varieties by providing them with a second income.

Fig. 4. Different varieties of heirloom corn. Image credit: Catherine Price.
Fig. 4. Different varieties of heirloom corn. Image credit: Catherine Price.

The next section of the exhibition concerns “Farming.” Hedge H.U.G.  (Horticultural Urban Growth) encourages you to reimagine a city that is concentrated around the edges of farmland. Instead of having hedges separating fields, buildings are built in their place. People living in cities are fed directly from the land.

Fig. 5. Hedge H.U.G. (Horticultural Urban Growth) exhibit. Image credit: Catherine Price.
Fig. 5. Hedge H.U.G. (Horticultural Urban Growth) exhibit. Image credit: Catherine Price.

 

Human-animal relationships are explored in the exhibit of ‘This Little Piggy.’ Elaine Tin Nyo followed the life of a piglet named Zelai from birth to death, including the final production into ham. She filmed his journey, and this video is actually very difficult to watch. Zelai’s hams will age two years, which is twice his actual lifespan. The rest of his flesh is preserved in 182 cans, which are on display and contain sausages, meat, and pâté.

Fig. 6. Some of the 182 cans containing sausages, meat and pâté in the ‘This Little Piggy’ exhibit. Image credit: Catherine Price.
Fig. 6. Some of the 182 cans containing sausages, meat and pâté in the ‘This Little Piggy’ exhibit. Image credit: Catherine Price.

The “Trading” zone encourages you to consider how food is transported, traded, and packaged. Uli Westphal created three landscapes designed to be both perfect and unsettling. They are intended to show how food marketing is designed to appeal to our desires to purchase food that is healthy and wholesome. As people are now so detached from agriculture and food production, we have to rely on the information provided to us by the food industry.

Fig. 7. Three landscapes created by Uli Westphal. Image credit: Catherine Price.
Fig. 7. Three landscapes created by Uli Westphal. Image credit: Catherine Price.

Björn Steinar Blumenstein and Johanna Seeleman’s ‘Banana Story’ is an exhibit which tells the story of a banana on its journey from a tree branch in Ecuador to a supermarket in Iceland. The banana was given a passport and an extended label to show its amazing journey. It travelled 8,800km, crossed multiple national borders, and passed through 33 pairs of hands. The accompanying video illustrates how important global shipping has become and how deeply we rely on it for the food we eat.

Fig. 8. The ‘Banana Story’ exhibit. Image credit: Catherine Price.
Fig. 8. The ‘Banana Story’ exhibit. Image credit: Catherine Price.

“Eating” is the final zone in the food story journey. It features three photos of women eating items that make them feel good, as part of a series taken by Sana Badri. They are an act of defiance against a food press that can be elitist, judgmental, and fat phobic, encouraging agency over pleasurable food choices.

Fig. 10. Mrs Beeton’s Book of Household Management. Image credit: Catherine Price.
Fig. 10. Mrs Beeton’s Book of Household Management. Image credit: Catherine Price.

This section also features the 1861 publication, Mrs Beeton’s Book of Household Management. This book was aimed at the rapidly expanding Victorian middle classes, and includes recipes, advice on childcare, etiquette, entertaining, and how to manage household servants. Curators included it in the exhibition to demonstrate both household management and curating food for a reading public. The curators describe how ‘instructions on how to boil a cabbage rub shoulders with plans for seating guests at the dinner table. The positioning of the book in the exhibition is also interesting as it sits alongside cookbooks which are collections of handwritten or newspaper clippings of recipes accumulated over time.

Fig. 11. Instagram images of food. Image credit: Catherine Price.
Fig. 11. Instagram images of food. Image credit: Catherine Price.

Juxtaposed with the historical are images from the contemporary in the form of Instagram posts. Instagram enables us to see into the culinary lives of others, as well as celebrating everyday creativity for cooking for loved ones. It also provides businesses with the opportunity to sell food products by posting mouth-watering photos.

