La Grande Bouffe

Marisa Laurito has two large installations whimsical and cheerful just like
the author can be.
Works, those that have the flavor of the criticism of the new trends in taste, but also detect the game amused irony, satire and for once it is not addressed to politics, to the world
patina, or at least not exclusively to it, but involves us in person,
leading us to question ourselves about ourselves and especially about our habits.
She combines his two great passions, namely the kitchen and the art; the first
installation is titled The big Bouffe, a real restaurant recreated to perfection,
complete with tables and teaches input.
Marisa Laurito also seek to overthrow the dogmas imposed by a fashion far
shareable, that of chef-stars which make the taste and flavors to traditional
pack with colors and images a raised pot to artistic monument.
The award-winning images of these characters appear, almost as Renaissance portraits
rich and powerful landowners, on the walls of the restaurant, to complete
a speech that can not be more than consistent.
Marisa Laurito tries to return to the purity and simplicity of a convivial moment
and recreation as being at the table emphasizing precisely what most away
from this.
In the restaurant, it recreated as a concentrate of contemporary errors, see
placed three tables, which represent, in some way, the window of habits and thoughts
more and more generalized. At the first table, the viewer will face
a dinner table well prepared, with refined and elegant services, but to catalyze
all the attention will be a strawberry cyclopean proportions than the flat
from which it rises.
Undisguised criticism is the whole front of the excesses, who on the one hand wants
vegetables and fruits are the exhibits and that the market chooses what
which impresses with its appearance; who apparently aims, metaphor for an entire generation
exaltation of the ephemeral.
More specifically, however, this giant strawberry is also a sneer amused
a whole generation of GMOs, genetically modified organisms.
The big strawberry, on one hand recalls the fight against GMOs and all that
falsehood inherent in wanting the beauty in what we eat - binding quality
apparently, bond which almost always proves to be illusory - this is the other
opposed to the minimum flow rates that are presented in the luxurious restaurants
international reputation.
It is this concept evoked by the second table in which we see in the pot
only three sad spaghetti tomatoes. In front of it and an emaciated girl
gaunt created by Luigi citarrella is about to eat.

The six paintings by Salvatore Ruggeri extraordinary irony immortalize portraits, from eighteenth century taste, known for award-winning chefs and icons of the current culinary trends. In their clothing is
characterized by mocking opulence, grace and joyfulness and brightness and betray a
sense of frivolous affectation. The vests, embroidered with threads of gold and silver, reproduce
reasons so sophisticated and imaginative look like real paintings. This mocking
opulence intends to mock contemporary consumption patterns, the prevailing
food fads of our nation which clash with many countries and social realities
totally lacking basic necessities. Here's how the faces of famous chefs
Carlo Cracco, Gordon Ramsay, Davide Oldani, Gianfranco Visscher, David Scabin
Ettore Bocchia, act as ambassadors of new practices and phenomena such as cooking
nouvelle cuisine, the biological and molecular cuisine. Think of it,
which has become a science that, starting from the observation of molecular behavior
food during preparation, allows to transform the molecular structure
food without using chemical additives. A very practical
widespread in Italy, which saw the same Ettore Bocchia be great supporter,
so as to draw up the manifesto of Italian molecular cuisine. It is jarring and wanted
ironic contrast between the portraits, the pageantry of the furniture, the compositions of fine foods
and fiberglass sculpture of Louis citarrella that the contrary is a gaunt
Guatemalan girl, sitting at a dietary meal on a stylish,
precious table. So, once again, the art is a painting of Salvatore Ruggeri
most of that accusation, of participation, of lucid and ironic denunciation of the problems and
behavior of the contemporary world, which leaves the feeling of an audience
attentive freedom to think and to judge.