What shall we cook together? With whom shall we share it and how?
The word “cook” from the Latin cocus which comes from coquo [to cook, to think, to be unquiet, to worry (about), to mix], which most probably derives from the Greek verb cycao/cacao [stir up, mix of dissimilar things, confusion, disorder].
The 2019-2020 COOP study group “All about my mother” mixes metaphors of the familial and the institutional to shift our relationships toward societal structures of the matriarchal and patriarchal. Can we find m/other voices that undermine a predetermined way of being? Could there be an institution to nurture and sustain a qualitative relation in which existing binary relations–such as men/women, public/private, nature/culture, production/reproduction, art/life and past/present–are undone and opened up for singularities, pluralities and complexities? Taking ingredients from the slow cooking archive of Casco Art Institute: Working for the Commons and elsewhere, this study group will explore the characteristics of the ‘mother’–or others–as a guiding principle in search of answers to the questions above.
In our communal kitchen, we have the following preliminary ingredients, facilities, and cooking methods. More will be added for commonly desired tastes, forms, and textures:
Artworks, Stories, Texts, Books, Projects, Figures, Concepts, Theories, Practices, Relations, Habits, Movements, Affects, Experiences from 30 years of organized and unorganized archives and networks at Casco Art Institute: Working for the Commons
*NB. the list is incomplete and listing is ongoing.
Nina bell F. (Nina Simone, bell hooks, Silvia Federici)
Site for Unlearning (Art Organization) with artist Annette Krauss
All About My Mother (1999), Pedro Almodovor
Born in Flames, Lizzie Borden
Matriarchal societies, ie., Nagovisi, Bribri, Minangkabau, and Mosuo
Maintenance Manifesto, Mierle Laderman Ukeles
Casco Art Institute archive (e.g. Grand Domestic Revolution, To Become Two, Arts Collaboratory)
Re-enchanting the World: Feminism and the Politics of the Commons, Silvia Federici
The Undercommons: Fugitive Planning and Black Studies, Fred Moten & Stefano Harney
Postcapitalist Politics, J. K Gibson-Graham
Audre Lorde (from The Collected Poems of Audre Lorde: Black Mother Woman; Dear Toni; The Woman Thing; Woman; Pathway: From Mother to Mother; Power; But What Can You Teach My Daughter; Sister in Arms; About Dead Women)
Collectective Amnesia, Koleka Putuma
Ursula K. Le Guin (The Carrier Bag of Fiction; Woman / Wilderness; Is Gender Necessary?; Redux)
Home Tactics: Self-Mapping and the Home Question, Marianna Ortega
Epistemologies of the South, Boaventura de Sousa Santos
A Recipe for Disaster, Carolyn Lazzard
Poetics of Living
Mother Reader: Essential Writings on Motherhood, Moyra Davey
In Search of our Mothers Gardens, Alice Walker
Center for Ecological Unlearning with the Outsiders and many others
Reunion Network: Reimagine Family and Marriage through Blockchain, Yin Aiwen and Jelena Viskovic
Zapatistas’ First International Gathering of Women Who Struggle
Gaia, Mother Earth
Lose Your Mother, Saidaya Hartman
Shades of Intimacy: Women in the Time of Revolution, Hortense Spillers
Who Really Feeds the World?: The Failures of Agribusiness and the Promise of Agroecology, Vandana Shiva
Chef Mari Pitkänen
Reproducing Autonomy: Work, Money, Crisis and Contemporary Art, Marina Vishmidt & Kerstin Stakemaier
Revolutionary Mothering: Love on the Front Lines, ed. Alexis Pauline Gumbs
What is the mother wound?
Step in stepmother comes from steop, which indicates loss or bereavement
Cinderella’s Stepsisters, Toni Morrison
Other forms of conviviality, Park McArthur and Constantina Zavitsanos
Home is where the works starts 1988, Georgia Lucas-Going
How To Live / Rest Together, Christian Nyampeta
Bedside scenes on love and grief (from novels like Edwidge Dandicat’s The Art of Dying, Maggie Nelson’s Argonauts, Terese Marie Mailhot’s Heart Berries, Ocean Vuong’s On Earth We Are Briefly Gorgeous)
House mothers in ballroom culture
DAI roaming locations
Casco Art Institute: Working for the Commons
Respective homes, studios and workplaces
Know-how on cooking methods
Deep listening and witnessing
Observations and interpretations
Discerning, naming and pooling resources
Slow reading, reading out loud together
Body and mind exercises
Film viewing, making, and analysis
Exercises and training camp or school
Face to face meetings, check-ins
Looking out for each other, in the sense of access intimacy
Collective agreement on ways of working together
Writing letters, scores, auto fiction, scripts, plays, fictional conversations
Weaving, unraveling, undoing
It doesn’t have to taste good to be affective
2020 DAI COOP SUMMIT, 30 September 2020
A constellation of cooking methods; each one dedicated to a score devised together from our collective study over the past year. We have been exploring collective cooking to undo our patriarchal instituting knowledge but also not immediately reach for the binary opposite. What would happen if we would peel off the concept of property from home and family? If we would squeeze the juice out and compost the peel? If our bodies would sweat out salt to mix with the juice and the herstories of our kin? Then stir this bittersweet brew and leave it to infuse.
Will you be there to drink it? Will we be able to share it with you?
Ingredients: distributed care, chamomile/turmeric/anise/mint/salt/cloves, rest, water, bitters, pomegranate, care planning, more bitters, access intimacy, pepper, spice/pleasure/pain/heat/blushing, soda, minor gestures, all about our m/others and their mothers, and more bitters
It doesn’t have to taste good to be affective is a project that manifests from the All about my mother COOP study group in partnership with Casco Art Institute: Working for the Commons (Utrecht, NL), co-tutored by Sepake Angiama and Nina bell F. (in this instance Staci Bu Shea, Binna Choi, and Yolande Zola Zoli van der Heide). Guest tutors include Mari Pitkänen, Georgia Lucas-Going, Clare Butcher, Ying Que, Annette Krauss, Aziza Harmel, Elyes Lariani, with contributions by Anastasia McCammon and Pitchaya Ngamcharoen.