The table laid out at the end of the exhibition is designed to provoke deeper engagement and thought about our food, our bodies, and each other. New tableware and food products can prompt us to interact with each other as we eat, sharing food, conversation, and ideas. A plate from Paul Scott‘s project Cumbrian Blues depicts the bleak realities faced by farmers in one of the worse affected areas following the UK’s Foot and Mouth outbreak of 2001. Six million cattle and sheep were culled in an attempt to prevent the spread of the disease.

Fig. 12. A plate from the set called the Cumbrian Blues. Image credit: Catherine Price.
Fig. 12. A plate from the set called the Cumbrian Blues. Image credit: Catherine Price.

The highlights I describe provide just a snapshot of the exhibition. These are all designed to encourage us to question what we eat and to ask ourselves if we could eat differently. Eating is not just about health, diet, traditions, and cultures, but also land use, water consumption, energy and transport systems, and human and animal welfare. We have to determine the value we place on quality and the conditions in which our food is produced.

Around the Table: Research Technologies

This month on Around the Table, I am speaking with Helen Davies and Alexander Zawacki, Program Coordinators of the Lazarus Project and PhD students in English at the University of Rochester. This month on the Recipes Project, we’ve explored all kinds of ideas about texture. Now, we’ll get a chance to learn about digital textures, and how technologies like multispectral imaging can help scholars unearth new information about manuscripts. Those of us dealing with manuscript recipes from any time period are accustomed to erasures, stains, and layers of writing. Helen and Alex provide information about the ways in which multispectral imaging can help us interpret these elements of our sources.

Tell us a bit about the Lazarus Project. Do you work with materials from a specific time or place? With what sorts of projects and partnerships has your lab been involved?

The Lazarus Project is a multispectral imaging endeavor located at the University of Rochester. We’re a mix of professors, graduate students, and undergraduates from a range of different fields all working to use cutting-edge technology to digitally recover lost texts and images. Many of us — Helen, Alex, PhD Candidate Kyle Huskin, and our advisor (and the director of the project) Gregory Heyworth — are medievalists, and so many of projects tend to focus on objects from that time period in Western Europe, but we’ve also worked on Biblical manuscripts from Egypt, pre-Columbian material from the Americas, postcards sent from concentration camps and censored by the Nazis, and eighteenth-century musical scores from Germany. We’ve partnered in the past with (to name just a few) the United States Holocaust Museum, the Folger Library, the Beinecke Library, the Saxon State and University Library Dresden, the Vercelli Chapter Library in Italy, and the Bodleian Library.

How does your lab select items to analyze? Do libraries and organizations reach out to you, or do you seek out specific items and projects?

A bit of both. Sometimes we’ll find objects that we particularly want to work on, and set about applying for grants and searching for funding to make that happen. Other times institutions or even private individuals will reach out to us about an object in their care that they would like to have imaged.

Could you explain how multispectral imaging works? Can you provide a few examples of what scholars can learn about books with this technology?

We take an object — a manuscript, for example — and photograph it first under discrete wavelengths of light, moving from the ultraviolet through to the infrared. Then we take another series of images under only ultraviolet, violet, and blue light, which induces fluorescence in the object, like when you wear a white t-shirt under a blacklight. We use filters to separate out different wavelengths from the fluorescence that the object emits, trying to squeeze as much data out of it as possible. Lastly, we take a final group of photographs while shining light upwards through the manuscript, which has the potential to reveal “ghost letters” — places where the ink has been removed, but the parchment has thinned enough to reveal where it used to be.

Photographing the object is only the very tip of the iceberg, though — almost never do any of the images reveal all or even much of what we’re looking for. Next, we process the images using software originally designed to analyze satellite and aerial imagery. This can be a very laborious and time-consuming process.

Our goal is to recover texts and images that have been lost to time and damage. Palimpsests are a great example of the kind of thing that scholars can learn using this technology. In the medieval period, people would sometimes erase entire manuscripts by scraping or washing the parchment clean, and then re-use the pages to make a new book. The “undertext” — the book that was erased — is often illegible, far too faint and obscured by overwriting to read. We try to make that undertext visible again, usually for the first time in centuries. Other times we work on objects that have been damaged by fire, water, chemical staining, or simple fading, all with the goal of bringing scholars new texts to work on and study.

