《食欲的形状》/ Shape of Appetite (2017)
单频录像及墙纸，彩色，有声，尺寸可变，28 分25 秒/ Single-channel video, wallpaper, color, sound, 28’25”
食雕使用蔬菜和水果来模仿美丽事物的造型，但并不食用，作为装饰它仅有美学价值。同时其手工繁复性需花费大量时间，因此在追求效益最大化的资本主义逻辑下苟延残喘。为此我们拜访了不同类别的餐饮从业者: 高资历的中餐总厨，专注食雕的“花王”（食雕师傅）， 分子菜厨师，90 后厨师，餐饮培训班教师等。这些人中，有的见证了饮食行业的兴衰起伏，有的正在思考如何应对市场化的冲击，有的在谈论“新派”与“传统”，有的是打工一代的众多离散故事中的一个缩影。与此同时，也不难发现厨师行业中以男性为主导的职业结构现状。
Food carving is the art of carving vegetables and fruits in order to form beautiful objects. These objects are decorative and not for eating, therefore they only have an aesthetic value. Meanwhile, the complexity of food carving manually takes a lot of time, it’s difficult to survive under the capitalist logic of maximizing efficiency. We visited different kitchen practitioners: Chinese cuisine senior chefs, “Food carving masters”, chefs of gastronomie moléculaire, post-90s chefs, catering training teachers and more. Within the different kitchens, we listened to how some have witnessed the rise and fall of the catering industry, some pondered on the answer to the impact of marketization, some discussed the “nouvelle” vs. “traditional” cuisine, and some told stories about the scattering of multiple family members due to the the migrant worker generation. Meanwhile, it was not a surprise to find that the occupational structure of the catering industry is still dominated by males.
From the description of the interviewees we could see how the catering industry has been directly and indirectly affected by changes in national policies, demographics, and markets in China, within the context of a gradually growing material culture in China over the recent decades. We could also see how the aesthetic of Food styling responded to the influence of western catering culture during globalization. We tried to understand the structure of consumption aesthetics from their point of view, and asked questions about the consumption demand and aesthetic change in diet within the context of rapid economic development.