疫年食誌
The Cookbook of the Pandemic Year is a parallel program to the event organized as part of “Drifting Realities: The Archipelago of Food Discourses,” curated by Yan Fang at the UCCA Center for Contemporary Art. The cookbook is a creative project that aims to foster new forms of solidarity and collaboration by inviting more than a dozen artists to remotely participate in the creation of “recipes,” through which artistic concepts can be presented and shared. In the cookbook, these vibrant recipes condense their creators’ personal experiences and artistic methodologies, as well as their contemplation of our current society, yet do not necessarily contain delicious or even edible ingredients. A recipe is a special genre, and here its norms, functionality, and spatiality, are being broken and surpassed from within. Therefore, each recipe in the publication, as the exploration of a special writing form, bears the mark of an artist, glancing sideways at their perception of our new reality, creating a document of an imagined archipelago’s foodways. As an ongoing project, the cookbook will be first published and updated online, before being printed as a limited edition artist-cookbook.
The Cookbook of the Pandemic Year was launched and published by UCCA weekly online from August to October, 2020.
If Dreams Were Plants
by Po-Chih Huang
If dreams were plants, how would they grow? We, who dream so much, are the earth and water they depend on. Yes, ultimately, we are soil.
If dreams were plants, how would they multiply? Are they secretly sweated out of our bodies? Do they evaporate, condense into clouds, gather, fall as rain, and hide inside the real world?
If dreams are plants, I wish I could become a plant that dreams.
If dreams were plants, how should we nourish them? Controlling their diet might be a feasible method. That is to say, if dreams have a symbiotic relationship with us, our eating habits should directly affect how dreams grow. Correspondingly, as we grow, dreams may also guide our preferences in food. Some examples may shine a light on this. One is the relationship between diet and body odor—if we drink a cup of coffee and then relieve ourselves, our urine has a strong coffee scent. A more obvious example is that after taking B-complex vitamins, our urine turns bright yellow, or even takes on a fluorescent hue, and our urine smells completely different depending on which brand of vitamins we take.
01) Aperitif: Dream-Inspired Millet Wine
“What did you dream about?” she asked.
“I dreamed about a tree,” I said, “and also a hunter who cried a sea into being and then made a boat.”
“I have a friend who’s a hunter,” she said. “He had the same dream as me.”
“What did the two of you dream?” I asked.
She couldn’t explain it clearly. She filled up the empty glass I was holding in my hand. “This,” she said, “is what the ancestral spirits told me in my dream!” (That is, the recipe for millet wine.)
“This is the flavor of your dream,” I said.
“This was dream-inspired,” she said.
02) Lemon Water: Water, Lemons
I believe that memory is a living entity with consciousness, cohabitating with us inside our bodies. It is a plant that spreads through its root system. Every memory is a like an independently growing plant, with its slender roots spreading in all directions, entwining in every corner of our bodies. We never know what they will grow to look like. It takes time. Time is water—it nourishes memories. Time is water—it freezes memories. Time is water—it melts memories.
03) Hors d’oeuvres: Lemon Leaves, Acacia Blossom Nectar
I keep listening to the conversation between tribal leader Dawan Katjadrepan and Lanpaw Taligu. I feel they are like a plant—perhaps one of the acacia trees that grow all over a lemon tree orchard. Acacias are one of the most highly adaptable trees in Taiwan. Their root systems proliferate and tightly grip the soil, spreading widely. The roots of two different trees will even intertwine. Their roots can form a symbiotic relationship with rhizobia bacteria to form nodules. The rhizobia can fix nitrogen gas from the air and transform it into a form of nitrogen that plants can directly absorb. Nitrogen makes leaves grow and produces chlorophyll, while the carbon dioxide that leaves produce during photosynthesis provides the nodules with the nutrition they need to grow. This symbiosis allows acacia trees to adapt well to barren soil and also reinfuse it with nitrogen, making the soil more robust. The intertwining of the roots and their harmonious symbiosis with rhizobia, this moment in the mud, often makes me think of millions of fingers, ceaselessly greeting one another and sending messages: tightly holding onto one another and storing memories.
Dawan Katjadrepan and Lanpaw Taligu believe that dreams are their root systems. They spread out and interconnect, and we exist within them.
04) Appetizer: Cicada Shells, Yams, Broccoli
When cicadas emerge from the ground and metamorphose into winged adults, they leave shells behind on tree trunks. But if the nymphs are infected with fungal parasites before they emerge, the fungi will suck their nutrients away, and the nymphs will die. Light yellow or egg-yolk yellow coremia will slowly grow on the front ends of their bodies, breaking through the surface of the soil and spreading out along the ground, forming the commonly seen Cordyceps sobolifera fungus, which is shaped like seaweed covered with white sugar frosting.
If we directly imagine ourselves to be plants, will this get us a little closer to our dreams?
I did some research into ways to turn people into plants. Some say you should bury your feet in the soil, and some say to bury your head. The arguments for each method differ, but I favor planting a person in the soil headfirst. A plant’s roots are what they rely on to absorb water and nutrients. In the human anatomy, they would be comparable to the human mouth, or our hair if it became fine roots that absorbed nutrients. The flower is a plant’s reproductive organ; it usually blossoms at the top, in order to spread its pollen. On the human body, the legs are too big, and if we turned a human completely upside-down, they would block the genitals and impede reproduction. Therefore, practicing bending the legs to make the crotch stand out would be a key factor.
05) Cocktail: Lemon Xylem Liqueur, Whisky, Saké, Orange Jessamine Flowers
A local farmer said that the sea breeze in Guanyin has a strong salty smell, so salty you can just open your mouth and taste it, making your meal saltier.
After planting five hundred lemon tree saplings, I ritualistically sprinkled some lemon liqueur I had made at the beginning of the project on each lemon tree. I said, “Greetings, good evening.” I thought, this is a margarita that tastes salty without adding any salt.
But if I really wanted to plant myself, I thought, I would plant myself feet first.
06) Salad: Seaweed Salad, Wild Vegetables (Tasselflower, Prickly Lettuce, Velvet Plant, Betel, Pumpkin Stem, Wild Bitter Melon Leaf), Dream-Inspired Millet Wine Dregs
07) Entrée: Monk Goby, Taro, Arrowroot
In his novel The Second Species of Human, Ni Kuang imagines a kind of “plant person” that has evolved from a hybrid of flora and fauna. “Plant people” were the first species of humans to appear on the earth; hence, the term “second species of human” refers to the more numerous “purely animal people.” During the ice age, the first species of “plant people” did their utmost to preserve the mammals on the earth at that time. Later, one of these mammals evolved into “purely animal people,” and the “plant people” tried hard to raise their intelligence.
Many works of science fiction feature “plant people” that can engage in photosynthesis, and their bodies are usually depicted as being completely green. In reality, not all plants are green. Green plants are the way they are because they only contain chlorophyll, but if they contain other pigments, such as anthocyanins or carotene, then they will be different colors. By the same token, some plants, such as algae, can use bacteria to engage in photosynthesis. So if human beings turned into plants, they would not necessarily be green.
The monk goby, or Sicyopterus japonicus, is a fish native to the rivers and streams of Taiwan. The adult fish feed mainly on algae. Every summer in June and July, the fry will leave the ocean and swim upstream along the rivers. Clear and transparent as they swim against the current, their bodies look like sperm advancing up a vagina. Some men believe that by eating the fry, they can increase the quantity and quality of their sperm, the frequency of erections, and the likelihood of impregnation.
If one were to plant oneself feet first and become a plant, the frequency of erections in one’s dreams would be crucial. According to many people’s experiences, when having an erection in a dream, one can see scenes of mountains. Supposing that we really have evolved from “plant people,” I feel that the penis is like the main root of a plant left behind after it has been transplanted and its roots have been snapped off. It continues to rise up erect. It is the harbinger of the plant spreading its roots once again.
08) Digestif: 56 Proof Lemon Liqueur, Ailanthus-like Prickly Ash
Vitamin B always gives me a lot of dreams at night. I believe that writing down what you dream can push you over the boundaries of your imagination.
Before I go to sleep, I drink a glass of lemon cinnamon liqueur that I have made myself, with an alcohol strength of 56 proof, along with a vitamin B complex pill. Finally, I rinse my mouth with mint-flavored mouthwash, set my alarm clock, and lay my head down to sleep. This is my formula for dreaming.
Good night. May you become a plant in your dreams tonight, a “plant person” evolved from a hybrid of flora and fauna.
09) Dream-Inspired Wine: Djulis Millet Wine
Good night. Good night.
May you become a plant in your dreams tonight. May the warm and gentle sunlight of the autumn dawn stick to your body. May you taste the flavor of the sun.
“What do these words mean?” the tribal leader Dawan Katjadrepan asked.
“The flavor of the sun,” I said.
I used to ask my father, “What does the sun taste like today?”
And he would always reply by telling me how sweet or sour it was.
“And what about the clouds?”
“Overcast days are sweet. Rainy days are more tart. I can’t taste sunny days.”
“When the sun moves around behind the clouds, the level of sourness drops.”
“Overcast days are suitable for making liqueur.”
But exactly what is the flavor of the sun?
Po-Chih Huang (Artist)
Po-Chih Huang graduated from the Taipei National University of the Arts with a Master’s degree from the Department of New Media Art, School of Film and New Media. His diverse artistic practice revolves around the circumstances and history of his family, which enables him to investigate issues including agriculture, manufacturing, production, consumption, and more. Since 2013, exhibitions of his continuous art project “Five Hundred Lemon Trees” have been transformed into a crowd-funding platform allowing the appropriation of artistic resources for developing an agricultural brand, activating fallow farmland, and growing lemon trees for lemon liquor. Simultaneously, the project has connected his family members, local farmers, and consumers to make new social relationships possible. In 2013 he also published his first collection of essays, Blue Skin–All About My Mother, an account of the personal history of his mother’s life, which reflects Taiwan’s agriculture economic reform and social change over the past fifty years. Through micro-level observations of his own family history, the work evokes society in Taiwan as a whole.
Marination and How to Avoid Being Contrived
by Amiko Li
Option 1 – Ingredient(s):
1 Camera
After I came to the United States, I realized what I have been studied in school for twelve years might have been fake English. I couldn’t express anything clearly. In China, I had been used to hiding behind paragraphs and paragraphs of metaphors and analogies, but due to my lack of vocabulary in English I was forced to talk like a baby. For instance the definition of 暧昧 (aìmeì) is completely different in relation to its translation of “ambiguous.” Wondering how to express this word, I picked up a camera. Photography is an aid, it involves emotions that I had trouble explaining with words. Walking slowly and taking pictures doesn’t cost you anything, but your steps can always been seen if you process your experience and the reflection within your pictures.
Option 2 – Ingredients:
1 box of chicken drumsticks, 2 small potatoes, 2 green onions, 5 cloves of garlic , pepper, 1 tablespoon of dark soy sauce, 1 tablespoon of Maggi Seasoning. Mix all ingredients except the potatoes , seal in a freezer bag, and let marinate in the fridge overnight.
Before I came to the United States all I could make was ramen and fried eggs (if this qualifies as cooking). It’s true that studying abroad turns everyone into a “Master Chef.” The fun of cooking starts from grocery shopping… no, maybe it starts way earlier when you eavesdrop on your co-worker and hear the name of a dish, or watch a scene in a Japanese drama, and you start planning what to make from then. You can use drumsticks or wings for this dish, cooking slowly is worth your time; if you marinate your chicken with pepper, soy sauce, and salt, you can definitely taste the difference later. You don’t need to marinate your potatoes.
Production Method (Option 1):
When I first started with photography I sketched postures and props I would use for the shoot, so that when I was on site taking the photographs I would feel prepared. Probably because I was too young and inexperienced, all these early photographs I made following this prompt felt staged and contrived. Photography became an illustration to the text. Two years later, I decided to abandon notes, and instead let situations and environments dictate things. This enabled me to soak in the situation and almost let my subconscious guide me to take pictures. Through this new approach, I noticed that maybe what I was trying to portray could be traced in the way I compose the frame, what I leave in or out, and the way I arrange my photographs. I had been following that method of photographing for around three years before I went back to staging and re-enacting again.
Production Method (Option 2):
Place on an oven tray, cover in tin foil, and bake for 20 minutes at 425°F/220°C; remove the tin foil and bake for an additional 10-15 minutes; turn up the heat as needed and roast at high temperature for another 3-5 minutes.
Usually when I wake up I will flip the sealed bag over to make sure both sides of the chicken are marinated nicely. Ovens did not exist for me before the age of 25: I only put extra pots and pans in there. The reason I was hesitating to use the oven was due to my fear of baking: baking is different to cooking because it requires precision. Slight shifts in temperature or the wrong proportion of flour to water can directly present you with a big bowl of burnt mess. In comparison I think cooking is more forgiving. You can always dilute and come up with creative ways to solve problems.
Apply some oil on the bottom of tray so that the potato won’t stick to it. Cut the potatoes into small chunks and salt those lightly, then put the marinated chicken on top of the potatoes. The juice from the chicken will drip and eventually soak the potatoes on the bottom. Cover the tray with aluminum foil, cut some holes on the aluminum foil and put the tray in the oven to bake. When I taught photography students often asked me, “I am going camping with my boyfriend next weekend, I could photograph that or I can photograph something when I visit my grandma this week. Which one do you think is better?” I have always used cooking as my example to my students. Think about cooking: reading the recipe is so different from tasting the freshly-made meal. Anyone can imagine it, but it is always different to experience. You can’t just sit around and imagine the work, when you go grocery shopping, your thinking might drift away to a different place… No need to think about it, just experience it.
Have you seen [the Japanese anime series] Hunter x Hunter? After the chapter in “Heavens Arena,” the instructor Wing demonstrates the special power of “Nen” and tells two boys, “Keep practicing the basics, develop your personality, create Nen that is special to you. Think about your hopes, your happiness and anger, what you like, what you want to pursue, where you have traveled, who you have met… These processes form your future.” I believe all the confusion, all the movies I have seen, all books I have read, any words from anyone I’ve met, these are all like ingredients chopped and infused into my work. No need to worry if my work is clear enough because my existence is not black or white. Leaps in thinking and unresolved confusion… Be it cooking or photographing, they both feel like muscle memory. I think that the exploration of uncertainty feeds my desire to create, so I don’t think about it and just experience life like so.
Amiko Li (Artist)
Amiko Li (b. 1993, Shanghai) is a visual artist working with photography and text. His works take an aleatoric approach to the nuances in the cultural system, and the ethics of language and representation, through re-enactment, exchange, and mistranslation. He holds a BFA from School of the Art Institute of Chicago and an MFA from Rutgers University. His works have been shown at Flat Earth Film Festival, Iceland (2019); Anthology Film Archive, New York (2019); Landline, Chicago (2019); Abrons Arts Center, New York (2018); Belfast Photo Festival, Belfast, Northern Ireland (2017); LeRoy Neiman Gallery, Columbia University, New York (2014); and Ulster Museum, Republic of Ireland (2014). Li has received fellowships and residencies from institutions including Philadelphia Photo Arts Center; Triangle Arts Association; Künstlerhaus Stuttgart; and the Royal Ulster Academy Portrait Prize.
A Meal Not to Eat Before Leaving
by Doreen Chan
18:56, 8/25/2020
Leavitt Street, Chicago, USA 60622
The earth has been compressed in the past six months.
We all are separated while being together
The air is not unbreathable yet.
It is around 70 percent.
It is like many relationships, not instantly fatal
While daily life reminds
How much effort did it take to leave
Keep counting down
Finally move
What needs to be dealt with, what doesn’t
Empty the refrigerator to make a dinner
A light came from my roommate’s south-facing room again
Just Dye the Hands Appetizer
Ingredients
⁃ Three black plums bought in a cheap and good-quality supermarket
⁃ 700ml hot boiling water
1. Put the black plums in the refrigerator for two days
2. Take them out and put them in a serving bowl
3. Pour all the hot boiled water (washing fruits with hot water is my mother’s formula)
4. Finish
Broken Refrigerator Chicken Ravioli with Sweet Potato Brick
Ingredients
⁃ One box of chicken thighs ordered online (during the pandemic, I dare not go out and order a lot each time from an online grocery store)
⁃ Half pack of dried ravioli that were originally meant to stock up with and expired three months ago
⁃ Two sweet potatoes which I forget if are organic or not
⁃ Half cup of Chicago’s famous Gold Barbecue Sauce
⁃ A broken refrigerator
⁃ 50 ml white vinegar
⁃ A cup of water
⁃ Moderate amount of cling wrap
⁃ Moderate amount of spring onions
⁃ Moderate amount of cucumbers
1. Put the chicken thighs in the broken refrigerator for five days and wait until the meat color is still not gray but is 10 percent sour
2. Under the suspicion that the chicken thighs may or may not have gone bad, fry the chicken on both sides until golden brown
3. Cut the sweet potatoes into pieces
4. Add sweet potatoes, add half a cup of water and cook for 5 minutes
5. Add barbecue sauce and cook for another 5 minutes
6. Dice spring onion
7. Add spring onion and turn off the heat
8. Eat one of the chicken thighs
9. Suspect food poisoning
10. It is said that white vinegar can kill bacteria, so add vinegar to half a cup of water, and drink it
11. Put the remaining chicken thighs in a zip bag and put it in the refrigerator for one month
12. Put another sweet potato in a food container and put it in the refrigerator for one month
13. Place ravioli evenly on the plate
14. Add cucumber as decoration
15. Wrap two pieces of the chicken thighs with cling wrap and put on a plate
16. Take the sweet potato bricks out of the container and put on a plate
17. Finish
What a Wonderful World Cake
Ingredients
⁃ A big box of birthday cakes from a downstairs neighbor who works in a bakery
⁃ Half bag of frozen strawberries which I don’t know why I liked
⁃ Three slices of homemade banana coconut milk easy make cake
⁃ Two self-made resin plates from molding packaging bags
⁃ Two iPhone glass screen stickers my brother ordered from Taobao
⁃ Moderate amount of expired but still alright yogurt
1. Put the unfinished birthday cakes in the refrigerator for 45 days
2. Put the banana coconut cake that you don’t want to eat anymore in the refrigerator for 60 days
3. Put two kinds of cakes on the plate
4. Put the glass screen between the birthday cakes
5. Add yogurt to the banana coconut milk cake
6. Put on frozen strawberries
7. Finish
Special Drink in Glass Bottle for Preserves
Ingredients
⁃ 30 g German sauerkraut
⁃ 10 olives
⁃ 200 ml white wine from an open bottle
⁃ 3 pickled cucumbers
⁃ 2 frozen okra
⁃ 1 glass bottle used for storing olives
⁃ 1 plate used for breakfast and still not cleaned yet
1. Take all the olives out of the glass bottle and put them in again
2. Add sauerkraut and flatten
3. Add white wine
4. Put cucumber and okra on the plate
5. Then pour the drink on top
6. Finish
Doreen Chan (Artist)
Doreen Wing Yan Chan (b. 1987, Hong Kong) is an artist who currently lives in Hong Kong and Chicago. She has received training in visual communication and photography. Chan’s artistic practices focus on the investigation of personal perception, materiality, and daily details that are often overlooked. Key elements in her works include interpersonal relationships, personal memories, and fragmentary moments of daily life in the city. As a lens-based and site-specific artist, Chan believes that images are merely raw materials. She integrates images with various media to re-examine the tensions between herself and the surrounding world.