During a July 2019 workshop on Spectral Imaging in Cultural Heritage, the Lazarus Project team shared information about imaging methods with a group of participants. Participants at the workshop could see how chemical reagents are used on palimpsested manuscripts. Pictured here: pumice is used to palimpsest parchment, and then a reagent reveals the erased writing.

As you know, our readers deal with recipes of all kinds (medical, household, culinary, alchemical, etc.) We encounter strange marks and stains all the time in our books! What can multispectral imaging tell us about those marks and stains?

Multispectral imaging can help readers work with a variety of stains and marks in a variety of ways. Firstly, we can help you see through them. MSI can help readers see underneath the stains. This can be very important in manuscripts whatever been treated in chemical reagents. As you and your readers likely know, chemical reagents were widely used for a time in order to bring out ink that had faded. Yet this momentary gain in legibility was frequently followed by long term damage to the manuscript. MSI can help digitally reverse these stains. Hyperspectral and other imaging modalities can be leveraged to look at material composition of stains. Multispectral, however, mostly helps with legibility rather than material analysis. A group of scholars has recently tried to push the material analysis capabilities in new directions through the Library of Stains project.

At the workshop, an image of the Rotovap system distilling the wine + oak gall solution.

What kind of training or partnerships might be necessary for a humanities scholar without a digital background to incorporate imaging into their research?

An interested humanities scholar would first need to either purchase a multispectral imaging system or partner with a group or institution that owns one. This partnership could take the form of receiving some training in operating the technology (unless the group would be doing both the imaging and the processing, as we often do) or being lead scholar on the project.  Training could incorporate learning more about MSI on site or image processing training. There is a range of software available for processing including ENVI (which we use), Matlab, Python or Image J (for which imaging professionals built various custom toolkits). A lead scholar partnership involves a humanities scholar reaching out to us for imaging, working with us to secure funding for the project, and then this individual driving the research. We will work with them to ensure we get as much data as possible from an item, but they lead the transcription, translation and examination of the document. This gives non-digitally inclined scholars the opportunity to work with multispectral images and recovered texts.

How did you become interested and involved in digital humanities and the Lazarus Project?

All of our team members have come to the Lazarus Project through different routes.

Helen: I had the opportunity to photograph early print books in the York Minster Library while working on my MA in Medieval Studies. This led to me pursuing a digital humanities MA and further imaging jobs. Eventually, a friend of a friend asked me to do some work for Lazarus and then Greg encouraged me to apply for a PhD to continue learning from and working with the project.

Also at the workshop, Alex Zawacki transfers the reagent.

Alex: I found out about the project as a first year PhD student at the University of Rochester. I was fascinated by the idea of recovering lost texts. I started working with the project to see what we could find, and I am now cultivating my own projects to search for lost material in my own field.

Do you have any favorite Lazarus Project items you’ve worked with, so far?

We all have our own individual favorites we have worked on in the past.

Helen: My all-time favorite is the damaged medieval world map in Vercelli, Italy. There are only a handful of large scale medieval wall maps to survive (others have fallen victim to bombs, binders and other forms of destruction). The map in Vercelli survives, but has been largely unreadable. We have imaged it, recovered it, and, I am happy to report, as of last week I have created an entirely new digital facsimile of the document. However, I have loved getting the chance to work on a variety of objects from ancient coins to Old English poems to early modern globes.

Alex: I’m torn between the Codex Boenerianus, the Black Book of Camarthen, and a single manuscript fragment from the University of Rochester’s Rare Books and Special Collections department. The latter had been used as a binding fragment and was terribly faded and stained. No one had been able to read any of it in the 50 years that it had been in the university’s care. That one was particularly rewarding, as not only were we able to recover nearly the whole text, identify the work to which it belonged (Richard FitzRalph’s Summa Questionibus Armenorum), and trace some of its provenance and history as an object, we also found that it was the only witness to that text in a non-European library — and very possibly the oldest extant witness.

