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Québécois cuisine in New York hasn’t been the same after M. Wells Dinette closed in Long Island City. But wait, the boîte will be resurrected as the new cafeteria-ish eatery at MoMA’s hipper sister in Queens, PS1. Sure, Rirkrit Tiravanija’s curry kitchen, aka “Untitled (Free)” (1992), is feeding gallery goers at the MoMA mothership on 53rd Street, but anyone can eat Thai nowadays. Québécois is what all the cool kids are doing. C’est super cool!
Chef Hugue Dufour and his wife Sarah Obraitis (psst, she’s American and not Québécois) are the masterminds behind the small joint that captured the stomachs of New Yorkers and even mustered a spot on Bon Appétit‘s Top 10 New Restaurants in 2011 list before it closed. Its menu featured concoctions that sounded more bizarre than they were, like General Tso’s sweetbreads and maple syrup coleslaw (FYI, French Canadians are obsessed with maple syrup, some proof).
«La salle à manger sera dans une salle de classe, les gens feront face à la cuisine au lieu du tableau et les plats seront servis sur des cabarets avec des compartiments de style boîtes japonaises Bento. Ce sera une expérience complètement différente de M. Wells, même si nous garderons certains classiques. Nous voulons aussi explorer la cuisson sous vide, qui n’est pas tellement exploitée à New York.»
Translation from Québécois French: The dining room will be in a classroom, people will face the kitchen instead of the table and the dishes are served on trays with compartments in the style of Japanese Bento boxes. It will be a completely different experience than M. Wells, even if we retain certain classics. We also want to explore sous vide cuisine, which isn’t much used in New York.”
This isn’t the first time M. Wells Dinette has worked with PS1. Last December they hosted a winter carnival at the LIC institution (again, how Québécois). Klaus Biesenbach, director of MoMA PS1 and chief curator at large of MoMA, is quoted in PS1’s press release as saying:
“In our growing emphasis on presenting all aspects of contemporary practice, MoMA PS1 is welcoming M. Wells as adding the experience of innovative and excellent food to our offerings of contemporary art, performance, experimental architecture, music, fashion and design.”
Oh, goodie. No word if Rirkrit Tiravanija’s curry kitchen, aka “Untitled (Free)” (1992), will be opening up a LIC franchise to compete, maybe they can open a food court! Je l’espère!
Original image via Lame Adventure
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…