Chan has held solo exhibitions at Lianzhou Foto Festival 2013 (Lianzhou, China), Kigoja (Seoul, South Korea), Charbon (Hong Kong), and HB Station: Contemporary Art Research Centre (Guangzhou, China). She has also exhibited her works in Beijing, Gwangju, Macau, Hong Kong, New York, and several cities in the UK. Chan was one of finalists in the 2015 Three Shadows Photography Award and the 2019 Art Sanya Huayu Youth Award.
Cooking Poetry
by Fang Lu and Arie Kishon
Both cooking and poetry stand for aspects of our daily lives that we cannot do without. One accounts for the nourishment and maintenance of the body, and the other represents the communication of abstractions, thoughts, and ideas. This project is an ongoing journey where the two worlds are to interact, interpret, and transform one another.
Leaning on the conception that God brought the universe into being by speaking it—i.e. with the use of words—we chose to begin with a poetic/lyrical article that will inspire a culinary dish, which will then inspire a new poem, and so on and so forth.
Since both of us come from very different cultural backgrounds, with different languages as our native tongues, we decided to use English for this project, as the language serves as the foundation for our day-to-day communication. As the work progresses, cooking also becomes a language spoken between us, by means of trying to foresee each of our likings and tailoring the dishes accordingly, using both the differences and commonalities in our tastes. The list of ingredients grows to become a culinary vocabulary, a language that caters to the body and soothes the soul.
#1
Knowing
Arie: At the time we started the Cooking Poetry project I was reading the book “The Secret History of America,” a collection of essays and lectures by Manly P. Hall, in which he discusses the generally ignored past of the Americas, and proposes mystical possibilities regarding their destiny.
The tales of glorious ancient cultures and philosophies, the hopeful and far-reaching interpretation of historical texts regarding exploration and missionary expeditions in the old world and the discovery of America, and the essential place of secret societies in the formation and shaping of any culture still functioning today, strengthened my belief that we may have some perception of ourselves but we do not know who or what we are, what makes and sustains us, and, in turn, what governs our future.
I may say that I am a “man,” but no amount of trivial data stored in my brain would be sufficient to explain what that means. “Man” then simply becomes a word, a sound I am repeating, since I heard it spoken before in this context, much like my two-year-old son who is imitating me in his attempts to acquire tools for communication.
In this sense, truly knowing something cannot be merely the ability to repeat statements regarding it. Knowing appears to me as most deserving of a new understanding, a new form. It should also be approached with boundless humility, as we do not know what knowing is, and this seems fitting a starting point to any journey.
Lu: For “Knowing,” the dish needs a root vegetable, which can provide a sense of earth, and grounding. A sweet vegetable is preferable—to unravel a joyous sensation, the happiness that comes with knowing. To balance the taste, and reflect another aspect of “knowing”, the dish requires an ingredient which carries some bitterness and spiciness, one that will result in an uneasy impression.
Steamed Sweet Potato with Ginger
Ingredients: sweet potato, ginger, salt, black pepper
1) Steam sweet potato until soft.
2) Meanwhile peel fresh ginger root, and use peeler to grate very thin slices.
3) Cut the sweet potato into bite size cubes, then put a ginger slice on each cube.
Put on a plate, sprinkle with salt and pepper.
#2
Noing
Lu: With “Noing,” I envision an ingredient being prepared in an unusual way. This component should be something white, something with the quality of innocence and denial.
Rice Pudding
Ingredients: rice (½ cup), coconut milk (½ cup), sugar, egg (× 2), salt, butter (⅛ cup), mint leaves
1) Set the rice to cook and turn the flame to low once the water is boiling. Continue cooking for 5 minutes.
2) Pour out excess liquid from the pot and add in coconut milk and sugar. Keep stirring to prevent the rice from sticking to the bottom of the pot.
3) Simmer gently for 35 minutes, and stir from time to time.
4) Add eggs and butter into the rice. Stir until smoothly integrated, and turn the stove off immediately.
5) Serve in small bowls or cups, warm or cool. (We actually prefer warm, but most people prefer it served cold).
6) Accompany with mint leaves, which can refresh the palate from the dose of sweetness.
#3
Funny how
Out of all
the beaches in the world
You came
To bathe
In Mine
Lu: I see sunshine, sand, and a happy summer. Are there many beaches? I only see one right in front of me. I want to use chickpeas and eggs as main ingredients for this dish. The light yellow tin of the chickpeas and their texture reminds me of Israel. It is warm, dry, and even slightly exotic for someone like me. And yet it is so common for some parts of the world, common like the sand.
Chickpeas and Eggs
Ingredients: chickpeas (dry), eggs, onion, black pepper, salt, olive oil, dry parsley; lemon
1) Soak the chickpeas overnight in water. Cook the chickpeas in water until tender. (To cook chickpeas well, soaking is key. After soaking, the next step is to cook the chickpeas until the water is boiling and heavy foam forms. Then the water needs to be drained out and the foam should be washed off the chickpeas with cool water. Add fresh water to the pot and cook until chickpeas are soft.)
2) Hard boil eggs (put eggs in cold water in a pot. After the water has boiled, cook for 3 more minutes, and turn off flame. Let the eggs sit in hot water for another 3 minutes. Letting the eggs sit for a few minutes in cold water afterwards will make peeling them a lot easier.)
3) Slice the eggs into circles and sprinkle them with salt and pepper.
4) Drain out the water from the cooked chickpeas. Season with chopped onion, salt, pepper, olive oil, dry parsley and freshly squeezed lemon juice.
#4
The Moment is us
Convictions of silk
Bid the Muses Farewell
Lu: The last step of this recipe should be completed on the table, during the meal. It should be eaten immediately once it is prepared.
It should include ingredients that are very fresh and seasonal, to preferably be eaten raw. Accompanied with something that is preserved, the two types of ingredients, fresh and preserved, can express the two aspects of a “Moment”—temporary and eternal.
Tuna Hand Rolls with Five Herbs
Ingredients: rice, roasted Nori seaweed, tuna fish (precooked, preserved in salt water), ginger, (and/or horseradish), lemon, salt, mayonnaise, mustard, onion, rice vinegar, soy sauce.
Five types of fresh seasonal green herbs or green vegetables: basil leaves, mint leaves, scallions, cilantro, arugula.
1) Cook white rice. When it is cooked, add in some rice vinegar, and set aside. It is best to serve warm but not hot.
2) Put the preserved tuna into a bowl, add in chopped onion, scallion and cilantro. Season with salt, pepper, squeezed lemon juice, some mayonnaise and mustard.
3) Finely grind ginger and horseradish and put in small plate for seasoning of hand rolls.
4) Lay out all the prepared ingredients on the table: herbs, tuna salad, seaweed (fold and tear into hand roll size), ginger and horseradish, cooked rice, and soy sauce if needed. Make the hand rolls any way you like.
Fang Lu (Artist)
Fang Lu was born in Guangzhou, China in 1981. She is currently living and working in Beacon, New York. Her main focus is on video art and her works have been shown and screened in museums and art spaces including the Asian Art Museum (San Francisco), Anthology Film Archive (New York), Centre Pompidou (Paris), Borges Libreria Institute of Contemporary Art (Guangzhou), Guangdong Times Museum (Guangzhou), OCAT Shanghai, UCCA (Beijing), and Inside-Out Art Museum (Beijing).
Fang’s recent work addresses the tensions that are inextricably part of modern life. Through elevating personal experience and struggles to metaphysical settings, she strives to reveal the magical aspects of the so-called mundane.
Arie Kishon (Artist)
Arie Kishon was born in Tel Aviv, Israel in 1983, and is presently based in Beacon, New York and Tel Aviv. His diverse artistic practice includes cinema, painting, music, and poetry. Kishon has a background in cinema and photography, and has been active as a sound art and vocal performer in the Israeli underground music scene for the past 15 years. His performances are often described as “noise meditations,” shapeless and animalistic.
Roasted Vegetables
by Antje Majewski
Roasted vegetables are an ideal meal for the countryside: you can put everything on a baking tray, prepare any amount you wish, and have a (vegan?) barbecue with it. Roasted vegetables are the best food to have on the side, when you have a lot to do in the garden, but also the best option when many friends suddenly show up at the house. You simply can’t go wrong with them, and they are delicious too!
Preparation
1) Late autumn: Clean the garden, spread compost on the beds, cover with leaves and chaff.
2) Spring: Start pumpkin seeds, zucchini seeds, tomato seeds in small pots.
3) Clean the vegetable garden. Once it is warm enough, plant plants in the garden. Protect with homemade chaff.
4) Buy and plant bulb onions. Protect from drying out with chaff.
5) Plant potatoes.
6) Water, weed, keep useful herbs such as vegetable mallows, borage,and marigolds, remove snails, water, etc.
7) Grow and stake tomato plants, pinch out shoots.
8) Direct the vine growth of the pumpkin plants (the tendrils can coverseveral square meters).
9) Remove snails, continue weeding and watering etc.
10) Summer: Harvest onion bulbs as needed.
11) Harvest zucchini once they are the right size. Do not wait until they have become balloons!
12) Likewise, harvest pumpkins when they are the right size and color.
Note: there are large, small, red, yellow, green, white, spotted species—pumpkins in all colors and shapes. Therefore, you should know which kind you are growing.
13) Harvest potatoes when the top of the plant is completely dried out on the ground. Make sure to look closely, there is always one more.
14) Drizzle the baking tray with olive oil.
15) Scrub the potatoes clean, quarter them, and place them on the tray.
16) Slice the zucchini.
17) Core pumpkins and cut into small pieces.
18) Cut onions into quarters and place them in between.
19) I haven’t grown garlic yet, so I buy it, peel it, and place the whole cloves on the tray.
20) Drizzle oil once more, season with salt and pepper.
21) Sprinkle thyme, oregano, and whatever else you have in the garden over it.
22) Bake at 200 °C for about 20 to 30 minutes until everything is cooked.
23) Enjoy. I like to have a little ketchup on the side.
The above recipe is excerpted from The Videoart at Midnight Artists' Cookbook by Olaf Stüber and Anton Stüber © 2020.
Antje Majewski (Artist)
Antje Majewski (b. 1968, Marl, Germany) is an artist and curator. She currently lives and works in Berlin and Himmelpfort. From 2006 to 2011 she taught at Kunsthochschule Berlin-Weißensee and has been a professor of painting at Muthesius Kunsthochschule in Kiel since 2011.
Majewski’s practice is based largely on anthropological and philosophical research, with her figurative painting, photography and video work exploring the social roles that objects play. Following years of intensively tracing the histories of seven objects in an investigation that took her across continents and yielded both paintings and video works (“The World of Gimel,” Kunsthaus Graz, 2011), she shifted her focus to biodiversity and its interface with both historical and modern apple varieties. Her exhibition project “Apple. An Introduction. (Over and Over again)” comprises paintings, objects and a documentary film that bring the complex relationship between the global food industry and technological progress to the forefront.
Often acting as an intermediary for collaborative thought, Majewski gives ecology an aesthetic and social dimension while also lending it a sense of time, place and pertinence. For a period of three years, Majewski was a member of feminist group ff. She then went on to found E.F.A. (Eco-Feminist Anarchism). In her series “E.F.A. im Garten,” she documented nature’s reclamation of a community garden in Berlin that was cleared by investors, framing this restoration as an act of anarchistic freedom. In 2018, Majewski’s interdisciplinary, collaborative exhibition project “How to talk with birds, trees, fish, shells, snakes, bulls and lions” opened at Hamburger Bahnhof in Berlin. She invited artists from Brazil, China, France, Colombia, Cameroon, Poland, Senegal, and Hungary to contribute works to this exhibition that poetically explored the reciprocal relationships between humans and other lifeforms.
Majewski’s work also investigates objects transported from their places of origin and separated from their contexts for exhibition abroad—a practice that has become increasingly common since the beginning of European colonialism of Africa. She investigated this concept further in group exhibitions on the concept of art and craft at Gropius Bau Berlin and Kunsthaus Graz (2019), probing the transformation of meaning, function and value that cultural objects undergo upon being archived, conserved, and exhibited.
Half Peel Half Pulp
by Yu Ji
1
Waiting and leaving… A familiar city, languages, food, and home(s), the constant switch of uncertainty and unexpected situations. Well, since everything in front of you is brand new, let’s start again. I let go of the concerns I used to have, get ready to throw myself into them and confront them. I am lucky to be engaged in artistic creation, as it makes me more affectionate and dedicated than if I were getting to know a city as a tourist: I stayed longer, and had direct contact with locals working in related fields; effectively, I understood and learnt what I am interested in. In the days when I first came here, I wandered aimlessly. The time and energy spent on walking everyday made me no longer feel like a bubble floating outside of its environment, and I gradually got used to the smells of the people, food, and vegetation here. All the time and energy that has been consumed allows me to devote myself to this, just like the full and strange shape of jackfruit in front of me , which I have been preparing for long time to cut. You can search on the internet for various ways to cut fruits, some of which are defined as the “correct way.” However, regarding the affair of opening the peel and taking out the pulp, there is no such so-called “correct” or “incorrect” way: you can approach it in a straightforward way, but can also change your perspective so the process becomes more complex—if eating the pulp is not considered the only purpose of the action, if more results are being produced due to the process, or if the process itself exists to satisfy the desire to process.
2
The unattended vine next door was full of young fruits a few months ago. The weather is slowly getting warmer, and the grapes are growing rapidly, changing more and more, growing bigger and bigger. But one day, the peel began to grow spots, like a pod. Then the leaves also grew spots and began to curl up. The grapes stopped growing. It was only after I asked some people that I came to know it was the eaves above that which blocked sufficient direct sunlight and prevented the fruit from ripening. Weirdly, it was lacking a little bit of sunshine, so while it could grow so well at the beginning, at the end of the sprint, it was defeated and failed to grow into a perfect fruit. Grapes stop growing, but they are still a delicacy for animals. The flesh was pecked at by the animal’s mouths, and dug away by their paws, leaving a layer of soft and collapsed peel hanging on the handle. The peels that had lost the flesh were like eyelids with eyeballs removed one by one, drooping down.
Later, the virgin fruit I planted was ripe. More and more hollow peels and clusters of semi-developed grapes that have been pecked off are solidified on the vine next door like specimens. So, I picked all the grapes that still had their flesh.
3
You suddenly gatecrash a local neighborhood as a stranger. You will come and go around here every day for the next few months. Nearby hawkers, grocery stores, fruit shop sellers, and illegal taxi drivers will gradually realize that you are not a hurried passenger. They start to remember how you look, stop calling you over, and occasionally smile at you with a familiar expression when you pass by. Living in this city without English signs, the house numbers and block divisions seem a bit arbitrary. When you go out and go home, you can hardly identify your door number. The rows of buildings in the same block look so similar. The cellphone reception only functions occasionally, and it completely fails in the densely packed blocks of archways—only through details such as the color of the gate, the decoration style of the iron fence, and the variety and shape of the plants planted next to the mailbox can you find your home.
On the first day, turn left and go straight. After turning left at the first corner, turn left again, go straight for one and a half kilometers, and turn left for the third time. On the second day, turn right and go straight, then turn right after a distance of almost one kilometer, and turn right again; go straight for one and a half kilometers and turn right for the third time. For now, I live in the south of the city center, and within three kilometers, which is organized by more than 20 completely parallel and almost equal-length (about 0.8 kilometer) small roads. Yet after three left turns, you encounter countless narrow passages that are easily confused with each other, all leading to the way home. In my daily adventure games, free and full of surprises, I hardly think about art or creation, even though I often think of materials, production, and concepts from what I see— one way or another, the kind of transformation I'm familiar with—once discovered, it stops in time.
4
In the early stage of the pandemic’s outbreak, my family and I moved to the border of the city. The sea was behind us, but all entrances to the sea were blocked. Every day we looked at the sea from the roof of the house, which had become an isolated island. Living on the edge of a city is far from being close to nature. The road here is very wide with few cars, and large areas of deserted mud on both sides of the road allow weeds and wildflowers to grow and spread to unfinished construction projects several kilometers away. The house where no one lives, the road with no car, the sea with no entrance, everything is lonely, and everything is forgotten.
Cherry Tomatoes
A small island is hidden at the very deep end of the sea, there is nothing left on the island except for ferns and coconut trees. No one. One day, a survivor from an accident at sea drifted to the shore, exhausted. After gradually regaining consciousness, the survivor began to search inside the backpack he carried: he found two travel brochures, a fluorescent marker, a small mirror, a pair of sunglasses in a spectacle case, and a piece of bread that had long been soaked in seawater. And a small handful of cherry tomatoes.
The survivor relied on the coconuts on the island to sustain his life, and he carefully ate only one cherry tomato a day. He was afraid that soon he would no longer be able to see such a colorful and plump red fruit. Four or five days later, one of the cherry tomatoes ripened and cracked. The survivor carefully buried it in the soil, hoping for a miracle. Nine or ten days later, two more cherry tomatoes ripened and cracked, and they were carefully buried in the soil again, the survivor still expecting a miracle. When only one cherry tomato was left, the survivor put it in his mouth and chewed on the ripe fruit for a long time. Although it was small, it was extremely delicious. The survivor shed tears, thinking of his beloved homeland. The fruit buried in the soil never germinated. Ferns and coconut trees remain the only things that grow on the island.