Thanks, Helen and Alex, for chatting with me about multispectral imaging! You can follow the Lazarus Project on Twitter @Lazarus_Imaging, Facebook @LazarusProjectImaging, and Instagram @lazarusprojectimaging. If you’d like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.

Around the Table: Chat with a Scholar

This month on Around the Table, I have the pleasure of sharing a conversation with architectural historian Sarah Milne. She was introduced to an early modern English manuscript in the archives while researching another project. That text, the Dinner Book of the London Drapers’ Company, grew into a project of its own, and her newly-published edition is sure to be of great interest to historians of architecture, civic life, and food. In April, her research came full circle as she publicly launched her book at the site of the dining in the manuscript: Drapers’ Hall in London. Following my conversation below, Recipes Project editor Lisa Smith, who was able to attend the book launch, shares some comments about the presentation.

Sarah Milne speaking in Drapers’ Hall, where the dinners take place. Photo courtesy of Sarah Milne.

Could you describe the Dinner Book and how you found it? On what type of project were you working?

Rather unusually, I first came across the Dinner Book as a postgraduate architecture student trying to get to grips with the City of London as a place, so that I could design for it effectively. Walking around its streets, I identified the livery company (guild) halls as important footholds, entry points into the guilds themselves, and I set myself the task of designing a new livery hall for recently formed guilds. It did not take me long to figure out that one of the focal-points of company life was the annual ‘Election Dinner’, when new leaders of the companies were invested in their new roles at grand dinners held in the halls. For me, in representing guild hierarchies structured within the hall, this was a critical moment to design for, and I was keen to research the history of dinners as much as I could in order to uncover the meaning and cultural context of these long-standing events. To be honest, my design project was over and done with far too quickly, but I was able to develop my interest through a written dissertation. Influenced by Carolyn Steele’s writing on how food shapes cities, I wrote to a number of guild archivists enquiring records which would give me insight into the sorts of foods presented at the dining tables of the Election Dinners. I was intrigued by the mercantile guilds’ attitudes to ‘new world’ products, and the extent to which dinners were experimental or conservative. Penny Fussell at the Drapers’ Company invited me to visit Drapers’ Hall to see a document she thought I might be interested in. That was the Dinner Book.

At the time I encountered it, I didn’t really have the skillset to deal with it effectively, I was not trained in palaeography for a start, but I knew that this account book seemed rare and important. Spanning from 1564–1602, though mostly weighted towards the 1560s and 1570s, it listed the foods, drinks, suppliers, servants, attendees and their positions within Drapers’ Hall at a series of Election Dinners. For me at that time, the potential of the document was to ground City sociability in a place, a space and a time, allowing for present-day dinners to be read through the lens of the past. Slowly but surely I made progress in making sense of the document.

It was only many years afterwards during my PhD, and several drafts of transcriptions of the Dinner Book later, that I was able to say with more certainty why this book was important for early modern historians, and suggest its significance for food historians. The period covered by the Dinner Book was one of particular instability and change in the City. The Drapers’ dinner records for the closing decades of the sixteenth century indicate that livery companies recognised the potential of their annual Election Dinners to reinforce the antiquity of corporate authority, inferring a mythical past as a means of legitimizing their stake in the future. Naturally, the food presented was implicated in this endeavour, and mostly tended towards traditionally high-status meats such as venison.

Sarah Milne showing the Dinner Book to a Draper. Photo courtesy of Sarah Milne.

It is interesting how such a beautiful space (Drapers’ Hall) has such a rich accompanying textual history; that is not always the case! Is this kind of menu book unique to the Drapers? Do you know of other examples of similar guild records (in London or elsewhere), particularly ones accompanying an existing architectural space?

