Gonflables et amuses-bouches (2012), was produced as part of a three-month residency at Montreal’s Darling Foundry and acted as an exploration of art, food and politics, as well as an exploration of their individual and collective possibilities for community building.
Gonflables et amuses-bouches began by looking at the Midnight Kitchen and the People’s Potato, the two radical kitchens based out of Concordia and McGill Universities, as a starting point. Montreal had just come out of the 2012 student strikes where these university-funded free food kitchens were mobilised by the students to cater for the people protesting the universities.
The multi-layered project consisted of a series of dinners and discussions; a screening of Robert Frank’s documentary on Gordon Matta-Clark and Carolyn Gooden’s FOOD restaurant and discussion dinner event serving food from the film, a participatory event of ‘food’ party games as a metaphor for collective organising with the Midnight Kitchen and People’s Potato collectives, a picnic in an inflatable architectural structure constructed out of disposable tablecloths, a publication and a giant mapping to explore food and its intersections with art, architecture, radical spaces and radical organising. The publication was launched at the end of the picnic with a stone soup event as a symbol of collective organising.
“De Souza’s work not only made visible the networks and systems present in food activism, but also showed the ways we can manifest and interpret their meanings. Gonflables et amuses-bouches was more than a temporary space to come together and teach each other about the pleasure and power of food—it demonstrated the need for communities to consistently come back to the table to cook up new ideas.”
Gonflables et amuse-bouches: On the Materiality of Questioning
Project essay by Danielle Lewis can be read here
Gonflables et amuse-bouches was produced during an artist residency October – December 2012 at the Darling Foundry, Montréal, Canada made possible through Artspace, Sydney.
Special thanks to Danielle Lewis; ongoing collaborator, local activist, art historian and member of the Midnight Kitchen Collective.
The publication was produced with the assistance of an Australian Artists’ Grant, a NAVA initiative made possible through the generous sponsorship of
Mrs Janet Holmes à Court and the support of the Visual Arts Board,
Australia Council for the Arts.