Yu Ji (Artist)
Yu Ji currently lives and works in Shanghai and Vienna. Her creations include installation, sculpture, performance, and video, among which sculpture is the core of her work. Yu Ji’s current practice is motivated by an ongoing investigation into her work’s specific location within geographies and historical narratives. She focuses on ideas created with time, space, and movement, usually using the least amount of materials to imbed immateriality and intangiblity into material existence. Yu’s recent group exhibitions include: “May You Live In Interesting times,” 58th Venice Biennale (2019); “HUGO BOSS ASIA ART | Award for Emerging Asian Artists” (Rockbund Art Museum, Shanghai, 2017); “Why Not Ask Again? - Maneuvers, Disputation & Stories,” 11th Shanghai Biennale; and “The Eighth Climate (What Does Art Do?),” 11th Gwangju Biennale (all 2016).
Chewing over Debris
by Zhang Ruyi
There is a type of cactus that grows and lives under the hot sun. Its Chinese name translates as “Fairy Peach” and it symbolizes good luck. The plant can be eaten as food, fermented as wine, used to build fences, and for many other purposes in daily life. Cacti such as these have featured in my art for a long time, existing as a metaphor for self-portrait.
I have tried to ask myself whether it is possible to use the evolution of cactuses as a way to discuss the how individuals are swallowed up and digested into life as a whole
I am attracted by the basic characteristics of the cactus while I plant it, such as the sharp spines on the outside and its soft inside, or the contrast between the slow speed of its life cycle and busy routine of daily life around me. My interest in these traits is very personal, which gradually turns the plant into a metaphor for myself. For a long time, I mainly “drew” cacti on a blank paper and “corrected” their forms through a grid of points. The shape is stiff and slowly approaches the feeling of a still life, weakening the actual traits of a cactus—which can sometimes be like a stone, a column, or other shapes. After that, I use one of the fundamental materials in architecture—concrete—to retransform its shape. I remove the cactus from the grid, graft different varieties of cacti onto it, or outline it with discarded rebar. Through the transformation of materials, the main body of the concrete sculpture is juxtaposed with the rubble of buildings, like a modern fossil buried under the accumulated flows of urban construction.
Yet actually, the cactus, which lives alongside stones under the hot desert sun, is a part of the wilderness, with a fierce and taciturn shape. Four years after Columbus’ discovery of the New World, a sailor brought a cactus from the Caribbean to Europe, and in 1669 cacti arrived in Japan. Throughout its journey, the cactus has gradually changed from an outdoor to indoor plant, something that can be delicately potted and placed on an office desk. This “evolution" can be compared to migration and reminds me of how individuals have the chance to “digest” themselves under the influence of urban “evolution.”
Here, I think of the words “Chewing over Debris.” Like displaying self-realization in the process of “evolution,” this is more like an abstract expression, via an understanding of “evolution,” and is the “diet” between ourselves and reality. A diet must be eaten, which requires many actions: biting, gnawing, chewing, swallowing, and so on. Through these different movements, we can imagine the perspective of how individuals are swallowed up and digested by the background of history. My ingredients start with steamed bread as an element converting rubble and red bricks—the culinary attributes and cultural features of the bread help reproduce the feeling of these materials. This is accompanied by edible cactus pulp, on which I finally sprinkle granules of light caramel to represent an imagining of the desert, converging to create this dessert named “Modern Fossil.” The stone I mention here is not a stone from nature; it is more a metaphor for the rolling of time as well as the overlapping of different moments and connections. This moment will become the past or a reminder of the future.
Modern Fossil
Ingredients: flour, steamed bread, rubble, red brick, light caramel, and edible cactus.
Zhang Ruyi (Artist)
Zhang Ruyi (b. 1985, Shanghai) lives and works in Shanghai. Zhang’s work involves sculpture, painting with mixed media, and installation. Her conceptual practice centers on everyday logic, and her work occupies a specific space at the nexus of reconciled artifacts, industrialized experiences, and urban life. Her work has been shown at the K11 Art Foundation, Hong Kong (2018); Rockbund Art Museum, Shanghai (2018); UCCA Center for Contemporary Art, Beijing (2017); CASS Sculpture Foundation, Chichester, UK (2016); and Sifang Art Museum, Nanjing (2016). Recent solo exhibitions include “Consciousness of Location” (Don Gallery, Shanghai, 2019); “Bonsai” (François Ghebaly, Los Angeles, 2019); and “Building Opposite Building” (Don Gallery, Shanghai, 2016).
Sacrificial Cuisine
by Tianzhuo Chen
Ingredients:
- Prometheus’s liver
- 1 kapala
- 50 mg mescaline as used by Antonin Artaud
- 1 sacrificial embryo
Method:
Step 1: Season both sides of the liver in advance. Cover and refrigerate at least one hour, or as long as overnight.
Step 2: Preheat an outdoor grill to medium-high heat
Step 3: Grill the liver on the preheated grill until firm, reddish-pink, and juicy in the center, about 6 minutes per side. Transfer the liver to a kapala, and sprinkle with mescaline/peyote cactus juice. Let rest for about 10 minutes.
Step 4: Cut the raw embryo into pieces and spread evenly over the liver to serve.
[1] In order to punish Prometheus for stealing fire, Zeus chained him to a mountain in the Caucasus. Prometheus was exposed to the wind and sun while an eagle preyed upon him every day. The act of stealing fire received its punishment, like the redemption of human behavior; although Prometheus’ liver was eaten by the eagle each day, it grew back again and again.
[2] Only the skull of a senior monk who has achieved enlightenment can be made into a kapala. This skull bowl both contains the remains of the dead and is a reminder of Buddhist stories of sacrifice, such as when Siddartha Gautama cut his flesh to feed an eagle or offered his body to tigers, alluding to human flesh as a charitable offering.
[3] Antonin Artaud participated in traditional religious rituals on a journey to Mexico, and experienced the psychoactive properties of cacti. Mescaline is a kind of alkaloid that comes from the peyote cactus,which has been used by indigenous peoples in Mexico for thousands of years. Native Americans use this psychedelic plant as a guide for ritual ceremonies. This ingredient possesses a guide-like quality, which can be seen as opening the entrance to heaven. Artaud himself was a little bit crazy—he believed he saw heaven open up.
Tianzhuo Chen (Artist)
Born in 1985, Tianzhuo Chen currently lives and works in Beijing, China. After graduating from Central St. Martins College of Art and Design in London, he received his Master’s in Fine Arts degree from the Chelsea College of Art and Design, London.
Tianzhuo Chen skillfully works between the artistic disciplines of installation, performance, video, painting and photography. Many of his artworks require others’ participation or that of the audience to take the form of a “happening,” such as an underground party, staged performance, or more conceptually, a constructed ritual site, ultimately transforming reality into fantasy. Within his artworks, Chen mixes his well-versed knowledge of elements and symbols found in religion (like Buddhism, Hinduism, Christianity, and Shamanism, etc.), subculture (such as cults, drag, rave, etc.), popular culture (such as cartoons, hip hop and electronic music, etc.) and dance (like Japanese Butoh and voguing) in order to juxtapose atmospheres and cause the audience/participants to transcend superficial states of both the body and spirit. Ultimately, they arrive what the artist himself has referred to as a “state of madness.”
His recent solo exhibitions include “Trance” (M Woods Museum, Beijing, 2019); “GHOST” (Kunsthalle Winterthur, Winterthur, 2017); “Ishvara” (Long March Space, Beijing, 2016); and “Tianzhuo Chen” (Palais de Tokyo, Paris, 2015).
His selected group exhibitions include the 6th Athens Biennale (2018); “Entropy” (Faurschou Foundation, Beijing, 2018): “Front International: Cleveland Triennial for Contemporary Art” (2018); 1st Biennial of Contemporary Arts (Lisbon & Porto, 2017): and the 11th Shanghai Biennale (Power Station of Art, Shanghai, 2016).
His performances have been staged at The Broad Museum (Los Angeles, 2018); Barbican Centre (London, 2018); Wiener Festwochen (Vienna, 2017); Theater Der Welt (Hamburg, 2017); Tokyo Festival (2017); and elsewhere.
Taipei Futurist Stew
by Musquiqui Chiying
As the site of interaction between international food and the island of Taiwan’s local snacks, Taipei may be a good place to think about some kind of futuristic dish. In order to make this dish stand out from dull and mundane globalized ingredients—as is also the pursuit of many paranoid and gluttonous foodies—and to find food’s so-called localness, we may start out from regional specificity. From the perspective of a locally-grounded Futurism, it is hard to avoid using the new convenience-obsessed ingredients which are becoming mainstream in the Western world, such as alternative protein sources or the plant-based meat proffered by big brands. Instead, models of Futurism from regions, especially those proposed by the Global South, contain thinking counter to Western hegemony that may be useful for us here.
In fact, even when considering the most common sources of protein, we can still reflect on Futurist dishes from different cultural perspectives. For example, in 2019, the Chinese science fiction movie The Wandering Earth proposed the snack food “durian flavored dried earthworm.” In my mind, this is one of a few details in the movie which could be categorized as a form of national Futurism. Unlike the cockroaches cooked into protein bars that serve as food in the Korean movie Snowpiercer, there are actually historical precedents for the use of dried earthworm as a source of nutrition. In Chinese pharmacopoeias, earthworm is referred to with a term that directly translates as “underworld dragon,” though it was customarily used as a medicinal rather than culinary ingredient. By infusing the earthworm with a flavor from a Southeast Asian tropical fruit, the movie presents a truly creative—and practical—proposal.
To speak of the practice of a Futurist diet connected to place or ethnic group, one must first read the cookbook of our Futurist spiritual leader, Sun Ra. Sun Ra and his band the Arkestra, building from their music and clothing, forged a fantastical performance style that established the cosmological philosophy of Afrofuturism. Rumor has it that when the band’s finances were tight, Sun Ra would cook a vegetarian dish called “Moon Stew.” The problem is just that Sun Ra was from Saturn after all, so it is difficult to use the Earth’s standards to write down his recipes. In an interview with Sun Ra about cooking, food writer Bob Young asked about the ingredients of the Moon Stew: green peppers, onions, garlic, potatoes, okra, tomatoes, and ears of corn. But there is no way to know the precise proportions of the ingredients. Sun Ra gave the reply: “It's like riding a spiritual aircraft. You put the appropriate ingredients in, regardless of why, the taste will be right. If you plan, it will never work. "
Any points of comparison that can be drawn between thinking on food from Sun Ra and Marinetti—the representative of the Italian Futurist diet—are probably due to their shared perception-based approach towards cooking. When they think about cooking and eating, they don’t worry about how many spoonfuls of oil and salt, or how many kilograms of flour, but rather how to capture a certain feeling. For Sun Ra, these feelings are sincerity and love, while Marinetti emphasizes sense and surprise. In addition to making recipes more dynamic and giving them more imaginative space, these approaches can also transform cooking into an interdisciplinary creative practice. Therefore, a Futurist recipe should try to maintain its kinetic energy and openness: It should be an aesthetic practice instead of a prescription.
What exactly is Taipei Futurism? Or, how should we imagine Taipei Futurism? There is a possible path to understanding these questions: Just like with other Futurisms, you can use music as an entry point, for example as with noise for Italian Futurism, jazz for Afrofuturism, and vaporwave for Sinofuturism. Of course, I have no intention to simplify the process of aesthetic development, and as explained above, openness should be put first. However, we still need a starting point for our thinking and a direction for the journey. What is more, music inherently possesses an irreplaceable sensibility, which is why many aesthetic revolutions begin with the transformation of methods in musical creation.
In fact, whether intentionally or not, Taiwan’s music scene has begun to mold a kind of regional Futurism over the past few years. For example, Paiwan aboriginal singer Abao, who won the Golden Melody Award in 2020, successfully combined melodies from Paiwan traditional music with electronic music and an Afrofuturist visual style. The independent band Island Futurism is trying to combine traditional Austronesian music with Afrobeat to create a new style of music. If we focus more on Taipei, we can see several popular hip-hop singers, for example 9m88 and DJ Didilong, who have incorporated unique elements distinct to the city into their music videos. These details are not necessarily concrete technological objects, but nonetheless they exhibit some characteristics of Futurism, such as the crossing between different eras, and scenes of nostalgic fantasy. It is hard to identify what specific time period is being referenced, but their videos are full of evocative images like people practicing martial arts while wearing fluorescent clothes next to the food stalls of Shilin Night Market, or riding 1980s Bosozoku motorcycles in the dark through the dilapidated Nanjichang Night Market.
Perhaps these musicians from Taipei did not think about Futurism, just like Sun Ra himself never thought about Afrofuturism. The expression of a Futurist style does not require this specific intention, but, instead—allow me to emphasize this again—a dream-like openness. So a yet-to-be-fully-formed Taipei Futurist stew is not best recorded in prescriptive form.
Here, I will try to describe the potential characteristics and ingredients of a Taipei Futurist stew:
1. “Fushan Lettuce” as the Main Vegetable Ingredient
Fushan lettuce is a common ingredient in Taiwan’s night markets. However, due to linguistic and historical factors, it is more often colloquially referred to as “Mainland Girl,” a name tinged with discriminatory connotations. Using Fushan lettuce symbolically moves past this legacy of discrimination, and the vegetable has the additional benefit of being extremely easy to grow. It does not require a special environment and can be planted on the balcony or roof of a building. Moreover, it can be harvested after one and a half months, and its nutritional value is very high. In addition, it has a slightly bitter taste, which could improve the quality of the stew, and cut through the greasy taste often found in Taiwanese food.
2.Using “Bubbles” as Condiments
Tapioca pearl “bubbles” are a common ingredient in hand-shaken drinks and desserts in Taiwan’s night markets. In order to attract customers, some businesses use sexually suggestive nicknames for these items, like “Boba” or “Xiaomi.” Using the term “bubble” removes these unsavory connotations, and the ingredient’s unique slippery texture and sweetness can help neutralize the bitterness of Fushan lettuce, stimulating the mushroom-shaped papillae on the tongue that detect sweet flavors. In fact, these bubbles are already sparking culinary innovations in Japan, where there are dishes on the market like bubble sushi, bubble Tsukemen ramen (dipping noodles), and bubble beer. Therefore, as an important site for the production of bubbles, Taiwan should be able to develop more ways of eating them.
3. Mixing Soup with “Champagne Oolong Tea”
Champagne oolong tea is a heavily fermented tea product derived from oolong tea, mainly produced in Hsinchu and Miaoli in northern Taiwan. In order to emphasize the sweetness of this kind of tea, many tea merchants gave it the Orientalist name of “Oriental Beauty.” The use of “champagne oolong tea” symbolically moves beyond this, and the honey fragance of the tea, brought about by small green leafhoppers biting the leaves as they grow, could add to the sweetness of the stew. To attract small green leafhoppers to nip at the tea buds, the tea gardens are planted in a strictly controlled, ecological unspoilt environment, where pesticides are prohibited. This restriction also serves to raise awareness of organic planting practices.
4.Other Ingredients
In order to maintain the open-ended nature of Taipei's Futurist stew, I recommend keeping the recipe flexible, and to invite cooks to use their imagination and add newer, seasonal, and nutritious ingredients. The goal is to achieve an even better flavor, and to make the Taipei Futurist stew keep up with the times.
Musquiqui Chihying (Artist)
Musquiqui Chihying (b. 1985, Taipei) is a filmmaker and visual artist who lives and works in Taipei and Berlin. He graduated from Taipei National University of the Arts in 2008 and Berlin University of the Arts in 2015. He works in a wide range of media including sound, image, and installation. His works explore ideas of the human condition and environmental systems in the age of global capitalism, frequently investigating the subjectivity of contemporary social culture in the Global South. Solo exhibitions include “The Chinese Museum F” (In extenso, Clermont-Ferrand, France, 2019); “The Power of My Smile” (Kuandu Museum of Fine Arts, Taipei, 2019); “New Directions: Musquiqui Chihying” (UCCA Beijing, 2018); “Resistance is Futile” (CAAC/Gallery 456, New York, 2017); and “Modern Life is Dull” (NON Berlin Asia Contemporary Art Platform, Berlin, 2016). Chihying’s works have also been featured in “China-Afrique: Crossing The World Colour Line” (Centre Pompidou, Paris, 2020); “68th Berlinale Forum Expanded” (Akademie der Künste, Berlin, 2018); the 10th Taipei Biennial (Taipei Fine Arts Museum, 2016); the 10th Shanghai Biennale (2014); and “Place an Image/Place in Image” (Museum für Fotografie, Berlin, 2014).
The Slow Long Boil of a Pandemic Year
by Rania Ho
Fruit jam is one of the earliest known methods of food preservation—records from the 1st century A.D. describe keeping fruits by submerging them in honey. I learn food preservation techniques to better understand how people survive hard times. Survival is not only defined in relation to undergoing extreme conditions, like withstanding a long winter by eating trees, or clinging to a raft in the middle of the ocean, but also in enduring physical and mental abuse in the forms of racism, sexism, xenophobia, homophobia, and other prejudices. Survival is not only about physical sustenance, but also mental tenacity. Eating jam enhances my own daily life, and making jam is a way to understand the long view of humankind’s existence. I am not a gourmand; I prefer to use rough and expedient methods of preserving food developed during times of scarcity. Fruit jam uses these types of traditional techniques to save seasonal fruit, making it a lesson in resourcefulness. As a woman, an artist, an immigrant, and a child of immigrants, my position in the world is largely peripheral. At a distance from the nexus of power within a gendered world of divisions, I exist physically and metaphorically on the fringes. This condition of being on the edge is a gift rather than a burden, but it too necessitates a kind of resourcefulness. I often make-do through makeshift inventiveness; scraping and scrounging; creating something from nothing. These tactics are applied uniformly for survival, for making jam, as well as for making art.