Though the Great Twelve Companies shared a common culture of dining and a concern for their orchestration, it does appear that The Dinner Book is the only coherently detailed document which accounts for a series of these sorts of dinners. It seems to have been produced as a sort of aide memoire to inform the planning of future dinners as well as giving an account of what was spent year by year. There may well have been other Dinner Books, but they have not survived, excepting one very partial record from the late seventeenth century. In individual guild archives and at the Guildhall, the odd account of comparable Election Dinners of other companies can be found, but nothing quite matches the Dinner Book.

I am very thankful for the ways in which the Drapers’ Company accommodated me in their Hall over many years. To be able to research the Dinner Book in near enough the same location as it was produced, and the kitchens where the dinners actually prepared, was quite special. Indeed, though Drapers’ Hall has been rebuilt many times, the memory of the sixteenth-century Hall persists in the arrangement of interior spaces, so that the present-day main hall where the dinners were eaten is effectively in the same location, and of a similar scale, as it was at the time the Dinner Book was written-up. Other companies too retain Halls, though none survive from the sixteenth century (excepting the fifteenth-century kitchens of the Merchant Taylors’ Hall).

Has working with the Dinner Book influenced your other research interests and recent projects?

My encounter with the Dinner Book affected the trajectory of my working life quite significantly. From a focus on architectural design, I shifted to focus on architectural history, understanding that the two need to be held in tension, especially when the complexity of a city like London is in view. If it is not already apparent, I should clarify that I take architecture to be a broad discipline concerned with how space is produced by many hands over time. Architecture is always relational, contingent, and, at its heart, it is really about people. In this way, the study of food exchanges and dining practices can be very relevant to urban and architectural historians interested in working from the inside out of buildings, or thinking about flows of traded goods in the city more generally. Indeed, I feel strongly that the link between designers, urbanists and architects on the one hand, and historians on the other, needs to be cultivated so that cities can be acted within and planned for with sensitivity and wisdom. Spatial ‘micro-histories’ can be very effective in engaging a broad-range of people in deep conversations about the way cities change over the long-term.

Now I work for the Survey of London, a group of historians who write histories of London’s built environment, paying attention to all sorts of stories of the capital city and addressing a huge range of buildings past and present. We tend to work parish by parish, and currently I am working on an especially experimental project centred on Whitechapel in East London. We have taken a participatory approach to this project, inviting the public and professionals to enter into dialogue with us and each other about the area, sharing their research, memories and archives, as we share our findings, all framed within the context of a digitally accessible online map. Speaking to people, it is amazing to see how often food or dining comes up, especially in relation to migrant experiences of settlement and inter-cultural exchanges. We have been especially excited to commission a film about the local South Asian restaurant trade – Changing Tastes.

Thanks, Sarah, for chatting with me about such an interesting project! You can follow Sarah on Twitter @sarahannmilne.

And now, Lisa Smith’s comments on the book launch.

On April 8, I had the pleasure visiting the Drapers’ Hall in London to celebrate a book launch for Sarah Milne’s edited volume of The Dinner Book of the London Drapers’ Company 1564-1602. Although I’ve visited a range of splendid medical buildings, from the Royal College of Surgeons (London) to the Académie Nationale de Médecine (Paris), this was my first experience of an actual London guild hall. To say that the Drapers’ Hall is very grand would be an understatement; the marks of power, pomp, and ceremony remain visible to historians, even if the main hall is now bookable for wedding receptions.

In the introduction to The Dinner Book, Dr Milne describes the ‘theatre of hospitality’; beyond the grandeur of a hall, the guild displayed its wealth through elaborate feasts. At the Election Dinner of 1564, for example, the first course included foods like swans, pikes, venison pasties, and custards; the second course included lighter foods, from quails to marchipane; and the banquet course was comprised of sweet items, like spicebread, wafers, fruits, and hippocras. The necessity of luxury was so important that the guild hall even had a separate space for preparing the banquet course—the hippocras house, which was staffed by three servants during the 1564 dinner.

“Interior of Drapers’ Hall” From Old and New London, Volume I, by Walter Thornbury (1897). Image from Wikimedia Commons.

