Andreas Engman
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mail: andreas.engman@agitera.com
cell: +46(0)704155739
studio: Sockerbruket 23, 414 51 GBG
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Andreas Engman is an artist and educator working and living in Gothenburg. Engman received his MFA in fine art from Valand Academy where he currently holds a position as an adjunct lecturer and is teaching in the fine art department. Engman’s artistic practice1 is, through a conceptual approach, invested in different modes of institutional critique and alternative pedagogical frameworks, which often takes the shape of installations, performances and discursive events. Turning towards the performative and the corporeal he’s recently interested in the politics of emotions and how expanded notions of institutional critique can be formed by explicitly using affective strategies.

Another strand in Engman's artistic work is the many political, aestetic and affective intersections of art and food, which he investigates in the Art and Food course and through the collaborative platform AFTERWORKS together with artists Rose Borthwick and Kjell Caminha.

He’s also currently working on a practice based research project investigating the efficacy of ‘scores’ (ie scripts for group action) to address the issues of contemporary art strategies in our current political climate in collaboration with Kjell Caminha, MC Coble and Jeuno Kim who forms the group Public* Display* of Actions*. P*D*A* is an anti-fascist platform using performance and speech tactics from street and guerilla theater, agitprop, Speakers' Corners, and political assemblies, to initiate contexts for collective experience, demonstration, and dialogue insisting on vigilance and direct process as a dramaturgical method and approach.

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1 Index:
Selected Works


Eating Venice: Lagoon Legumes, Ceremony & Heritage
Dicks Revisited
Radical Empathy: A Continuous Score
The Institute for Potentiality & Actualization: “Taxidermy of Speculative Gestures – a 21-day Conference”
Let’s Mobilize! What is Feminist pedagogy?
A Stockholm Syndrome

Assemblage: Dicks Revisited
A Line Made by Swimming
Between Symbolic Acts, Environmental Qualities & Human Sensibilities




(script)2


Eating Venice: Lagoon Legumes, Ceremony & Heritage

   AFTERWORKS
 


K: Do you have time for frivolous food? What is an efficient food?

R: Do you forage?
Do you hunt?
What does gleaning mean to you?


A: What are your luxury ingredients? What ruins a meal?
Are fingers better than plastic cutlery?


K: Does climate change limit your choice of ingredients? Have you ever been close to dying from eating something? Have you ever been sick from not eating something?

R: Is there a wrong colour for food?
Do you think eating on a first date is a bad idea? Do you think labradors taste like chicken?


A: The practice of eating is inherently complex.

K: Social and cultural norms are both conveyed and violated through food.


(...)

K: 16th century Europeans believed that food shaped and maintained the superior colonial body. There was a fear that by consuming “inferior” Indigenous food, Spaniards (and Portuguese) would eventually become “like them”. Therefore only “right foods” would be able to protect colonizers from the challenges posed by the “new world” and its unfamiliar environments.

A: Are some foods off your menu? Why?

R: Do you have a dish or a special ingredient that tells a story? 

K: Is cooking fun for you?

A: Are you fast at chopping?


R: 16th century Spanish and Portuguese “exclusive” foods were considered to be wheat, wine and meat. Barley, oats, rye, and vegetable stew were consumed by the poor. Vegetables were classified based on social status; root vegetables were not considered suitable for elite consumption because they grew underground. The elite preferred to consume food that came from trees, elevated from the filth of the common world.

A: What foods are only for special occasions?

K: Are you comfortable eating alone in public?

R: Does food taste better when someone else makes it?


A: Have you inherited foods?

K: Have you invented any dish before?

R: Have you offered? Do you practice ritual?

K: In the aforementioned colonial period, the Portuguese identified the palate as the entrance gate for Christian civilization often supporting ceremonies for the natives.

R: Sugar, salt, distilled drinks - all elements of social hierarchy.

A: For dessert we offer Mugunzá, Jambuzada de Suchetta, followed by a Thyme &
Chocolate sorbet.

K: While looking up for Brazilian classic desserts I was reminded of my wife’s deceased grandmother Vó Lau. She served me Mungunzá when I met her in Recife, Brazil, for both the first and last time in 2015. I thought of making this dessert again to rediscover the taste, possibly bringing memories of that encounter. Written registers were found pointing mungunzá as a ritual dish served in funerals for the dead in Angola. From Kimbundo language mukunza means 'cooked corn’. Its origin has been vastly disputed: Portuguese, Indian, Indigenous, African? This white corn is traditionally cooked with water, sugar, coconut milk, cinammon and cloves. R: Do you eat ancient food? Do you learn new recipes? Have you ever sacrificed?

K: Brazilian cuisine is often remembered through feijoada, the black bean stew with meat leftovers, believed to be developed by slaves using French technique. A symbolic national dish of pacifying effect, partly erasing resistance narratives. While collectively gathering in domestic settings to celebrate their different gods, Afro-Brazilians started to remember and share ritual recipes also assimilating local sourced and domesticated ingredients. Further acknowledging this contribution, mugunzá should be added to the list.

A: Food choices are influenced and constrained by cultural values, and are an important part of the construction and maintenance of social identity. In that sense, food has never merely been about the simple act of pleasurable consumption—food is history, food is culturally transmitted, food is identity. Food is power.


Excerpt from script:
Eating Venice: Lagoon Legumes, Ceremony & Heritage

Working with performance, text and gastronomy Eating Venice explores the many political, aesthetic and affective dimensions of food and eating in historic and contemporary colonisation processes. Here the specific context of the city of Venice and its materiality is used as a site for investigation.

Performed at the Material Encounters Conference at the Research Pavillion, Sala del Camino, Venice (2019)
AFTERWORKS

Through hosting, food and discussion AFTERWORKS aims to address normative historic structures and to rethink and reframe approaches to being together via specifically framed encounters. AFTERWORKS grew out of a desire to engage with art and audience specifically but not exclusively through food and commensality; seeking meaningful relationships and dialogues with local material, artists, audiences and social initiatives. Most recently AFTERWORKS have specifically been looking at the role of food and eating in historic and contemporary colonisation processes.




Rose Borthwick

Kjell Camihna

Andreas Engman