Making jam is an action that links the past to the future; it takes fruit, techniques, and time, and locks them together in a jar to savor later. During 2020’s long pause, time gained an unusual plasticity. Rather than regular ticks, the clock started truncating, stretching, and warping. Each day passed in strange ways, one moment the sun was shining, and then suddenly it was dark again. In lieu of other tasks, making jam became a regular activity. It was a way to keep occupied, and a way to mark the seasons, watching and waiting as the time passed. In winter, at the start of the lockdown, oranges and tangerines, symbols of Spring Festival, were turned into a marmalade; the bitter fruit peel and citrus suspended in its own sugary amber. While stirring the bubbling fruit, birds called noisily in the dry tree branches outside. As the ground defrosted, I squeezed lemons into lemon curd while dispatching bundles of N-95 face masks and PPE to family and friends overseas. Between Zoom calls, mulberries streaked my cutting board a dark purple. As we cautiously emerged from sheltering in place, there was a bonanza of shiny ripe cherries. Obsessively masked and trying to avoid touching other people, I dragged home sacks of apricots from the morning market. The weather warmed as crisp white peaches were transformed into a syrupy glaze accented with thyme. Soft plums were reduced to a ruby jewel brew. In sweltering heat, I ate so much watermelon—that was not turned into jam. As temperatures relaxed, I foraged wild crabapples from abandoned trees in a village to the north. In a friend’s kitchen, a group of us chatted while chopping up the small red fruits. Agonizing over a political election on the other side of the ocean, I made marmalade again, and stirred a batch to help soothe jittery nerves. Seasons move in cycles; the year passed quickly and slowly.
Presented here is a recipe to make fruit jam. The recipe is versatile, any type of seasonal fresh fruit will do. It takes time, which is maybe the point of making it. It is a way to do something, rather than sit and do nothing. Although, in actuality, it is all about the waiting. As the jam cooks and thickens, stare down into the soul of the dark steamy pot—an abyss of cooked fruit. Study the roiling bubbles and listen to how the sounds they make change over time. A slow-cooked jam, much like the daily practice of survival, takes time.
To gain a sense of time passing, use these instructions as a moving meditation; remember to exhale slowly while reading and cooking.
Fruit Jam
Fruit jams use sugar and occasionally acid to preserve seasonal fresh fruit for later enjoyment. There are many names for preserved fruit: jam, conserve, preserve, jelly, marmalade, chutney, confit, fruit butter, fruit curd, and many, many more. In this recipe, the word “jam” is used to represent this larger category of preserved fruits. Almost any kind of fruit can be preserved. Using a traditional method of a long, slow boil to drive moisture out of the fruit, the resulting product is preserved and thickened at the same time. This recipe does not use commercial pectin to help set the jam. Instead, a sliced apple can be added to any recipe to help with thickening. Apple contains natural pectin.
Standard recipes use a proportion of 1:1 fruit to sugar ratio, based on weight. This jam recipe uses a fruit to sugar ratio of 2:1, half the amount of sugar that most recipes recommend. This jam is less sweet, and brings out more subtle flavors of the fruit. However, less sugar also means that this jam does not keep for extended periods. Store the finished jam in the refrigerator, and consume within two months.
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Use a kitchen scale to measure the weight of all the ingredients to get the proportions correct. Slice the fruit and mix it together with the sugar in a large stainless-steel stock pot. Use any large pot, the heavier the better. Stir it all together, put the lid on the pot, and let it macerate overnight.
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The next day, heat the pot on a medium-low flame until the sugar and fruit are bubbling and simmering. Periodically stir with a wooden or heat-resistant utensil to prevent the jam from sticking to the bottom and burning. Continue to cook the jam with the lid off on low heat for one-and-a-half to two hours, or until half the liquid has evaporated. As the jam thickens, the bubbles become smaller. The jam might have foam collecting on top. The sound of the boiling changes; the pitch becomes higher, smaller bubbles start popping faster.
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If the heat is too high, the jam will begin to foam up and may boil over. If the jam starts to foam up, take the pot off the stove until the bubbling subsides. The jam and the stove burner are very hot; be careful to avoid getting burned. After the foaming subsides, return the pot to the burner at a lower heat level. Skim off any remaining foam floating at the top and discard.
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To test if the jam is done cooking, put several teaspoons in the freezer ahead of time. Once the liquid in the jam is reduced, use one of the frozen spoons to scoop up some of the jam liquid and place it back into the freezer.
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After five minutes, check the jam consistency by holding the spoon up vertically. If the jam is runny, keep cooking and testing until it achieves the desired consistency. The jam is ready when it does not run and its surface wrinkles when poked from the side. Once the jam is cooked, leave it on the stove with the heat off for ten minutes to allow the fruit to suspend evenly throughout the jam.
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Store the jam in clean sterilized jars. To sterilize, first wash the jars in warm soapy water and rinse. Next, boil the jars and their lids in hot water for fifteen minutes. Use tongs to remove the jars and lids from the hot water and dry them upside down on a rack.
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When the jars are dry, fill with the just-cooked jam. Screw the lids on tight, turn the jars upside down and leave them on the counter to cool. As the jam and jars cool, a vacuum is created inside the jar. This minimizes the amount of oxygen in the jar, allowing the jam to keep longer with less spoilage.
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This jam should be kept cool (5°C or less) and eaten within 60 days. To preserve the jam for longer, increase the proportions of sugar.
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Rania Ho (Artist, Co-founder of Arrow Factory)
Rania Ho is a multidisciplinary artist working in installation and performance. Her works employ a humorous, unexpected approach to everyday objects and situations as a means of interrogating broader social or cultural concerns. Ho received her BA in Theater Arts from UCLA and a master’s degree from the Interactive Telecommunications Program (ITP) at New York University. She lives and works in Beijing and San Francisco.
Ho has participated in solo and group exhibitions throughout Asia, Europe, and the United States, including at the Luggage Store Gallery, San Francisco (2018); Capsule Gallery, Shanghai (2017); CASS Sculpture Foundation, Sussex, UK (2016); BANK, Shanghai (2014); Meta Gallery, Shanghai (2015); Observation Society, Guangzhou (2013); St Andrews Museum, Fife, UK (2013); Shanghai Gallery of Art, Shanghai (2011); Collective Gallery, Edinburgh (2011); Platform China, Beijing (2010); San-Art, Ho Chi Minh City (2010); Long March Space, Beijing (2008); the Thirteenth International Symposium of Electronic Art (ISEA)/Zero One Festival, San Jose (2006); and the 2nd Guangzhou Triennial, Guangzhou (2005). Ho is a co-founder of Arrow Factory, one of the longest-standing, independently run alternative art spaces in Beijing, which operated in a storefront from March 2008 to September 2019.
A Fresh New Year: Eating Civilization
by Pu Yingwei,
Everything was finally ready. They had showered, changed clothes, and shaved off all the hair on their body. They sat down at the long table that had been prepared—the evening’s feast would be served in seven courses.
On a blistering summer afternoon when they were in their teens, their father killed the thoroughbred horse the family had raised, right before their eyes. At dinner time, the horse meat was simply laid out on the table, but what the others in the family really wanted to taste was another kind of meat from the horse’s chest cavity. Several months later, they realized that it could have been the corpse of an uncle who had succumbed to illness not long before. Within the numerous histories of cannibalism, eating and being eaten represented a kind of approval and the highest form of respect. By eating someone’s body, you could truly be one with the departed; you could imagine the other person’s flesh entering your body and accumulating as fat, remaining as physical warmth.
After they reached adulthood, they began to form their own ideas about eating human flesh; they expanded the idea of respect from its initial family connections to coexistence on a philosophical plane. Because of their many spheres of activity, their true identity remained a mystery to the outside world. After they completed their second trip around the world last year, they were seen as a promising young anthropologist or a radical scholar of colonial history. Even though they had never attacked racism in any form in a public setting, their unbelievably rich field studies of colonial history and their full, specific analyses provided conclusive evidence of the cruelty of the colonial past. They were also well-known in the collecting world. After all, collectors who took it upon themselves to revive the cabinet of curiosities required both good academic grounding and equally rich financial resources (the latter was quite rare); this was completely related to the considerable wealth they had inherited from their parents. Of course, they used methods familiar to their family to inherit and perpetuate their parents’ bodies. These ambiguous identities generated a lot of conjecture about their true position, but no one would have imagined that the real motivation for all of their actions was researching a complete cannibalistic cookbook. The idea of “digesting knowledge” could not have been more fitting.
With a Kinsey rating of “X,” they knew very early on that they were asexual. After sex and love lost all meaning, they set aside unnecessary reproduction inspired by emotion, and flesh became a purely intellectual word or thing; their way of engaging with these thoughts was to eat bodies that carried different narratives. In another sense, asexuality made them more resolved than their ancestors; they no longer considered reproduction and inheritance, so spending massive sums of money on recipes could hardly be called a waste. After last year’s research and collecting tour, they felt that they had left few areas of the world unvisited, and that they already had enough rich food to prepare a brilliant feast.
Tonight’s seven-course meal was inspired by a twentieth-century Chinese publication. It recorded dark, brutal histories from different colonies and depicted the unsettling, bloody details. Only (but perhaps not only) they understood the true significance of this dangerous publication: this was a full menu. As we can see, the book was divided into seven chapters, corresponding to the order of a seven-course meal. The menu-like pattern on the right side and the logo with a bowl and chopsticks seemed to gently suggest this. Coincidentally, the seven-course format was revived at the Fourth Conference on Interaction and Confidence-Building Measures in Asia held in Shanghai a few years ago. However, the human body parts were replaced by foods such as pine mushrooms, fish maw, and cordyceps. A denser mouthfeel has consistently been a major trait of cannibalistic cooking; because human muscles have more fiber content than other types of meat, these muscles are better suited to steaming and stewing. They applied these techniques to the next menu they wanted to try.Everything was finally ready. After showering, changing clothes, and shaving off all the hair on their body, they sat in the chair. It was an exotic chair—the Throne Chair by Italian architect Carlo Bugatti—made of ivory, mother-of-pearl, brass, camel skin, deer skin, ebony, parchment, and leopard bone. (Some versions of the Throne Chair employ human bone, which was less expensive at the time.) The chair’s design certainly reflected late nineteenth century Europe’s typical romantic fetishization of African mysticism and Orientalism. A ruler’s utopian spirit was an important seasoning for their dinner tonight. The first dish had a unique, delicate appearance. A green pitted olive was decorated with a translucent object light as a cicada’s wing. The ingredients for this dish came from the Dogon people of northern Cameroon. The Dogon were animistic, and when male members of the group came of age, a circumcision ceremony was performed. The removed portion was considered a sign of the female on a man’s body, and its removal marked full emergence into manhood. However, according to them, it was precisely the part that was cut off in the circumcision that represented the perfect realm of hermaphrodism. It was also an excellent start to the feast. The unpitted olive had been steamed until soft after being cultured in a petri dish for one day and one night. The translucent element that adorned the top was even rarer. They drew inspiration from an Algerian stamp printed by the French that recorded the fantastical scene of local indigenous people seeing an airplane for the first time. They extracted the iris from a specimen of an indigenous person’s head from this period, which they had purchased for a high price in a black market in Algeria. After steaming, the iris became translucent, looking a bit like an almond. They believed that the texture of the iris that had seen the airplane would become light as a breeze, without any of the salinity or bitterness that briny lachrymal glands usually have.
The next dish, the soup of the day, was inspired by Comte de Lautréamont’s Les Chants de Maldoror. They mulled over a jumble of lines, which they adapted for their own logic:
Every morning, when the sun rises for others spreading joy and wholesome warmth everywhere, I crouch in my beloved cave [and] I stare into the shadowy wastes of space. Since your own blood and tears do not disgust you, be nourished with confidence upon the blood and tears of the child. In a state of despair that intoxicates me like wine, […] I tear my breast to ribbons with my strong hands. It is he who now contemplates your noble and sacred countenance who broke your bones [and rent your] palpitating flesh. I could sink my eager fingers into the lobes of your innocent brain and, with a smile on my lips, extract thence an efficacious ointment with which to bathe my eyes, smarting from the everlasting sleeplessness of life. [I tear] the flesh that hangs from your body and rush away from [you] like an avalanche.
This scarlet soup of the day likely came from the descendants of the slaves bought and sold in the notorious triangular trade. The triangular trade was a colonial trading pattern in which manufactured products were shipped from Britain to African ports or slave forts on the Ivory Coast. Slaves were then carried from these ports via the Middle Passage to warehouses in America. The ships were emptied and cleaned, then loaded with New World products to be traded to Britain. Many slaves were hanged for resisting. When these sentences were carried out, the nape of the victim’s neck would fill with blood because of pressure on the muscles. Only a small number of the extraordinarily strong and healthy were able to survive this cruel torture, and these people lived out the rest of their lives as superior labor. In many shadowy corners of today’s world, the taste for blood still exists among certain racial extremists who delight in seeking out this special bloodline and experience a base thrill from the tongue to the head when tasting this deeply ingrained bitterness and sadness.
The next dish, which followed closely thereafter, was traditionally comprised of shellfish or mollusks, changing the rhythm of the meal as the main course approached. They were inspired by Bronislaw Malinowski’s Papua New Guinea diaries. They obtained highly acidic bodily fluids from local piranha, then added a piece of the scapula that an indigenous rebel had used to raise his arm. The bone was gradually softened by the fluid to create a pale-yellow chewy membrane. Its texture perfectly complemented the freshness of the fourth course, the salad. In addition to the more common lettuce, tomato, cucumber, asparagus, and cauliflower (vegetables grown in vivo in different bodies), this Asian-inspired salad was paired with a special red umbrella-shaped mushroom. They were inspired by mid-twentieth-century imperialist ideas from the Greater East Asia Co-Prosperity Sphere. The mushrooms had been pampered, because they needed to be planted in an organic fertilizer fermented from the body parts of people from different East Asian, Northeast Asian, South Asian, and Oceanic races. The salad dressing was mixed with Thuocduame from Saigon, a hormonal drug that can make women lactate without having been pregnant. This medication was first promoted by the U.S. military in Saigon’s red-light district during the Vietnam War. It can have short-term contraceptive and aphrodisiac effects, and it was later used to compel Vietnamese prisoners of war to speak. Desire, power, and violence make up the inherent logic of civilization as they understood it.
The main course was undoubtedly tonight’s most important—it was the key to the entire banquet. This course was inspired by an extraordinary recipe (even in the history of cannibalism) left by the cannibal ancestors in the family. Because cannibalism was taboo at that time, all of the text was written in the “fire writing” that the family invented. The recipe called for body parts from people of different races, all wrapped in a piece of skin, then roasted over charcoal. The recipe was not written that long ago; at the very least, it appeared after the Age of Discovery. They named this dish “The Monster of Civilization.” The Chinese name is clearly reminiscent of the scientific monster in Mary Shelley’s classic Frankenstein; or, The Modern Prometheus. However, for them and their family, the concept of the “perfect body” was connected to a higher, abstract narrative of identity. They needed to become the Frankenstein of colonialism, but they had an even greater need to become the food on their table. However, in this perfect dish, what kind of skin would be qualified to envelop these perfect organs from around the world? The only answer was their skin: no food could be more meaningful. They tasted their own skin—which certainly had an unprecedentedly complex flavor—and they experienced the fluid loss and gradual organ failure that resulted from the missing skin. They needed to complete this banquet before they reached their end.
From the moment they decided to eat themselves, they knew that there may not be much time left after the main course, but there was enough to quietly savor the final desserts and petit fours.
The sixth course, the dessert, was a pudding of congealed blood carrying communicable viruses. These diagnostic samples were primarily taken from countries in sub-Saharan Africa, including the Democratic Republic of Congo, Gabon, South Sudan, Côte d'Ivoire, and Uganda. They believed that the miserable fate of these diseases, for which there was no effective treatment, was just like the fate of these countries, which had previously experienced colonial rule and were currently facing exploitation. Through self-infection, they needed to experience the feeling of coexisting with these viruses of history. In emphasizing coexistence, they truly understood what it meant to savor. The final course of tea and petit fours was made of the hair that they had shaved from their body, distilled in water. These hairs truly recorded for posterity what remained from their recent engagement with different organisms and ideas. The final petit fours was a small piece of their own frontal lobe, which had been dried by the fire. For such a conceited cannibal, tasting their own brain could be the only acceptable way to end the meal. After finally finishing this banquet, they used their remaining strength to slowly walk to the garden outside, then fell to the ground. Without the barrier of skin, their flesh was more quickly broken down by the soil. They were ready. Cannibalistic civilizations have long existed in various forms. They were never purely obsessed with flesh itself; they were interested in the cultural and historical background of the devouring of human flesh. They felt proud of their magnificent feat; they also firmly believed that this was cannibalism in the absolute sense, the eating of civilization itself. In that moment, they imagined the fate of their muscles. A brilliant flower of evil would bloom on their body and the soil degrading it. It would become a new Messiah, an admixture of good and evil, insanity and holiness, filth and freedom.
Several days after they died, everyone, as desired, stepped into a fresh New Year.
Reference
de Lautréamont Comte. Maldoror (Les Chants De Maldoror). Translated by Guy Wernham. New York, NY: New Directions, 1946.
Pu Yingwei (Artist)
Pu Yingwei, (b.1989, lives and works in Beijing) received his BFA from Sichuan Fine art Institute in 2013 and DNSEP (MFA with Félicitation du jury) from École Nationale Supérieure des Beaux-Arts de Lyon in 2018. Pu Yingwei's work has been defined as an exercise in conceptual art with a strong utopian zeal. He interprets his practice of multiple mediums and identity narratives in the public sphere as an integrated comprehensive exercise. . Taking personal history as an absolute starting point, through exhibitions, writing, design, lecturing, teaching, and other forms of work, the artist attempts to produce a kind of “meta-politics" that transcends grand topics such as race, nation, and ethics. Such politics is as complex and full of paradoxes as the reality we experience.
Recent solo exhibition“Obscure Adventure - Speculative Pop & Pan-Chinesism” (SSSSTART, Shanghai, 2021); recent group exhibition: the 13th Shanghai Biennale (Power Station of Art, Shanghai, 2021); recently curated exhibition: “Sino-Wharf from Chinatown to Red Internationalism” (OCAT Shenzhen, Shenzhen, 2020).He won the John Moores Painting Prize in 2012.His article “Empire’s Legacy: On 'Pacing: A Journey of 70 years' and Its Silences” won the second prize of the International Awards for Art Criticism Prize (2019). He was shortlisted for Huayu Youth Award (2018), “Jimei × Arles Discovery Award” (2020) and the Gen.T Asian Emerging Pioneers list (2020). His film Interview was shortlisted for Festival Si Cinéma (Caen, 2018). The fractures within ideological camps and the return of imperialism form the background of his recent practice. He has extensively studied and continued the visual heritage of Socialist Realism art and avant-garde art in the twentieth century. He has also drawn from the visual culture of revolutionary art and ideological propaganda, which forms the unique language system and historical perspective in his practice.