There is no modern-day hippocras house, but the book launch took place in the same room as the early modern great hall. A modern chef attempted to recapture some of the early modern flavours for us, too, with treats such as venison pasties and pottage…

In her talk, Dr Milne discussed the complicated nature of space and public activities in early modern London; the domestic, social, and business worlds co-existed behind the guild hall gates. The great hall may have been used for corporate assemblies, but the courtyard house was the Master’s residence. The parlour was the site of the guild’s day-to-day business. Corporate celebrations, such as Election Dinners, included entire families: widows, wives, and occasionally young children. And the garden provided the fruits, nuts, and herbs used in creating grand dinners.

The Dinner Book is a wonderful window into the food, people, and activities of an early modern guild hall, listing as it does the foods served, the people paid, and the activities undertaken. In preparation for the feast dinner of 6 August 1571, for example, we learn that Treacle the Cook spent two days preparing the meal; that Mr Crowley preached for two days; that the Master Wardens’ wives sold the hall comfits and biscuits; that the grocer Henry Falks provided a substantial amount of luxury spices and dried fruit; and that the hall bought eighty pounds of butter from the market.

Thanks, Lisa! If you’d like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.

Around the Table: Museum Exhibitions

By Sarah Peters Kernan

Museums have increasingly been highlighting food, culinary, and dining history in their exhibition schedules. The upcoming months prove to be very exciting for those of us interested in such topics, as museums internationally have planned a wonderful array of exhibits. If your conference, research, or personal travel plans take you to any of the cities below, consider stopping by an exhibit. Be sure to check the websites for full exhibit descriptions, as well as visitor information such as hours, fees, and directions. We also welcome readers to share your trips to any museums and exhibits of interest to the Recipes Project community on Twitter or Facebook!

Current Exhibitions

Feeding History: The Politics of Food

British Museum (London, UK), through 27 May 2019

Wooden model group of a butcher’s shop, Deir el-Bersha, Egypt, Middle Kingdom period. (London, British Museum)

The exhibition “Feeding History” at the British Museum focuses on five objects, exploring the relationship between food, power, and control. The display juxtaposes ancient and contemporary objects to explore issues surrounding food production and control of food resources. The focus of the display is a contemporary sculpture, Anti Social Wild West Weaving (c. 2000), by Native American artist Pat Courtney Gold. Her work represents the barbed-wire fences used on the North American prairies, simultaneously allowing settlers to claim the land for ranching and farming and restricting Native Americans from accessing their ancestral land. The four ancient objects include an Egyptian wooden plough handle (1550–1069 BC), an Egyptian model of butchers preparing meat (c. 1850 BC), a gilded silver vase with a grape harvesting scene (possibly from Iran, 500–700), and a Ming dynasty porcelain serving dish decorated with grapes (1403–1424). Through this combination of works, the exhibition explores the origins of farming and the inequality between the wealthy landowning minority and the impoverished working majority. Furthermore, the exhibition stresses that feeding the world is closely connected to issues of power, politics, and economics.

Feasting and Fasting: The Great Kitchen at Durham Cathedral

Durham Cathedral (Durham, UK), through 1 June 2019

Durham Cathedral’s museum experience, Open Treasure, currently features an exhibition, “Feasting and Fasting,” exploring the history of the Cathedral’s fourteenth-century Great Kitchen. The octagonal kitchen, completed in 1370, was active for over 570 years. It was the site of food preparations for everyone who lived and worked at the Cathedral; daily meals and grand feasts alike were prepared here. Visitors can learn about the food consumed by Benedictine monks of Durham Priory and discover what was eaten at the Cathedral’s lavish banquets. The highlights of “Feasting and Fasting” are the recipe collections on display, including the The Art of Cookery by John Thacker, cook to the Dean and Chapter from 1739–1758. After exploring the exhibit, visitors can continue through the museum into the Great Kitchen, which now houses the Anglo-Saxon Treasures of St. Cuthbert.

