The palette and the two kingdoms

Tom Young on ' bone; on the back its painting "Palette 1" 

Tom Young on ' bone; on the back its painting "Palette 1" 

To introduce wine and taste to the kingdom of images and art can sound heretic for some art academics.

And yet it can be more conceivable in a period where images are disseminated in our everyday life meanwhile the taste – historically relegated to a mere body perception – seems to experiment a new season approaching to art, aesthetics and philosophical praxis.

Just look at the experimental map of thinking and creative process that chef-philosopher Ferran Adrià has been able to develop with his ars combinatorial of food and thinking, assumed as a case of “applied philosophy” by the American philosopher Jessica Jacques. Or how wine –due to the fermentation process and its long shelf life - can be likened to an artwork, as argued by Italian philosopher Nicola Perullo in his work Per un’estetica del cibo.

What is certain is that in the last two decades an unprecedented charge of words have been media–wide studded with the question of taste related to food and wine in exponential issues of magazines, TV formats, broadcasting and blogs…

And well, considering the millennial timeframe of the entire history of visual art, such emerging of the taste in the field of art occurred like an eruption. It seems just like to hear a whisper voice after more than two thousand years claiming for a misunderstood kingdom, asking for the acknowledgment of the taste as one of the important maps of the human cognitive process.

Wissam Shaabi (on the left) talking with Christopher Ibrahim (musician) about its series ink and watercolor "Vision trough wine"

Wissam Shaabi (on the left) talking with Christopher Ibrahim (musician) about its series ink and watercolor "Vision trough wine"

Assuming the metaphor of the visual art and the taste as two kingdoms can be interesting imagine the genealogy of power that liven them up.

If we look to the history of images they appear animated by an endless fight for their existence. Edification and dissolution of images, Dedalus and Narcisus appear like the two side of the same coin: the possibility to be or not to be of the kingdom they belongs.

On the other side, looking at the taste, we perceive a history of usurpation instead of a battle for the right to exist. This suspect generates first from the language, where we use the term “taste” with two different meanings:  taste as physical perception and Taste as expression of the preferences for different manifestation of art, esthetics or life style.

In his book “De Gustibus” the Italian researcher Gacomo Fronzi, presents some of the most relevant theoretical moments of the development of philosophical analysis related to issues about food, nutrition, gastronomy and cuisine. Introducing the cognitive approach elaborated by the American researcher C. Korsmeyer, Fronzi underlines the paradox she highlighted: in art and esthetics we express our parameters lending the term from the palate; how odd that at the same time, we are banishing the taste as physical perception from the esthetic knowledge! 

The question is full of implications and worthy to be studied in another context than a blog.

Meanwhile we suggest to adopt an aware attitude keeping in mind that the “objectivity” of our perceptions is something historical and it comes from the endless battles among images, tastes and words. This will maybe reduce the idealization of pure kingdoms origin but it will give us more chances to go through the secret passageways among our perceptions, being open to their new possibilities.

That is also why we always recommend to watch at images with a glass of wine! :)

Carmen Yahchoucky (on the left) next to her photography "Victoria"

Carmen Yahchoucky (on the left) next to her photography "Victoria"