黄博志《如果梦是一株植物》
如果梦是一株植物，它是如何生长？多梦的我们就是它赖以维生的土壤和水分，是呀，我们终究归为土壤。
如果梦是一株植物，它如何繁衍？是否偷偷随着汗水排出我们的体外，蒸发后化为水汽，凝结为云，聚集、降落为雨，躲进现实世界里？
如果梦是一株植物，我愿成为一株会做梦的植物。
如果梦是一株植物，我们该如何滋养这株植物？饮食控制或许是个可行的方法。也就是说，梦如果和我们是共生关系，我们的饮食习惯应该可以直接影响梦的生长，相对的，梦也可能在生长过程中，主导我们对饮食的偏好。有些例子可以作为我们理解的方法，比如饮食和身体气味——喝咖啡后排尿时，尿液中浓厚的咖啡香气，更显而易见的例子是吃下维他命B群后，排出的尿液呈现鲜黄甚至带荧光色泽；至于气味，则视各种不同品牌维他命，形成截然不同的气味。
1）餐前酒：梦启酒
“你的梦是什么？”她问。
“我梦到了树木，还有因为哭出一座海而造船的猎人。”我说。
“我也有一个猎人朋友，他与我曾有同样的梦境。”她说。
“你们梦到了什么？”我问。
她没办法清楚说明，她斟满我手中空了的酒杯。
“这是祖灵从梦中告诉我的（小米酒酒麴配方）！”她说。
“这是梦的味道。”我说。
“这是梦启。”她说。
2）柠檬水：水、柠檬
我觉得记忆是具有意识的生命个体，在我们身体之中并与我们共生，是根系发达的植物。每一段记忆都像一株独立生长的植物，细根四处蔓延、交杂在我们身体的每个角落。我们从不知道它们会长成什么样子，需要的是时间。时间是水，滋养记忆；时间是水，冰冻记忆；时间是水，解冻记忆。
3）开胃菜：柠檬叶、相思树花蜜
我继续听着包头目（Tribal leader Dawan Katjadrepan)与蓝保（Lanpaw Taligu)的对话，我觉得他们就像一株植物。例如柠檬园四处蔓生的相思树，相思树是台湾原生植物中适应性最强的树种之一，根系旺盛，紧抓土壤，蔓延得很广，甚至树与树之间的根还会交错在一起。根部可与土壤中的根瘤菌共生形成根瘤，根瘤菌能固定空气中的氮，将其转化为植物可直接吸收的氮元素，氮元素可以促进叶子生长以及制造叶绿素，叶子在进行光合作用所产生的二氧化碳则可提供根瘤菌生长所需的养份，在这种互为共生的关系之下，相思树可以更好地适应贫瘠地，同时也能改善土地缺氮的情况，增强地力。根部交错和与根瘤菌的和谐共生共享，我不时联想到，此刻在泥土地中，有数以百万只手，正不停互相寒暄，传递讯息；紧握彼此，储存记忆。
蓝保和包头目相信“梦”是他们的根系，蔓延、联系，而我们也在其中。
4）前菜：蝉蜕、地瓜、花椰菜
蝉蜕是蝉蛹出土羽化后遗留在树干上的外壳，但如果蝉蛹出土前受真菌寄生，蝉蛹的营养被真菌吸收尽后发病死亡，虫体前端慢慢长出浅黄色或蛋黄色孢梗束，突破表土，伸向地面，形成我们常见的蝉花，形状很像沾了白色糖霜的珊瑚草。
如果我们直接想像自己就是一株植物呢？会不会离梦更近一些？
我查找了关于人变为植物的方法，先将脚或先将头插入土中的论点各异，但我较认同应该是头先朝下埋入土中。植物依靠根部吸收水分和养分，相较于人，就是人的嘴，而头发或许可以成为我们的细根吸取养份。花是植物的生殖器官，通常开在顶端，花粉才得以传递；人体腿部太大了，如果完全倒立会阻挡生殖器影响繁衍，所以练习腿部的弯曲让胯部突出，会是关键因素之一。
5）调酒：木质部柠檬酒、威士忌、清酒、七里香花
当地农夫说观音的海风带着浓浓咸味，张嘴吃风就可以（咸到）配饭。
种下五百棵柠檬树树苗后，我仪式性地，将计划之初所酿造的柠檬甜酒洒在每一棵柠檬树上，我说：“敬你们，晚安。”心想，这是一杯不用加盐就带有咸味的玛格丽特。
但如果真的要将自己种下，我想，我还是先从脚开始好了。
6）沙拉：海菜沙拉、野菜（紫背草、山莴苣、红凤菜、荖叶、南瓜茎、野苦瓜叶）、梦启酒粕
7) 主菜：日本秃头鲨、芋头、葛郁金
倪匡的小说《第二种人》，幻想出一种由植物和动物相结合而进化的“植物人”。地球上最先出现的是“植物人”，所以“第二种人”的称号，是指为数众多的“纯动物人”。在冰河时期，第一种人“植物人”竭尽力量保存当时地球上的哺乳动物，后来，其中一种哺乳动物进化成“纯动物人”，“植物人”也致力于提高他们的智力。
在许多科幻作品里，会写到可以进行光合作用的“植物人”，通常被描绘成全身绿色。事实上植物不尽然是绿色的，绿色植物是因为只含有叶绿素，但如果还含有其他色素，比如花青素或者胡萝卜素，那么这种植物就会是其他颜色。同样一些植物也可以利用细菌进行光合作用，比如海藻。所以如果人类变成植物，不一定是绿色的。
日本秃头鲨俗称和尚鱼，是台湾东部河川特有鱼种，成鱼以藻类为主食。每年六七月，鱼苗会从海里溯溪洄游，逆流而上的鱼苗身体清澈透明，像在阴道内奋进的精子，有些男性朋友相信生食鱼苗，除了可以增进精子质量、勃起次数，更提高受孕机率。
如果要先从脚将自己种下，并成为一棵植物，睡梦中的勃起次数至关重要，根据众人的经验，梦中勃起，可见山景。假设我们真是由植物人演化而来，我觉得阴茎就像植物被移植断根后所残留的主根，持续的勃起，是植物再次发根的前兆。
8）餐后酒：56度柠檬酒、刺葱
维他命B总是让我夜间多梦，我相信记下梦境可以推进想像的边界。
睡前，我会喝一杯自己酿造的柠檬肉桂酒，酒精浓度56度，配上一颗维他命B群，最后我用薄荷口味的漱口水漱口，设定闹钟，倒头就睡。这是我做梦的配方。
晚安，愿你今晚在梦中成为一株植物，一株由植物和动物相结合而进化的“植物人”。
9）梦启酒：红藜小米酒
晚安，晚安。
愿你在梦中成为一棵植物，让秋日清晨温软的阳光黏在身上。愿你尝到太阳的味道。
“这两个字又是什么意思？”包头目问。
“太阳的味道。”我说。
我曾经问我的爸爸：“今天太阳的味道如何？”
而他总是用酸度的高低来回答。
“云呢？”
“阴天是甜的，雨天比较涩，晴天吃不出来。”
“太阳在云后面跳动，酸度会降低。”
“阴天适合调酒。”
但太阳到底是什么味道？
关于艺术家
黄博志
黄博志毕业于台北艺术大学新媒体艺术学系，在他多元化的艺术实践，着重探讨的是农业、制造业、生产、消费等议题，皆与其个人家庭处境和家族历史息息相关。2013年出版散文集《蓝色皮肤：老妈的故事》，透过记录他的母亲，一个平凡个体的职业流变，去间接反映台湾近五十年来的社会改革与经济变迁。在他近年持续性的创作计划《五百棵柠檬树》中，将展览作为募资平台，一方面挪用艺术世界的资源发展农业品牌、活化废耕地、种植柠檬树并酿造柠檬酒；另一方面则联系家族成员、当地农夫、消费者，产生新的社群关系。
李文嘉《腌制，及如何避免摆拍》
所需材料（选项1）：
相机1台。
来美国之后发现自己之前可能学的是假英语，什么都说不清楚。在国内习惯了躲在整段整段工整的排比句里，留学的我因为词汇量的匮乏而被迫像个孩子那样直白地说话。比如，“暧昧”的意义在英文对应的“Ambiguous”里完全偏离了方向；想着该如何传达暧昧所以投向了摄影，摄影是辅助手段，隐晦地包含了很多讲不明的情感。慢慢地行走拍摄，不会亏欠你：经历和思考是看得出的步骤。
所需材料（选项2）：
鸡腿1盒，2个小黄皮土豆；
葱2根，蒜5瓣，胡椒粉，生抽1小勺，老抽1大勺，美极鲜酱油1大勺；
均匀搅拌放入保鲜袋中封紧过夜腌制。
来美国之前会做的菜只有泡面和煎荷包蛋（如果连这都算是做菜的话），留学把大家都逼得会做菜是真的。做菜的乐趣从超市采购开始——不——甚至可能在之前办公室偶然听到菜名，或是看日剧镜头一晃而过的时候，就开始隐隐地期待了。做这道菜可以用鸡腿，也可以用鸡翅或者鸡胸肉。慢慢地做菜，不会亏欠你：提前腌好鸡腿，孜然酱油和盐是吃得出的步骤；土豆不需要腌。
制作方法（选项1）：
最开始的拍摄包含认真的笔记，提前画出一些姿势和道具的草图或者想拍的概念，这样到了拍摄的时候可以有所准备不会慌乱。因为年轻功力不够的缘故这些早年的作品大多看来摆拍严重，照片沦落为文字的具象。于是这样的模式进行了两年不到就决定抛开笔记，改为设定环境和情境了之后再让自己沉浸——几乎是用潜意识指引自己拍摄。发现其实自己想要说的，或许从侧重的构图或照片的排列都能有所窥见。过了很久，才开始重回最早年的摆拍，让刻意和随机并列。
制作方法（选项2）：
425°F/220°C覆上锡箔纸戳几个洞烤20分钟；
去掉锡箔纸后再烤10-15分钟，最后烤箱烤炙烤3-5分钟。
通常早上起床之后我会将保鲜袋翻一个面，这样到了做菜的时候酱汁可以充分地浸透另外一面的食材。烤箱在我25岁之前根本不存在，顶多把多余的锅子存放在里面，到了很后来才开始接触烤箱是因恐惧烘焙，和做菜不一样烘焙需要更高的精准度。温度或是面粉和水出现丝毫的分差，会直接给你一盆巨大的烧焦灾难。相比之下做菜感觉宽容得多，淡了可以加盐，过了可以稀释，所以我现在依然不敢挑战烘焙。
容器底部擦些许的油防止土豆粘底，土豆切片略撒盐再放入腌制好的鸡肉。这样炙烤的鸡肉流出的油汁会浸透底部的土豆。盖上锡箔纸戳几个洞一切就绪之后就放入烤箱中开始烤制。教摄影的时候经常碰到认真的学生在下课之后来问我，“老师，我周末和我朋友会去野外森林里露营，我可以拍一些那里的风景照，或者我可以去我外婆家拍她的狗，你觉得哪个项目听起来更值得拍、更有意思？”我一直和我的学生举例说，想想做菜吧。阅读食谱和真正品尝到热腾腾出炉的作品差距太大，你我完全能够想象，可是真的切身经历了又是完全不一样的；做作品不能坐在原地想象，因为你不知道真的到了你预想的环境会发生什么，看着市场里新鲜食材，思维又会开始飘到更远的地方，所以不用设想，只用真的去实施就好了。
你看过《全职猎人》这部动画吗？在“天空竞技场”章节结束之后，教会念的云谷师傅说，“接下来只要不断进行基本功力的练习并研究个人的创意，创造出属于自己的念能力。将自己的天资发挥到最大境界，发展出自己独道的见解。想想自己的希望、自己的喜怒，喜欢什么，想追求什么，到哪里去旅行，遇到什么人……就如同这一切的过程，会形成你们的未来 。”相信所有的困惑、看过的电影、读过的书、经历的人，或者不经意想起的一句话，都像是被切得细碎的原料融合在作品中。不再担心我（的作品）是否明确，因为我的存在也并不是非黑即白——我的思考的跳跃我的困惑的无解……不论是料理还是摄影，做得多了仿佛肌肉都有记忆似的，我想这样对不确定的探索是我创作的欲望和来源，所以不用设想，就去感受吧。
关于艺术家
李文嘉
1993年出生于上海，是一位主要使用摄影和文字媒介创作的艺术家。他的作品从文化体系中的细微差别出发，通过再创作、交流和误译，以一种反思性的方式来探讨文化系统以及语言伦理。他于芝加哥艺术学院和罗格斯大学分别获得艺术学士和硕士学位，参与的展览和放映活动包括：平地电影节（冰岛，2019），电影资料档案馆（纽约，2019），“座机”（芝加哥，2019），艾布朗艺术中心（纽约，2018），贝尔法斯特国际摄影节（爱尔兰贝尔法斯特，2017），哥伦比亚大学LeRoy Neiman Gallery画廊（纽约，2014），阿尔斯特博物馆（爱尔兰，2014）等。李文嘉曾获得阿姆斯特丹皇家阿尔斯特学院肖像奖，并获得费城摄影艺术中心、三角艺术协会(Triangle Arts Association)、斯图加特艺术家之家Künstlerhaus Stuttgart等机构的奖学金和驻留资格。
陈泳因《离开前不吃的一顿饭》
离开前不吃的一顿饭
2020年8月25日18:56
美国芝加哥维特街，60622
这半年地球被压缩，大家分开地在一起
还没有到弥漫在空气中那么严重
大概70%吧
就像不少关系 不会致命
每天的生活却提醒着
离开要花多大的力气
一直地倒数
终于 搬家了
有什么需要处理 有什么不用处理
把冰箱清空 弄成一顿晚餐
一线光又从室友向南的房间射出
只是染染手前菜
用料：
-于物美价廉的超市购买的褪色黑布林3只
-热开水700毫升
1. 把黑布林放入冰箱两天；
2. 拿出放入大碗中；
3. 将（家母配方热水洗水果）滚烫热水全部淋下；
4. 完成。
坏冰柜坏不坏鸡、意大利饺子配红薯砖
用料：
-疫情期间不敢上街，每次叫超市送的一大堆货中的鸡腿肉（一盒）
-本为屯粮，随后过期三个月的干意大利饺子（半包）
-忘记是否为有机的红薯（两只）
-芝加哥本地名牌黄金烧烤酱（半杯）
-坏冰柜（一个）
-白醋（50毫升）
-水（一杯）
-保鲜膜（适量）
-葱（少许）
-青瓜（适量）
1. 把鸡腿肉放在坏冰柜内五天，待肉色仍未带灰，10%酸臭；
2. 在不肯定鸡肉是否坏掉的怀疑情绪中，将鸡肉两面煎成金黄色；
3. 将红薯切块；
4. 加红薯，加半杯水煮5分钟；
5. 加烧烤酱煮5分钟；
6. 将葱切粒；
7. 加葱，关火；
8. 吃掉一只鸡腿；
9. 怀疑是否会食物中毒；
10. 据闻可杀菌的白醋加半杯水，饮下；
11. 余下鸡肉放入保鲜袋，然后放入冰箱一个月；
12. 另放番茄于保鲜盒内，随后放入冰箱一个月；
13. 意大利饺子平均放于碟上；
14. 加青瓜装饰；
15. 用保鲜纸包裹两块鸡腿肉，放入盘中；
16. 把番茄砖从保鲜盒取出，放入盘中；
17. 完成。
世界多么美好之蛋糕
用料：
-在楼下点心店工作的邻居赠送的生日蛋糕一大盒；
-不知道先前为什么喜欢的冷冻多啤梨¾包；
-自制简易版香蕉椰汁蛋糕三片；
-自制包装袋树脂碟两只；
-哥哥淘宝给我的iPhone 玻璃屏幕贴两只；
-过期但也一样的奶酪适量。
1. 将吃不完的生日蛋糕放入冰箱45天；
2. 将不想再吃的香蕉椰汁蛋糕放入冰箱60天；
3. 将两款蛋糕放在碟上；
4. 将玻璃屏幕贴放在生日蛋糕之间；
5. 加奶酪于香蕉椰汁蛋糕上；
6. 放上冷冻多啤梨；
7. 完成。
玻璃瓶珍藏版特饮
用料：
-德国酸菜30克
-橄榄10只
-已开瓶的白葡萄酒200毫升
-酸青瓜3只
-冷冻秋葵2只
-橄榄玻璃瓶1只
-早餐吃后未洗的碟子1只
1. 把橄榄从玻璃瓶全部取出然后再放入；
2. 加入酸菜并压平；
3. 倒入白葡萄酒；
4. 将青瓜和秋葵置于碟中；
5. 放上饮品；
6. 完成。
关于艺术家
陈泳因
陈泳因1987年生于香港，现生活于香港及芝加哥。陈泳因在大学时期主修视觉传播，其后修读摄影专业。个人感知、物质性与日常生活中被忽略的细节是陈泳因的主要兴趣和创作题材；她亦在创作中探索人与人的关系，以及它们与城市生活种种片段的联结。善于影像及场域特定的创作，陈泳因深信影像只是其创作的原始素材，并喜爱通过影像与其它媒材的融合来重新审视自己与所处环境之间的张力。
陈泳因曾于连州国际摄影节2013年展、南韩首尔KIGOJA艺术空间、香港CHARBON艺术空间及中国广州黄边站当代艺术研究中心举行个展，并于美国纽约、英国多个城市、韩国光州、中国北京、澳门及香港不同展览展出其作品。其作品曾入选2015年三影堂摄影奖及2019年华宇青年奖。
方璐与艾瑞《烹饪诗》
烹饪与诗歌是我们日常生活中不可缺少的部分：一个代表身体的营养和维系，另一个代表抽象思想与观念的交流。该计划是一个持续的旅程，在其中这两个世界将互相作用、阐释及转化。基于上帝通过言说而令此宇宙得以存在的观念（即语言的使用），我们决定从诗句开始，去启发一道烹饪菜肴的制作，而后者又将启发新的诗歌的诞生，如此等等，不一而足。
我们两人均来自非常不同的文化背景，并有着各自不同的母语，所以我们决定在该计划中使用英语，因为英语是我们日常交流的基础。随着工作的进行，当我们试着预见两人的喜好，利用我们口味的差异及共通之处来相应地定制菜肴，烹饪也成为了我们之间的一种语言。食材清单逐渐发展为一种烹饪词汇，一种滋养身体并抚慰心灵的语言。
＃1
知道
艾瑞：