Feast of Fools: Bruegel Rediscovered

Gaasbeek Castle (Lennik, Belgium), through 28 July 2019

Feast of Fools: Bruegel Rediscovered

Nestled in the idyllic Belgian countryside, Gaasbeek Castle is home to a museum, park, and gardens. The Museum Garden alone may be of interest to Recipes Project readers: it contains many traditional and rare fruit and vegetable varietals, featuring espaliered fruits. The museum inside Gaasbeek Castle, however, is currently hosting an exhibition rooted in the work of Flemish painter Pieter Bruegel. In “Feast of Fools,” visitors experience a series of contemporary and modern inspired by Bruegel. Among many other works, the exhibition presents a virtual reality installation by the Berlin-based theatre company, Rimini Protokoll, focused on the contemporary food industry titled “Feast of Food.” In his works, Bruegel depicted the farmers who fed local consumers. In the twenty-first century, Bruegel’s farmers have been replaced by high-tech agro-industries and most consumers now ignore the origins of their food. Rimini Protokoll helps visitors explore what farming and food production look like today. Through virtual reality, visitors are immersed in modern sites of food production, including Rungis, the biggest food market in the world, located near Paris, a gigantic slaughterhouse in Bavaria, and plantations in Almería.

Future Exhibitions

FOOD: Bigger than the Plate

Victoria and Albert Museum (London, UK), 19 May–20 October 2019

FOOD: Bigger than the Plate is poised to be a significant exhibition at the V&A on a variety of food topics (including food history). It will feature over seventy contemporary projects, new commissions and creative collaborations by artists, designers, chefs, farmers, scientists and local communities. The exhibition will explore how individuals, communities and organizations are re-inventing how we experience food. FOOD leads visitors through the food cycle, from “Compost” to “Farming” to “Trading” to “Eating.” Visitors will even experience several installations physically growing in the gallery space. These projects will sit alongside thirty objects from the V&A collections, including early food advertisements, illustrations, and ceramics, providing historical context to the contemporary exhibits. The V&A has also released information about a number of early events related to the exhibit, including a Curators’ Talk and a Food Styling and Photography Workshop. Readers can receive an early bird offer of 40% off individual advance tickets using promo code FOOD40 at check out. Note that this offer is available for a limited time only and please review the terms and conditions.

Last Supper in Pompeii

Ashmolean Museum of Art and Archeology (Oxford, UK), 25 July 2019–12 January 2020

The Ashmolean Museum at the University of Oxford has scheduled an exhibition delving into a story of the foods loved and consumed by the people of the ancient Roman town of Pompeii. This southern Italian resort town was located between vineyards, orchards, and the Bay of Naples; its people produced wine, olive oil, and garum (a fish sauce) for consumers around the Mediterranean. When Mount Vesuvius erupted in the first century, people in Pompeii were eating, drinking, and producing food, like any other day. Much evidence has been preserved about the food in this town, such as mosaics in villas and the remains found in kitchen drains. The exhibition will feature many objects on loan from Naples and Pompeii which have never left Italy. The items range from the luxury furnishings of Roman dining rooms to the carbonized food that was on the table when the volcano erupted. Accompanying the exhibition is the forthcoming publication of Last Supper in Pompeii (Ashmolean Museum, 2019) by Paul Roberts, the Sackler Keeper of Antiquities at the Ashmolean. Included in the book is new research based on the excavation of drains and rubbish pits and the excavation of a Roman vineyard between Vesuvius and Pompeii.

Café Europe: Food Ties

Museum of European Cultures (Berlin, Germany), 1 August–1 September 2019

The Museum of European Cultures, one of the Berlin State Museums, hosts a permanent exhibition “Cultural Contacts: Living in Europe” which examines discussions on social movements and boundaries. Tied to the permanent exhibition, “Café Europe: Food Ties,” is a temporary exhibition with accompanying special events exploring trans-regional and international influences on the culinary arts. As mobility has continued to increase across Europe, so too has culinary migration. Diets have both assimilated many influences and changed significantly in recent decades. Be sure to check the website as “Café Europe” approaches for more information about cooperating partners and scheduled special events.

If you’d like to feature a museum exhibition or collection on the Around the Table, please email Sarah Kernan.