The Berliner Kunstprojekt in december 2002 presented F O O D - (K O S T) with works from artists and scientists from Berlin and Cologne, England, Belgium, India and Australia.

KOST showed works, who dealt with the pleasures and horrors of cooking, regional culinary traditions and their social and poliical implications.
Thecreative preparations of the FOOD theme covered a wide rang from staging cooking actions to the precise observation of culinary processes to the sculptural deformation of food stuff.

Workshop to clarify the notion of the "food for life" ("Lebensmittel"):
The" food-for-life-office" (Lebenmittelbüro) organized events (screenings, discussions, actions, meals) to contextualize the F O O D - works.

Christine Lohr shows a sequence of photos of waitresses and sellers in the food section at their working place in their working outfit. Apart from the hygienical reasons the uniforms are designed as a part of the fittings and make the wearers embody the shop / restaurant identity.




The video artist Frank Werner demonstrates with his installation "survival training" with a combination of exploding cakes, 3 shooting women and baking recipes the dangerous potential of family recipes.

Andy Hsu stages the menace of a standard family idyl by nutrition of a different kind. In a glass bowl worms dig the ground on which stands a miniatur toy house. The subversive worms Die subversiven worms get with their processes of nutrition and secretion the set into trouble.

In Jessica Broas animation "householdship" a chocolate éclair plays the central part of a whale. On the wavy background made by crochet covers "householdship" tells stories about whaling and the dangers of seafaring. The forbidden play with food hints at the rebellious re-production of family history.

The action "Kommt nicht in die Tüte" (no bag for this - a german expression for strong opposition against a fact or a proposal)- the contribution by the artist Karin Heisecke to the international competition "Stop Rape"- treats the issue of domestic violence. paper bags in bakeries were used in the battle against sexual violence. Statistics on (domestic) sexual violence and the telephone numbers of local helplines transformed the bags, the wrapper of the bread and rolls - into activist flyers and linked the question of daily nutrition to the one of sexual violence and rape).
The video from Marie Vermeiren asks clients, shop assistants and owners and activists from local initiatives for reactions, observations and experiences with the bag campaign.

Folke Köbberlings "Concrete Cuisine" initiated in 1999 at the projectspace "loop" a forum to the subject of urban planning at Berlin. F O O D presents the documentation of her critical kitchen, where all material could be used for culinary statements: building and hobby materials, media, texts, ideas were prepared for the nutrition of urban population. Steffen Schindler & Cornelia Gutschke for example reconstructed the Berliner city castle from 10 liters ice-cream. in the heat of the discussion and the studiolights the castle started to melt away. The reconstruction of the Berliner city castle has been a controversial decision of the local government.

Lisa Glauer paints the interiors of fridges of friends and herself in warm colours. Stilistically borrowing from landscape painting and with a strong interest for the regional specialities, which she states very clearly after her move from NY to Berlin (quote: "Somehow it was funny that the yogourt "Mark Brandenburg" (region near Berlin) hangs out in my freezer."), she honours very mundane objects like egg boxes and yogourt cups.

Rebecca Dagnall, video artist from australia, celebrates with her "tupperware shrine" the suburban culture of the plastic containers. Originally useful for the steril storage of perishable food, they are arranged to be the columns of Suburbia and frame to a short multicoloured musical on 4 happy Tupperwareclients, who sing the real(!) Tupperware song.
In "60 forms of possibility" Annette Munk sculpts with noodle dough. Starting from the notion "Teigtasche" ("dough bags" are specialities from southern germany), which, as an austrian friend assured her, is missing the culinary point in Austria - in Vienna at least - completely because of its indifferentiated meaning, she accounts for the real inexistence of "Teigtaschen" with her artistic invention. Word meets material and creates miniature bags. An alphabet of noodle objects are mounted in lines on the wall and may be read as text.

The Lebensmittelbüro (food for life office) by Nanna Lüth, a space constructed with photographic wall-papers and furnished with animated photographs, tells fiction around meals, friendship, love and architecture. This subjective approach to the necessary "means for living" (the literal translation of lebensmittel) acts as a framework for the public workshop to clarify the notion of the "food for life": (see above)

Nanna Heidenreich and Antje Kirschning show here their inadequate serious reconstruktion of a homophile Tupper-Party. With the help of scenic photographs and an e-mail-exchange with the former guests they sseqarch for the traces of a legendary event in Berlin in the year 1999.