当我们开始烹饪诗歌计划时，我正在阅读《美国秘史》一书。这是一本收录了曼利·P·霍尔（Manly P. Hall）的随笔和讲稿的文集，其中他讨论了美洲普遍被忽略的过去，并提出了关于他们命运的神秘可能性。
书中涉及了古代文化与哲学辉煌灿烂的传说、对在旧世界的传教远征和发现美洲的探险的历史文本的阐述，还有各种秘密社团对今天依旧活跃的文化之形成起着关键的作用。这些满怀希翼且影响深远的文字都加强了我对如下观点的笃信：我们或许对自身有所认知，但我们不知道我们是谁或我们是什么，什么造就并维系着我们，反过来说——是什么统治着我们的未来。
我可以说我是一个“男人”，但大脑中存储的琐碎数据量不足以解释其含义。 “ 男人”，随后简单地变成了一个词，一个我重复着的声音，因为之前我在相同的情况下听到过它。这就像我两岁的儿子模仿我，试图获取交流的工具一般。
从这个意义上说，真正“知道”某件事并不仅仅是重复陈述的能力。在我看来，“知”最应获得一种新的理解，一种新的形式。我们还应该用无限谦卑的途径来地对待它，因为我们并不知道什么是“知道” -- 这似乎是任何旅程的起点。
方璐：
为了能够“知道”，这道菜需要能提供土壤感和接地感的根菜类。 甜的蔬菜更胜一筹——释放愉快的感觉，一种伴随知识而来的幸福。 为了平衡口感，并反映“知道”的另一个层面，这道菜还需要一种略带苦味和辛辣的食材，这种成分能制造一种不舒适的体验。
蒸红薯配生姜
食材：红薯、姜、盐、黑胡椒
1）将红薯蒸熟；
2）同时把生姜削皮，并用削皮器削出非常薄的姜片；
3）将红薯切成一口大小的方块，然后在每个方块上放一块姜片。
4）放入盘中，撒上盐和胡椒粉即可。
#2
知否
方璐：
“知否”，我设想用一种非常规的方式来制备一种常规食材。 它应该是某种白色的物质，具备纯真与否认的性质。
大米布丁
食材：大米（1/2杯）、椰奶（1/2杯）、糖、鸡蛋（2枚）、盐、黄油（⅛杯）、鲜薄荷叶
1）将米饭煮沸，待水沸腾后将火调低； 继续煮5分钟；
2）从锅中倒出多余的液体，加入椰奶和糖。 持续搅拌以防止米饭粘在锅底；
3）慢火煮35分钟，并不时搅拌；
4）在大米中加入鸡蛋和黄油。 搅拌至完全融合后，立即关火；
5）放入小碗或者杯中，可放入冰箱制冷或温食（我们喜欢温食，但大多数人更喜欢冷却后食用）；
6）食后配以新鲜薄荷叶，它可以淡化口中的甜味。
#3
有趣的是
在全世界所有的
沙滩之中
你来到
我的沙滩
沐浴
方璐：
我看见阳光、海滩和一个快乐的夏天。真的有许多沙滩吗？可我只看到了我前方的这个。我想用鹰嘴豆和鸡蛋作为这道菜的主食材。鹰嘴豆浅黄色外衣和它本身的质地让我想起了以色列。这种豆子让人感觉温暖、干燥，甚至对我这样的人来说还有些异国情调。然而，在世界的有些地方它又是如此寻常，就像沙子一样。
鹰嘴豆配鸡蛋
食材：鹰嘴豆（干）、鸡蛋、洋葱、黑胡椒、盐、橄榄油、干的欧芹、鲜柠檬
1）将鹰嘴豆在水中浸泡一晚。在水里煮鹰嘴豆直至变软。（如果想要将鹰嘴豆烹制得恰如其分，浸泡是关键。下一步则是将鹰嘴豆烹饪至水沸，当煮出豆子浓厚的泡沫后，将水沥干，用冷水将鹰嘴豆的泡沫冲干净。往锅中加入凉水，继续将鹰嘴豆煮至质地松软。）
2）水煮蛋（将鸡蛋放入有冷水的锅中。待水沸腾后再煮上3分钟，然后关火，将鸡蛋放在热水里3分钟。最后将鸡蛋再放入冷水几分钟，这样剥除蛋壳时候会很容易。）
3）将鸡蛋切成圆片状，并轻撒盐和黑胡椒。
4）将煮好的鹰嘴豆沥干。用切好的洋葱碎、盐、黑胡椒、橄榄油、干欧芹和新鲜柠檬汁进行调味。
#4
此刻即是我们
丝绸的信念
向诸缪斯告别
方璐：
这则食谱应是在饭桌上才完成的最后步骤，而且需要在完成后立即食用。
它应包含新鲜的当季食材，生食为最佳；同时搭配某种腌制食物。“新鲜”与“保鲜”，可表达“此刻”的两个层面——短暂与永恒。
金枪鱼手卷配五种香草
食材：大米、烤紫菜、金枪鱼（提前烹制并用盐水腌渍）、生姜、（和/或者辣根）、鲜柠檬、盐、蛋黄酱、黄芥末酱、洋葱、白米醋、生抽
五种新鲜的应季绿色植物或绿色蔬菜：罗勒叶、薄荷叶、香葱、香菜、芝麻菜
1）蒸白米饭。蒸熟后加入少许米醋，静置一旁。吃的时候最好温热，但不是刚出锅的时候。
2）将腌制好的金枪鱼放入碗中，加入切好的洋葱碎、香葱和香菜碎。加入配料：盐、胡椒、新鲜柠檬汁，少许蛋黄酱及黄芥末。
3）把姜和辣根研成末，放入小盘子为手卷做佐料。
4）将准备好的原料都摊开放在桌子上：香菜、金枪鱼沙拉、紫菜（折好撕成手卷大小），姜和辣根，煮熟的米饭，以及酱油（若有需要可备好）。最后用紫菜和配料随自己心意做成卷。
关于艺术家
方璐
1981年生于广州，现工作与生活于纽约比肯。她的主要创作媒介为录像艺术，作品曾于多个美术馆与艺术空间展示和放映，其中包括旧金山的亚洲美术馆、纽约的选集电影档案馆，巴黎的蓬皮杜中心，广州的博尔赫斯机构和时代美术馆，上海的OCAT, 北京的UCCA尤伦斯当代艺术中心和中间美术馆等。方璐的近期作品呈现了交织于现代生活中的张力，通过把个体经验和挣扎提升到形而上的语境，尝试去揭示我们平凡生活中的奇迹之处。
艾瑞
1983年生于以色列特拉维夫市，目前居住于纽约州比肯和以色列特拉维夫。2009年毕业于Hamidrasha艺术学院电影系，创作涵盖摄影、表演、绘画、音乐和诗歌等多个领域。拥有电影和摄影专业背景，艾瑞在过去15年一直活跃于以色列地下音乐圈，进行声音艺术创作和嗓音表演创作 ，他的表演被描述为无形、具有动物性的“噪音冥想”。
安天《烤蔬菜》
烤蔬菜是一道理想的乡村餐点：你可以将一切放在烤盘上，准备任意份量的食物，然后制作一顿素食烧烤。当你在花园里有很多事情要做时，烤蔬菜是一旁最好的食物，而当许多朋友突然登门来访时，烤蔬菜也是最好的选择。你绝对不会出错，而且它们也很好吃！
1）深秋：清理花园，在土层上铺上堆肥，以树叶和谷壳覆盖。
2）春天：在小盆里播下南瓜种子、西葫芦种子和番茄种子。
3）清洁菜园。一旦温度足够高，就可以在花园里种下植物。用自制谷壳予以防护。
4）购买并种植球茎洋葱。注意防止谷壳干燥。
5）种土豆。
6）浇水，渗水，留下有用的香草，例如锦葵、琉璃苣和万寿菊，清除蜗牛和水等。
7）种下西红柿桩，捏出芽。
8）引导南瓜植物藤蔓的生长方向（卷须可覆盖几平方米）。
9）清除蜗牛，继续除草、浇水等。
10）夏天：按需收割球茎洋葱。
11）西葫芦长到适当大小就收割它们，不要等到它们变成气球！
12）同样，当南瓜长成合适的大小和色泽时，也要及时收割。
注：南瓜的颜色和形状多种多样，有大的，小的，红色的，黄色的，绿色的，白色的，带斑点的。因此你需要知道自己正在种的是哪种。
13）当地面上的植物顶部完全变干时，收割马铃薯。确保近距离仔细看清——往往会发现还有一个落下的。
14）将橄榄油淋在烤盘上。
15）将土豆擦洗干净，切成小块，然后放在托盘上。
16）将西葫芦切片。
17）将南瓜去核，切成小块。
18）将洋葱切成四瓣，散放于托盘中。
19）我还没有种大蒜，所以我买了大蒜；将其去皮，然后将整个丁香放在托盘上。
20）再淋一次油，加盐和胡椒粉调味。
21）撒上百里香、牛至和任何你花园里有的其它东西。
22）以200°C烘烤大约20至30分钟，直到所有东西都烤熟为止。
23）尽情享用。我喜欢在旁边搭配少许番茄酱。
关于艺术家
安天
安天，1968年生于德国马尔，是一位艺术家和策展人，现生活并工作于柏林和希默尔普福特。自2006年至2011年，她在柏林白湖艺术学院（KunsthochschuleBerlin-Weißensee）任教。自2011年以来，她一直于基尔穆特修斯艺术与设计学院（Muthesius Kunsthochschule）任职绘画专业教授。
安天的创作主要基于人类学和哲学研究，她的具象绘画、摄影及录像作品探索了物件所扮演的社会角色。在多年的跨越各洲的调研中，她对七种物件的历史进行了深入追踪，并创作绘画和录像作品（《吉梅尔世界》，格拉兹美术馆，2011年）。随后，她将工作重心转移到生物多样性及其与历代（包括历史的和现代的）苹果品种的关联。她的展览“苹果：一场引介（一次一次，再重来）”包含绘画、物件和纪录片，将全球食品工业与技术进步之间的复杂关系置于话题前沿。
安天通常充当协作思想的中介，赋予生态学一种美学和社会纬度，同时也施予其时间感、场所感和针对性。在三年的时间里，安天是女性主义组织ff.的成员。随后她创立了E.F.A.（生态女性无政府主义）。在她的“花园中的生态女性无政府主义”（E.F.A. im Garten）系列中，她记录了位于柏林的一个被投资者清理的社区花园的自然开垦情况，以一种无政府主义自由之举塑造了花园修复保存的意义。
2018年，安天的跨学科合作展览项目“如何与鸟类、树木、鱼类、贝壳、蛇、公牛和狮子交谈”在柏林的汉堡车站现代美术馆开幕。她邀请了来自巴西、中国、法国、哥伦比亚、喀麦隆、波兰、塞内加尔和匈牙利的艺术家为此次展览贡献智慧。该展览以诗意的方式探讨了人类与其他生命形式之间的相互关系。
此外，安天的作品还研究了以国外展览为目的、从原产地运出并与原有环境分离的物件——该做法自欧洲对非洲的殖民主义开始以来就变得愈发普遍。她在柏林马丁-格罗皮乌斯博物馆（Gropius Bau Berlin）和格拉茨美术馆（Kunsthaus Graz）举行的关于艺术和手工艺概念的小组展览中进一步研究了这一概念，并探讨了文化物品在被存档、保存和展出后所经历的意义及其功能和价值的转变。
于吉《半皮半肉》
1
等待，离开……熟悉的城市、语言、食物和家，不断切换的不确定性和突发状况。 好吧，既然眼前一切都是全新的，那就都重新来过吧。我放下习惯的包袱，准备好把自己扔进去。从事艺术创作是幸运的，它让我远比作为观光客去认识一座城市要深情和投入：逗留的时间更长；直接接触当地相关领域工作者；切实有效地了解和学习自己感兴趣的事物。在刚来到这里的日子里，我漫无目的地闲逛，每天在行走中消磨的时间和身体让自己不再像只游浮于环境之外的气泡，渐渐习惯这里的人的气味、食物的气味、植被的气味。所有被大肆消耗的时间与精力都只为了投身于其中，就像眼前这颗形状饱满古怪的菠萝蜜，我准备了很久该如何切开它。 你可以从网上搜索到各种把水果切开的方法，其中有些被定义为“正确的方法”。但对于打开果皮，取出果肉这件事，没有所谓不正确的方式：你可以直截了当，但也可以换个角度让过程更为复杂——如果吃到果肉可以被视为行动的非唯一目的，如果因过程而产生更多种结果，又或者过程本身即为了满足对过程的欲望。
2
隔壁那片无人看管的葡萄，几个月前已挂满幼果。天气慢慢变热，葡萄长势迅猛，越变越多，越长越大。可突然有一天，果皮开始长出斑点，像结了一层荚。紧接着叶子也长出斑点，开始蜷缩。葡萄停止了生长。后来问人才知道，是顶部的屋檐阻挡了充足的直射阳光，阻碍果实成熟。说来奇怪，就是缺了一点点阳光，开始都能长那么好，到最后冲刺的时刻却败下阵来，终究没能长成完美的果实。葡萄停止生长，却仍是动物们的美味佳肴。果肉被动物们用嘴啄去，被爪子抠去，空留一层软塌塌的果皮悬在柄头上，失去果肉的果皮像一只一只挖去眼珠的眼皮子，耷拉下来。
又过了一段日子，我种的圣女果熟了。越来越多被啄去果肉的镂空果皮和成串半发育的葡萄像标本一样凝固在隔壁的藤架上。于是我把留有果肉的葡萄都摘走了。
3
你突然以一个外来者的身份闯入当地某个街区，在之后的几个月里你会每天出入这里。附近的小贩、杂货铺、水果店、黑车司机都会一天比一天意识到你不是那类匆匆逗留的旅客。他们开始记住你的长相，不再对你随便喊价，偶尔在你经过时报以相识的微笑。住进这座没有英文标识的城市，门牌号和街区划分显得有些随心所欲，出门回家几乎辨认不出自家的门牌号，同一街区的排楼看起来长得如此相似。时有时无的网络在密密麻麻的街区牌楼里完全失效——只有通过大门颜色，铁栅栏的花式，信箱旁种植的植物品种、形状等细节你才能勉强找到家。
第一天，出门左拐，一路直走，距首次左转后差不多一公里的距离，再次左拐，直行一至半公里，第三次左拐；第二天，出门右拐，直行，距首次右转后差不多一公里的距离，再次右拐；直行一至半公里，第三次右拐。就目前来讲，我住在城区的南边，周围三公里之内由二十几条完全平行、几乎等长的（约 0.8 公里）小马路交织而成。当经过三次左转之后，便有无数条相互极容易混淆的狭小街道通往回家的路。在每日自由而充满惊喜的探险游戏中，我几乎不去想艺术或创作这些事，即使常常会条件反射地由所见之物联想到材料、制作、观念——这样或那样的我熟悉的那类转换——一经发现，及时制止。
4
疫情爆发初期，我和家人搬到了城市的边境。大海就在身后，但所有通向大海的入口都被封锁了。我们每天在房顶远眺大海，自己成了一座被隔离的孤岛。住在城市的边界远不算亲近大自然。这里的马路很宽，车很少，路两边大片荒弃的泥地任由杂草和野花生长，蔓延至几公里外的烂尾施工楼盘。没有人住的房子，没有车开的马路，没有入口的大海，一切都孤独，一切都被遗忘。
圣女果
在大海很深很深的尽头，隐藏着一座小岛。岛上除了遍地长着桫椤和椰子树，就什么也没有了。也没有人。直到一天，漂来一个海上遇难的幸存者，他抵达岸边时已筋疲力尽。在意识渐渐恢复后，幸存者开始翻找随身携带的背包，两本旅行手册，一只荧光色记号笔，一面小镜子，一副放在眼镜盒里的太阳眼镜，一块早已被海水泡烂的面包，和一小把圣女果。
幸存者靠岛上的椰子维系生命，每天只小心地吃下一颗圣女果，他生怕很快就不再能看见如此艳丽饱满的红色果实。四、五天过去了，其中一颗圣女果熟透裂开，幸存者小心地将它埋入土中，期待奇迹能发生。九、十天过去了，又有两颗圣女果熟透裂开，他再次小心将它们埋入土中，仍期待着奇迹。直到还剩下最后一颗，幸存者将其放入嘴中，久久咀嚼早已熟透的果实，它虽小，却极其鲜美，幸存者脑中浮现出他深爱的人，他生活的土地和家，流下眼泪。埋入土中的果实后来没有发芽，直到现在，岛上仍然只长着桫椤和椰子树。
关于艺术家
于吉
于吉，目前工作于上海和维也纳。她的创作使用包括装置、雕塑、表演和视频等媒介，其中雕塑是她工作的核心。于吉的近期作品大都基于对特定地域的研究，以及对特定地点进行地理和历史叙述的能力。她专注于以时间、空间和移动来创造的想法，通常使用最少的材料，将非物质和无形的事物注入物质存在。于吉近期群展包括“愿你生活在有趣的时代”（第58届威尼斯双年展，2019）； HUGO BOSS亚洲艺术：亚洲新锐艺术家奖（上海外滩美术馆，2017年）；“第八气候带（艺术何为？）”（第十一届光州双年展，2016）等。
张如怡《食石》
寄居在烈日之下的仙人掌，曾在墨西哥被誉为“仙桃”，是幸运的象征，主要作为食物、酿酒、建筑围栏等多样用途于生活之中。仙人掌也长期贯穿于我的创作实践中，以自我肖像隐喻的角色存在。
我试着问自己，是否可能通过仙人掌的进化来探讨与之对应的个体与周遭生活之间的吞噬与消化？
我在养殖过程中被仙人掌的一些基本特征所吸引，例如外形上的刺尖与内在的柔软，或是它生理周期速度的缓慢和我所处环境的节奏之快速的对比。这些非常个人的兴趣关注，使得这种植物逐渐成为一种自我的比喻。曾有一段时间，我主要会在计算纸上去“写生”它们，“修正”它们的造型通过网格的结点。其形态僵拙、慢慢接近静物的感觉，也削弱了仙人掌的实际特征——有时像石头或一个柱子，或其它形态。之后，我又通过筑就空间的基础建设材料之一——混凝土的重新转化——把它从网格平面中搬移出来，并经历了不同仙人掌品种的嫁接，或与废墟钢筋的穿刺缠绕形成的轮廓。通过材料的转变，混凝土雕塑主体与建筑碎石并置，堆砌成了城市建设流动下的现代化石。
其实，作为寄居在烈日之下的仙人掌伴随它依靠在岩石沙漠中，形态狂野且沉默、是一种荒原之物。在哥伦布1496年发现新大陆的4年之后，仙人掌第一次由海员从南美洲的加勒比海岛屿带进欧洲，1669年传入日本，逐步从原始室外部分转移至室内，成为在办公桌上出现的精致盆栽。这种如迁徙一般的“进化”让我想到，在城市“进化”裹挟下，个体如何拥有机会去实现自我的消化及对他者的消化。
在此，我想到“食石”。就像“进化”过程中的自我意识的展现，这是一种更接近抽象的表述，是通过对“进化”的理解，是我们自身与现实之间的“饮食”。食也就是吃，其包含了许多动作方式，例如：咬、啃、嚼、吞等等，通过不同的动作来臆想个体对于时代背景下自我消化与吞噬的视角。我的备料是以面粉馒头作为对碎石和红砖的转化元素，用馒头的食物属性和文化特征，去模仿碎石和红砖的感觉，再配着可食用的仙人掌果肉，最后撒上以淡色焦糖颗粒代替沙漠的想象，汇聚出这份叫做《现代化石》的点心。这里提到的石，不只是自然之石，它更多暗喻着时间的滚动，是不同瞬间的重叠与联接，此刻终成过往或提示未来。
现代化石
材料：面粉、馒头、碎石、红砖 、淡色焦糖，以及可食的仙人掌
关于艺术家
张如怡
1985年出生于中国上海，2007年本科毕业于上海大学美术学院版画系，2012年硕士毕业于上海大学美术学院综合材料系，现工作生活于上海。张如怡的艺术创作存在于生活的逻辑中，从内在直觉出发，围绕自我意识、物理空间、日常体察之间的隐秘关系展开。艺术家从现实生活中提取时间切片和物质信息，将其重组、折叠、压缩，呈现日常状态瞬间“物化”的肌理。在近年的“装修”系列中，艺术家调度人、物、场所，试图展示自身与他者日趋交缠，彼此修饰的姿态。张如怡通过人与现实，自然与工业景观之间的关系构筑“话语装置”，以物反问物，以空间质询空间，由此对抗平静。
张如怡个展项目包括：“以为何处”（东画廊，上海，2019）；“盆栽”（François Ghebaly画廊，洛杉矶，2019）；“对面的楼与对面的楼”（东画廊，上海，2016）等。其作品曾在多个艺术机构展出：K11艺术基金会（香港，2019年）、上海外滩美术馆（上海，2018年）、UCCA尤伦斯当代艺术中心（北京，2017年）、卡斯雕塑基金会（奇切斯特，2016年）和四方当代美术馆（南京，2016年）等。
陈天灼《祭品的烹调》
材料：
普罗米修斯的肝脏 [1]；
嘎巴拉碗 [2] 1个；
安托南·阿尔托服用过的麦司卡林[3]：50克；
胚胎1个。
操作方法：
步骤1：提前双面腌制肝脏，将其冷藏1小时至隔夜。
步骤2：将户外烧烤炉预热至中高温。
步骤3：在烤炉上烤肝，每边烧烤约6分钟直至其中心部位肉质变得脆嫩多汁，肉色呈粉红；随后将肝脏盛放入嘎巴拉碗，撒上麦司卡林（皮奥特仙人掌球毒汁）；晾放约10分钟。
步骤4：将未加工的生胚胎切碎，并在肝上拌撒均匀即可食用。
注：
[1] 宙斯惩罚普罗米修斯偷火种，将其捆绑于高加索山，每日忍受风吹日晒和鹫鹰啄食：偷火种的行为得到惩罚，像是人类行为的救赎；然而肝脏在被啄食的同时，却又不断重新生长。
[2] 只有修行圆满的高僧大德的颅骨方能做成嘎巴拉（Kapala）。这个碗也包括了遗骨本身与佛教献祭的相关故事——例如释迦摩尼割肉饲鹰，以身饲虎，以自己的肉作布施的典故。故盛放容器用嘎巴拉碗。
[3] 安托南·阿尔托曾在去墨西哥的旅程中观摩原始宗教仪式，体验仙人掌。麦司卡林（Mescaline）是一种仙人球毒碱，源自一种墨西哥原住民用了上千年的植物——皮奥特仙人掌球（Peyote）。拉美人服用这个带有迷幻性的植物，为宗教仪式做一个引导。这一味食材具有某种引导性质，可将它作为开启见证天启的入口。阿尔托自己也有些疯癫了，他相信自己看到了天启。
关于艺术家
陈天灼
生于1985年，目前生活和工作于中国北京和上海。于英国伦敦中央圣马丁艺术设计学院本科毕业后，在英国伦敦切尔西艺术设计学院学习并获艺术硕士学位。
陈天灼游刃于装置、表演、录像、绘画、摄影等纯艺术领域之中，以及需要他人或观众参与而成立的“事件”形式，如地下派对，舞台表演，或更精确建构的仪式般的现场，将现实转变升华为幻境。宗教（如佛教、印度教、基督教、萨满教等）、亚文化（如邪典文化、Drag、Rave 等）、流行文化（如卡通、嘻哈音乐、电子乐等）、舞蹈（如日本舞踏、Vogueing）等元素和符号都被他融会贯通于作品当中，以期让观者/参与者在气氛烘托之中超越身体和精神的表面情状，到达艺术家本人提到的“癫狂状态”。
近年重要个展包括：“入迷”（木木美术馆，北京，2019）；“GHOST”（温特图尔美术馆，温特图尔，2017）； “自在天”（长征空间，北京，2016）；“陈天灼”（chi K11美术馆，上海，2016）；“陈天灼”（东京宫，巴黎，2015）。
他曾参与包括：“雅典双年展”（雅典，2018）；“熵”（林冠艺术基金会，北京，2018）；“前沿国际：克利夫兰当代艺术三年展”（克利夫兰，2018）；“第一届BoCA双年展”（里斯本、波尔图，2017）；“第十一届上海双年展：《何不再问？正辩，反辩，故事》”（上海当代艺术博物馆，上海，2016）在内的国际重要展览。他的表演作品曾在洛杉矶布洛德美术馆（2018）、伦敦巴比肯艺术中心（2018）、维也纳戏剧节（2017）、汉堡世界戏剧节（2017）、东京艺术祭（2017）等地上演。
致颖《台北未来主义炖菜》
作为岛上本土小吃与国际餐饮的汇聚枢纽，台北或许能够思考一种未来主义式菜肴。 而为了让这道菜从单调无味的全球化食材中杀出重围——这也是许多偏执型饕客所追求——所谓美食的在地性，我们可以试着从地域性的，或是民族式的未来主义视角出发，否则难逃那些正在西方渐成主流的速成食材，例如含蛋白质生物或大品牌植物肉供应。毕竟其它地域，尤其是全球南方所提出的未来主义想象，总是多少带有反西方文化霸权的色彩。
事实上，就算是再常见不过的高蛋白质生物，我们仍能通过将其放在不同文化脉络下，去思考未来主义菜肴。 例如在2019年上映的中国科幻电影《流浪地球》中，就提出一种食材“榴莲蚯蚓干”，这也是我认为在整部作品中为数不多的具有民族未来主义特质的设定。与韩国电影《雪国列车》（Snowpiercer）中把蟑螂制成羊羹不同，将蚯蚓晒干作为营养摄取来源有其历史考据，在中华药典中称其为“地龙”，不过在习惯上只用作药材，并非食材。 而电影将干蚯蚓佐带有东南亚意象的热带水果口味，使之成为未来夜市中的流行小吃，确是富创意且同时具可实践性的提案。
说起民族式未来主义饮食的实践，不得不读读咱们未来主义精神领袖桑·拉（Sun Ra）的食谱。 桑·拉和他所主导的乐队组合Arkestra从音乐和服装等元素出发，透过奇幻的表演风格奠定了非洲未来主义的宇宙哲学。 传言当乐队经济状况拮据时，桑·拉就会亲自下厨烹煮一道名为“月球炖菜”（Moon Stew）的素菜。只不过，桑·拉毕竟来自土星，难以用地球的衡量标准记下食谱。在一场与桑·拉针对烹饪的访谈中，美食作家鲍勃·杨（Bob Young）只问出了月球炖菜的食材：青椒、洋葱、大蒜、土豆、秋葵、番茄和玉米穗，但却无从得知材料的份量比。桑·拉只答道：“这就像是乘坐一架精神的飞行器。你将适当的材料放入，不用管为什么，这样味道就对了。如果你去计划，就绝对行不通。”
要说桑·拉与意大利未来主义饮食代表马利内提在思想上有什么可比拟的地方，大概就是这种对烹饪的感性描述。他们在思考烹饪和饮食时，在意的不是几匙油盐几斤面粉，而是如何捕捉某种特定的感受——对桑·拉而言，那是“真”诚与“爱”，而马利内提则重视“官感”和“惊奇”。这样的制谱方式除了能够赋予食谱更大的能动性与想象空间，也让烹饪作为跨领域的创作实践成为可能。因此，一道具有未来主义性质的食谱，应尽量保持其动能与开放性，它应该是一种美学实践，而不是处方。
那究竟什么是台北未来主义呢？又或者，我们该如何去想像台北未来主义呢？有一条可能的路径：就像其他未来主义一般，不妨以音乐为切入点，例如噪音音乐之于意大利未来主义，爵士音乐之于非洲未来主义，蒸气波音乐之于中国未来主义。当然，我无意去简化一段美学的发想进程，而且就如上文所提及，开放性应被置于首位。但我们仍然需要一个思考的起点，一趟旅程的方向， 更何况音乐本就拥有一种无可替代的感性特质——这也是为什么许多美学革命都始于音乐创作方法的转变。
其实，不论是否有意，近年台湾音乐圈已经开始在塑造某种具有地域性的、民族式的未来主义风格。像2020年获得金曲大奖的排湾族歌手“阿爆”（Abao），就成功结合了排湾古调、电音，以及非洲未来主义视觉风格。而独立乐团“岛国未来主义”（Island Futurism）则尝试撮合南岛语系传统音乐与Afrobeat来创造新的音乐型态。如果我们更聚焦在台北，则可以看到几位火红的嘻哈歌手，例如9m88和李英宏在他们的音乐录像中混杂非常多具有台北特色的元素，这些元素不见得是冷硬的科技对象，而是符验未来主义某些感性特质，包括跨年代的、带有乡愁的幻想，有时甚至难以识别整体时代风格——例如在像是士林夜市的小吃摊内穿着荧光布料练习武功， 或是在黑夜骑着80年代暴走族机车穿越看似破旧的南机场夜市等。
或许这些来自台北的音乐创作者并未想过未来主义，就像桑·拉也压根没想过非洲未来主义一样，具有未来主义风格的表现形式并不需要目的性的操作，而是——容我再次强调——保持幻想的开放性，所以一道还未成形的台北未来主义炖菜最好不以处方的形式记谱。
在这里，我将尝试描述台北未来主义炖菜可能的组成特质及材料：
1. 以“福山莴苣”为主料的素菜
福山莴苣是台湾夜市普遍的食材，然而，由于语言和历史因素，它更常被歧视性地俗称为“大陆妹”。使用“福山莴苣”除了能作为去除歧视的象征性正名之外，这种蔬菜极为容易种植，不需特殊环境，都会大楼阳台或是楼顶即可栽种，每一个半月就能收成，营养价值含量非常高。此外，福山莴苣略带苦味，能够增加炖菜的层次，去除台菜常有的油腻口感。
2. 以“珍珠”作为佐料
“珍珠”是台湾夜市手摇饮料和甜品常见的配料。然而，有些业者为了达到吸引顾客的效果，常以带有性暗示的昵称来替代命名，例如“波霸”或是“小咪”等。使用“珍珠”除了能作为去除歧视的象征性正名之外，这种食材所特有的圆滑口感和甜味能够中和福山莴苣的苦味，并刺激舌尖蕈状乳突对甜味的官感。事实上，“珍珠”正在日本刮起创意料理炫风，市面上已能够品尝诸如“珍珠”寿司、“珍珠”沾面或“珍珠”啤酒等新式菜单。因此，作为“珍珠”的重要产地，台湾应能开发更多“珍珠”的食用方式。
3. “白毫乌龙茶”混制汤汁
白毫乌龙茶为乌龙茶系中发酵较重的茶品，主要产地在北台湾的新竹、苗栗一带。然而，许多茶商为强调此种茶品之甘美，遂以带有东方主义色彩的词句将之命名为“东方美人”。使用“白毫乌龙茶”除了能作为去除歧视的象征性正名之外，此种茶品在成长时被小绿叶蝉叮咬所带来的蜜香也能够增添炖菜汤汁的甘味。此外，为吸引小绿叶蝉吸食茶树嫩芽，种植茶园必须严格控管生态环境，不得使用农药，此项限制也可提高有机栽种的意识。
4. 其他配料
为保有台北未来主义炖菜的开放性，我建议总在食谱中保持弹性，邀请烹饪者发挥想象力，加入更新的、季节性的、富营养的食材。目标除了使调味达到更出色的表现外，也期望让台北未来主义炖菜能够不断与时俱进。
关于艺术家
致颖
1985年出生于台湾台北，2008年毕业于国立台北艺术大学美术学系，2015年毕业于德国柏林艺术大学。目前居住和工作于台北及柏林，是一位电影人及视觉艺术家。他擅长运用声音、影像和装置等媒材进行创作，以探讨全球资本化时代人类生存语境与环境体系的关联，并多方关注全球南方当代社会的主体性研究与调查。其个展如“中国博物馆F”（IN EXTENSO艺术中心，克莱蒙费朗，2019），“我的笑容力量”（关渡美术馆，台北，2019），“归期有朝一日”（UCCA尤伦斯当代艺术中心，北京，2018），“抵抗徒劳无功”（美华艺术协会/456画廊，纽约，2017），“无聊现代生活”（NON亚洲当代艺术中心，柏林，2016）。他曾参与许多国际性的展览，如“中国——非洲：穿越世界的色彩界限”（蓬皮杜中心，巴黎，2020），“第68届柏林影展论坛延展单元”（德国柏林艺术学院，2018），“第十届台北双年展：当下的姿态和档案”（台北市立美术馆，台北，2016），“第10届上海双年展：社会工厂”（上海PSA当代艺术博物馆，2014）和“放置影像/进置艺术”（摄影博物馆，柏林，2014）。
何颖宜《疫年慢煮》
果酱是已知最早的食品保鲜方法之一，比如公元1世纪的记录描述了将水果浸泡于蜂蜜的方法。我学习食品保鲜技术，以便更好地了解人们是如何度过艰难时刻。生存不仅仅被定义为度过极端情况——例如通过吃树来忍受漫长的冬天，或在海洋中依附于漂流的筏子——同时也包括忍受人种偏见、性别歧视、仇外心理、恐同及其他偏见形式的身心虐待。生存不仅是身体的维生，还与精神毅力有关。吃果酱可以提高我的生活质量，而制作果酱是理解长远观点下人类存在的一种方式。我不是美食家，我更喜欢用粗糙和适宜方法来保存稀缺时期制作的食物。果酱利用这些传统技术保存应季水果，使其成为充满智慧的一课。作为一个女人、艺术家、移民和移民的孩子，我在世界上的地位在很大程度上是被边缘化的。在一个性别分裂的世界中，我与权力的联系相距甚远，身体隐喻性地存在于边缘。这种边缘的境况更像是一种礼赠，而非负担，但它也需要一种智慧。我经常通过临时发明、废除和搜寻、从无中创造东西凑合。这些伎俩在生存、制作果酱和做艺术方面都得到统一应用。
制作果酱是将过去与未来相联系的行动；它需要水果、技术和时间，并将它们密封在罐子里日后享用。在 2020 年漫长的停顿期，时间具有了一种不同寻常的可塑性。时钟不是正常的滴答，而是开始截断、拉扯和扭曲。每天都以奇怪的方式过去，有片刻太阳照耀着，然后突然又变暗了。制作果酱成为一种常规活动代替了其他任务。这是一种保持忙碌的方式，也是随着时间的流逝来庆祝季节、观看和等待的一种方式。冬天，在封城开始时，象征春节的橙子和橘子变成了果酱，苦果皮和柑橘悬浮在自己琥珀色的果糖中。在搅拌冒泡的水果时，鸟儿在外面干燥的树枝上吵闹。当地面解冻时，我把柠檬挤进柠檬酥酪中，同时向海外的家人和朋友邮寄了一捆N-95口罩和个人防护设备。在Zoom电话之间，桑葚把我的切菜板染成深紫色。当我们小心翼翼地逐渐出户活动，到处都是闪闪发亮的成熟樱桃。我小心戴着口罩，试图避免触碰他人，并从早间市场拖着一袋杏子回家。天气变暖了，像是清爽的白色桃子变成带有百里香的糖浆釉。柔软的李子仿佛红宝石酿造而成。在酷热中，我吃了太多西瓜，这个并未变成果酱。随着气温的渐凉，我从北部一个村庄的废弃树木中寻觅海棠果。在友人的厨房里，我们一群人在切碎小红水果时聊天。在我为大洋彼岸的政治选举而坐卧不安时，我再次制作并搅拌了一批橘子酱，以助缓解心神的紧张。四季循环往复，一年过得很快，也很慢。
在此展示制作水果果酱的食谱。该食谱非常通用，任何类型的季节性新鲜水果均可适用。制成果酱需要时间，这可能正是制作它的意义所在。这是一种做成某事的方式，而非原地坐定或无所事事。不过实际上，这更关乎等待。当果酱煮熟并变得浓稠，凝视黑色蒸锅的灵魂——这是熟果的深渊。研究沸腾的气泡，倾听它们如何随着时间的推移而变化声音。慢慢煮熟的果酱就像每天的生存练习，同样需要时间。
要获得时间流逝的感觉，请将这些指南当作移动中的冥想；在阅读和烹饪时，记住慢慢地呼气。
果酱
水果果酱使用糖，或偶尔使用酸来保存季节性新鲜水果，供日后享用。腌制的水果有很多名字：果酱、什锦、蜜饯、果冻、橘子酱、酸辣酱、合物、水果黄油及水果酥酪，等等。在这个食谱中，“果酱”一词被用来表示更广泛的腌制水果类别。多数种类的水果都可以保存。采用传统的长而缓慢的沸煮方法将水分从水果中去除，最后的成品将变粘稠同时易于保存。这个食谱不使用商业果胶来帮助果酱的制作。相反，可以在任何食谱的基础上加入一片苹果来帮助收汁。苹果含有天然果胶。
……
标准食谱根据重量采用 1:1 比例的水果与糖。而我们这个果酱食谱，水果和糖的比例是2:1，这是大多数食谱推荐使用的糖的比例。这种果酱较不甜，会散发出水果中更为微妙的风味。然而，较少的糖也意味着这种果酱不能长时间保存。将成品果酱存放在冰箱里，在两个月内食用。
……
使用厨房秤测量所有配料的重量，确保比例正确。将水果切成切片，在一个大型不锈钢汤锅中与糖混合。可以使用任何大锅，越重越好。均匀搅拌，将盖子放在锅上，将它浸泡整夜直至变软。
……
次日，用中小火加热锅，直到糖和水果冒泡与沸騰。定期用木制或耐热器具搅拌，以防止果酱粘在底部烧焦。揭盖，并继续用文火烹煮果酱一个半至两小时，或直到锅内一半的液体蒸发。随着果酱变稠，气泡变小了。果酱上可能会有浮沫。沸腾的声音发生变化，音高变高，较小的气泡开始更快地冒出。
……
如果温度过高，果酱将开始泡沫化并可能因沸腾而溢出。如果果酱开始起泡，就把锅从炉子上取下来，直到冒泡消失。果酱和炉灶很烫，注意不要被烫伤。泡沫消退后，将锅放在较低的加热档位上。撇去顶部漂浮的剩余泡沫。
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要测试果酱是否做好，提前在冰箱里放几个茶匙。一旦果酱中的液体减少，用一个冷冻勺子舀出一些果酱液体并将其放回冰箱。
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5分钟后，通过垂直举起勺子来检查果酱的稠密性。如果果酱是流动的，请继续烹饪并测试，直到它达到理想的稠度。当果酱不流动，并且当你戳它表面时起皱，这代表果酱已经做好了。待果酱煮熟后，关掉火把它留在炉子上十分钟，让水果在整个果酱中均匀地悬固。
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将果酱存放在干净、消过毒的罐子里。如需消毒，首先用温肥皂水清洗罐子，并冲洗。接下来，将罐子和盖子在热水中沸煮 15 分钟。用钳子从热水中取出罐子和盖子，倒置在架子上晾干。
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当罐子干燥，装满刚煮熟的果酱。拧紧盖子，把罐子倒过来，放在柜子上冷却。当果酱和罐子冷却时，罐子里会产生真空。这样可以减少罐子里的氧气量，让果酱可以存放得更久，减少变质。
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这种果酱应在低温下保存（5°C 或更低），并在 60 天内食用。如果希望更加持久地保存果酱，可增加糖的比例。
……
关于艺术家
何颖宜（艺术家、箭厂空间联合创办人）
何颖宜是一位从事装置和表演工作的多学科艺术家。她的作品通过幽默、出乎意料的方式处理日常物品和情况，以质疑更广泛的社会或文化问题。何颖宜获得加利福尼亚大学洛杉矶分校的戏剧艺术学士文凭，以及纽约大学交互式远程通讯项目的硕士文凭。她生活并工作于北京和旧金山。
何颖宜参与过在亚洲、欧洲和美国举行的个展及群展，其中包括：行李寄存画廊（Luggage Store Gallery，旧金山，2016）；BANK画廊（上海，2014）；圣安德鲁斯美术馆（英国快富，2013）；上海美术馆（上海，2011）；集体画廊（爱丁堡，2011）；站台中国（北京，2010）；San-Art（胡志明市，2010）；长征空间（北京，2008）；第十三届国际电子艺术论坛/零一艺术节 （圣何赛，2006）及第二届广州三年展（广州，2005）。何颖宜是箭厂空间的联合创始人，箭厂空间是北京市中心历史最悠久、独立经营的另类橱窗式艺术空间之一（箭厂空间于2019年9月关闭）。
蒲英玮《新的旧年：文明食种》
一切终于准备就绪。沐浴、更衣、剃净身上所有的毛发，TA在准备好的长桌前就坐——今晚的宴饮将被分为七道。
大概是在十几岁的时候，某个炎热的夏日午后，父亲当着TA的面宰杀了家中“圈养”的纯血马。在晚餐时刻，马肉被朴素地呈现于桌上，而他们真正要品尝的，则是包裹在马体胸腔内的另一种肉。在几个月之后，TA意识到那可能是前不久病死舅舅的遗体。的确，在诸多食人的历史中，吃与被吃不仅代表着一种认同，还代表着至高无上的尊敬，人们通过吞食对方的身体进而与之达到真正的融合。想象着另一个人的肉进入体内，囤积成脂肪，与自己的身体温暖遗存。
在TA成年以后，对于食用人肉逐渐生成了自己的看法。尊敬，从起初的仅仅对应亲缘关系，被TA拓展为一种哲学层面的共处。而对于TA所涉足的诸多领域来说，其真实身份也无疑对外界保持着高度的神秘，在去年完成了TA的第二轮世界旅行之后，人们更多地将TA视为一位值得期待的青年人类学家，或是一位激进的殖民史研究者，虽然TA并未在公开场合抨击过任何形态的种族主义，但其对于殖民历史丰富到不可思议的田野研究与那些详实而具体的梳理足以为殖民历史的残忍提供确凿的证据。同时，TA在收藏界也享有声誉，毕竟，以复兴“珍奇阁”（Cabinet de curiosités）为己任的收藏家需要拥有良好而博学的知识与同样深厚的财力（后者往往更加稀有），这自然与TA从双亲那里所继承的可观财富密不可分。当然，TA也用其家族所熟悉的方式继承了他们的身体。这种种暧昧的身份都让外界对TA的真实立场产生了诸多毁誉参半的揣测，但或许大家无论如何也想不到的是，TA所有行为的真正动机是研究一份究极的食人食谱。“消化知识”，这个说法用在TA身上再合适不过了。
TA的金赛指数为X，很早以前就认知到自己为无性向者。在对性爱失去意义之后，肉体对TA来说便摒弃了情感流动所产生的不必要增殖，变成了纯粹理念意义上的词与物；TA与这些思维对话的方式便是食用这些携带着不同叙事的身体。另一方面，无性向也让TA相较于其祖先来说更加地绝对，不需要再考虑繁衍与继承，就算把那些数量庞大的财产全部用于“食谱”也难以称之为一种浪费。而在完成了去年的研究与收藏之旅后，TA自认为世界对自己已经鲜有盲区，或者说，现在已经有足够丰富的食材去完成一场精彩绝伦的宴饮了。
今晚七道菜的流程受启发于一份来自上世纪中国的出版物，其中记载了发生在不同殖民地阴暗而残酷的历史，里面充斥着令人不安的血腥细节描写。而只有（或许不只）TA理解这本危险读物的真正意涵：这，是一本彻头彻尾的食谱。就如我们所看到的那样，全书被划分为七个章节，正好对应着七道菜的食用顺序，右侧形似“menu”的纹样与碗筷的标志似乎也在暗暗提示着这一点。无独有偶，七道菜的模式也在前些年于上海举办的第四届亚洲相互协作与信任峰会的宴会中被复兴，只不过人体被替代为松茸、花胶、虫草等食材。一脉相承的是，粘稠而绵密的口感依旧是食人烹饪的一大特色，因为相比其它肉类，肌肉纤维含量更多的人肉决定了其更适合于蒸与炖的烹饪方式。而这，也被TA贯彻到了接下来要品尝的食谱之中。
一切终于准备就绪。沐浴、更衣、剃干净身上所有的毛发，TA在座椅上就座。这件充满异域风情的座椅是意大利建筑师卡洛•布加迪（Carlo Bugatti）的杰作——王座椅（Throne Chair）：象牙、珍珠母、黄铜、驼皮、鹿皮、乌木、羊皮纸，以及豹骨（有些版本的王座椅则用当时更加廉价的人骨替代）。其设计风格无疑呈现出典型的十九世纪末欧洲对非洲神秘主义与东方主义的浪漫化恋物。而这种来自于统治者的大同世界精神，正是TA今晚佐餐的重要调料。
头盘显得别致而精巧。一颗芥绿色的无籽橄榄上点缀着一片如蝉翼般轻薄的半透明状物。这道菜的原材料来自于喀麦隆北部的多贡族，当地的族人依旧相信万物有灵，并且在男性族人成年后为其实施一种特殊的割礼，认为被割去的部分是男性身上的女性生命体征，仿佛一个完整男性彻底诞生的里程碑。但对于TA来说，恰恰割礼所切下的部分才代表着雌雄同体的完美境界，也是晚宴绝好的开端。头盘中的这颗无籽橄榄在培养皿中被其包裹，培育了一天一夜后被蒸至软糯。点缀之上的透明物品则更加珍奇，启发TA的是一张由法国出版的阿尔及利亚邮票，记载了当地原住民第一次目睹飞机时的梦幻场景。而这一时期的原住民头部标本，被TA在阿尔及尔的一家黑市中以高价获得，取其眼部虹膜，蒸熟后呈现此刻的半透明状，似杏仁。TA认为观看过飞机的虹膜口感会变得像风一样轻盈，没有通常由泪腺搅裹所腌渍的咸涩。
接下来的例汤灵感来自于洛特雷阿蒙（Comte de Lautréamont）的《马尔多罗之歌》（Les Chants de Maldoror）。TA叨念着其中一段错乱的章节，似乎是用自己的逻辑重新编写的一样：“每天清晨，当太阳为别人升起、在大自然中撒下有益健康的欢乐和温暖时，我却蹲在心爱的洞穴深处，毫无表情地凝视着黑暗笼罩的空间，既然你不厌恶你的血和泪，那就放心地品尝，品尝这少年的血和泪吧，在红酒一般醉人的绝望中，用有力的双手把他的胸脯撕成碎片。神圣的面孔折断了他的筋骨，撕裂他悸动的肌肤，我把贪婪的手指插入你无辜的脑叶中，嘴唇去除脂肪，擦洗由于永恒而失眠的疼痛眼睛。撕裂悬挂在你身体各处的皮肉，而后像雪崩般离去。”猜想此刻眼前这鲜红的例汤来自臭名昭著的三角贸易的奴隶后代。所谓三角贸易，就是指先把商品从英国运往非洲港口或象牙海岸的奴隶堡垒，再把奴隶从这些港口经中央航道运往美洲的蓄奴仓库，接着将船上清空并打扫一番，最后装上新世界的货物返回英国的贸易。很多奴隶因为反抗而被处以绞刑；在行刑瞬间，脖颈因为肌肉的紧缩而充血，只有少数肌肉异常强健者能在酷刑中幸存，被认为是优质的劳力而得以延续生命。在今天世界诸多阴暗角落，嗜血的喜好依旧存在于某些种族极端分子当中，他们以寻找这种特殊的血脉为乐趣，从品尝这刻骨铭心的苦涩和悲伤中获得由舌苔至颅腔的卑鄙欢潮。
紧随其后的副菜，依照传统以贝类及软体动物类组成，以渐强的节奏进入正餐。TA从马林诺夫斯基（Bronislaw Malinowski）在巴布亚新几内亚的日记中得到启发，获取了当地食人鱼的强酸性体液，而后将一块原住民反抗者用以举起手臂的肩胛骨放入其中；骨头逐渐被体液软化，最终形成一种淡黄色的可咀嚼筋膜。弹脆的口感辅佐以第四道沙拉类菜肴的清爽则再合适不过。而这道充满亚洲风情的沙拉中除去生菜、番茄、黄瓜、芦笋、花椰菜等常见果蔬之外（这些蔬菜都在不同的身体上由活体培育而成），沙拉中还拌有一种特殊的红色伞状蘑菇。其灵感来自于上世纪中页的大东亚共荣圈的帝国主义概念；这种蘑菇的培育方式也更加娇贵，需要分别取东亚、东北亚、南亚、大洋洲不同人种的身体局部，共同发酵出一种有机肥料来种植。而调拌这份沙拉的酱汁是一种来自西贡的空孕催乳素（Thuocduame），是一种能让女性在未怀孕的情况下分泌乳汁的激素类药物，这种药剂起初由越战美军在西贡的红灯区所推广，可以达到短期内避孕与催情效果，后被用于逼迫越南俘虏开口说话。性欲、权力、暴力，这也是TA所理解的文明的内在逻辑。
主菜无疑是今晚的重头戏，也将是这场晚宴观念的核心所在。这道菜的灵感来自于家族的食人祖先所留下的一道惊世骇俗的菜谱（即便是对于食人的历史来说），由于食人在当时已是禁忌，所有文字都由其家族所发明的“火文”书写而成，上面记载了将不同种族人身体的不同部位，共同包裹在一张皮肤下，然后在炭火上熏烤而成的烹饪方式。这份食谱离今天并未遥远，至少是地理大发现之后的产物。TA给这道菜取名为“文明怪人”，无疑这种聚合的方式让人想到玛丽·雪莱的经典著作《科学怪人：另一个普罗米修斯》，不过在TA与其家族那里，“完美身体”的概念则与抽象层面的身份叙事紧密挂钩，殖民主义的科学怪人弗兰肯斯坦不仅仅需要成为自己，而是成为TA桌上的食物。只不过，在这样一种完美的菜肴中，又有什么样的皮肤最终有资格包裹这些来自世界各地的完美器官呢？唯一的答案便是——TA自己的皮，没有什么比这更加镌永的食材了。TA一面品尝着自己的皮囊——那确实是一种前所未有的复杂口感——一面体会着由于失去皮肤而造成的体液丢失和器官系统的逐渐衰竭。TA需要在这些走到尽头之前完成这场晚宴。
而从决定食用自己的那一刻起，TA便知道主菜过后留给TA的时间可能不多了，但正好足够安静地品尝完最后的甜品与茶点。
接下来的第六道甜品是一份由携带传播病毒的血液制作而成的血冻布丁。此病毒的确诊案例主要集中在撒哈拉以南的非洲地区，包括刚果民主共和国、加蓬、南苏丹、科特迪瓦和乌干达等地。而此刻依旧尚未有方法能够有效地治疗这种疾病，TA认为这种苦难的宿命正如这些国家此前所遭受的殖民统治与今天所处的剥削地位一样阴魂不散。TA需要通过自我感染的方式来体验与此“历史的病毒”共存的感觉，再一次强调，共存——也正是TA所理解的真正意义上的“品尝”。最后一份茶点来自于自己用餐前所剃下的毛发在水中蒸馏而成，它们忠实并长久地记载了这些年TA与不同生物，不同思想交媾所残存的气息；配茶的坚果则是一小块经过脱水烘干处理后自己的脑前叶。对于一位如此恃才傲物的食人者来说，以品尝自己的大脑为菜肴的结束或许是唯一可以被接受的选择。在终于完成这场晚宴后，TA用剩下的力气缓缓走向屋外的花园，倒在泥土中。由于没有皮肤的阻隔，自己的肉体将更迅速地被土壤降解，TA做好了准备。而在食人文明以各种形态长久存在的今天，TA并没有单纯地执着于肉体本身，而是饕餮人肉背后所携带的文化历史背景，TA为自己的壮举感到自豪；也坚定地认为，这，才是绝对意义上的食人，文明本身的食人。TA此刻想象着自己肌肉的命运，在肉体与降解它的土壤之上，将会开出一朵鲜艳的恶之华，它将是善与恶杂交媾合而成的新弥赛亚，疯癫而神圣，污秽而自由。
在TA去世的几天后，众人如愿跨入了新的旧年。
关于艺术家
蒲英玮
蒲英玮，1989年出生，现工作、生活于中国北京。2013年毕业于四川美术学院，获学士学位；2018年毕业于里昂国立高等美术学院，获硕士学位并获得评委会最高嘉奖。蒲英玮的工作被定义为一种具有强烈乌托邦热情的观念艺术实践。艺术家将其在公共领域中所践行的多重媒介与身份叙事理解为一次全面的动员。以个人史作为一个绝对的出发点，通过展览、写作、设计、讲演、教学等不同形式的工作，艺术家试图生产一种跨越了种族、国家、伦理等宏大命题的“元政治”。这种政治与我们所经历的现实同样复杂并充满悖论。
近期个展：“晦涩历险：思辨波普与泛中主义”，SSSSTART，上海，2021；近期群展：“第十三届上海双年展：水体”，上海当代艺术博物馆，上海，2021；近期策划项目：“华文码头：从唐人街到红色国际主义”，OCAT深圳馆，深圳，2020；他曾获得约翰·莫尔绘画奖（2012），其文章《帝国遗产——论〈踱步：七十年的走过〉与其缄默》获得IAAC国际艺术评论奖二等奖（2019）；入围华宇青年奖（2018），入围集美·阿尔勒国际摄影季发现奖（2020），入选Gen.T亚洲新锐先锋榜单（2020），影片《访谈录》入选法国卡昂Si Cinéma电影节（2018）。在近期的实践中，蒲英玮以思想阵营的分裂、帝国主义的回潮为新的工作背景，广泛学习并延续了社会主义现实主义美术与20世纪先锋派视觉遗产，并从革命的艺术与意识形态宣传两种异质同构的视觉文化中汲取营养，形成了艺术家独特的语言系统与历史视阈。