请登陆我们的网站首页  VISIT THE MAIN HomeShop SITE

Posts tagged ‘食物 food’

For the next meeting of the Happy Friends Reading Club, scheduled for 3pm on Sunday, November 27th at HomeShop, we are reading two short texts, “On Potentiality” by Giorgio Agamben (2000) and “Time, Acceleration and Violence” by Franco Berardi aka Bifo (2011). Please inquire to receive texts.

For those who are interested, immediately preceding this meeting will be an edition of “Brunch Club,” (more info to follow) and hopefully some overlap will occur… but potentiality in cooking doesn’t mean you’ll go hungry!

为了庆祝这周末的万圣节,“晚餐俱乐部”暂时变成“早午餐俱乐部”啦

BOO! To celebrate Halloween weekend, Dinner Club is dressing up as Brunch Club!

来和我们一起享受一顿自家的秋日早午餐!10月30日周日11:00-14:00,家作坊不见不散!
Please join us for a Fall inspired, homemade brunch on Sunday October 30 from 11 until 2 at HomeShop.

菜单中的食材全部为有机蔬菜,其中一些是绘美从润田农场新鲜采摘回来的,一些是从北京有机农夫市集中认真挑选的。当然,咖啡和鸡尾酒也是必不可少的!
Our menu is conceived around organic vegetables either freshly picked by Emi at RunTian Farm or carefully selected at the Country Fair, Beijing’s farmers market. And of course, there will be coffee and cocktails!

菜单 Menu

  • 咖喱胡萝卜和鲜梨沙拉
    Curried Carrot and Pear Salad
  • 绿植奶酪煎蛋饼 Greens and Cheese Frittata
    (土鸡蛋,奶酪,深秋绿植烤面包 Local, free-range eggs, Le Fromager du Pekin cheese, late Fall greens baked with bread)
  • 南瓜油炸馅饼 Pumpkin Fritters
    (既提供加醋与自制腌菜的日式风格也提供加酸乳酪的美式风格 Served both Japanese-style with vinegar and housemade pickles and American-style with sour cream)
  • 苹果咖啡蛋糕 Apple Coffee Cake
  • 红葡萄酒巧克力蛋糕 Red Wine Chocolate Cake

价格调整 Prix Fixe, 100 RMB/人
  • 咖啡 Coffee, 20 RMB
  • 血玛莉酒 Bloody Mary, 40 RMB
  • 密莫萨酒 Mimosa, 40 RMB

—–

交道口北二条胡同8号 [地图]
HomeShop is located at Jiaodaokou Beiertiao No. 8 [link to MAP]

Please RSVP!

请于10月29日下午两点前邮件预订。
Please make a reservation by 2:00 p.m. on Saturday, October 29 by e-mail.

Visibility/publicity……….可见性/公共性
Michael EDDY (问题/questions) & 麦颠 MAI Dian (回复/responses)………[节选/excerpt

Does the way in which we live have to be visualized? Of course not; but it seems that visibility is an important part of both art and activism.

How do both art and activism approach a public?

我们生活的方式必须被显现出来吗?当然不是;但是可见性似乎对艺术和行动主义都很重要?
艺术和行动主义如何走近公众?

我相信,传递欲求很普遍地发生在几乎每个人身上。行动主义,即便是最个人主义、无政府主义,更愿意实现一种与他人心灵感应的人也期望得到同情。这从无政府主义的自我独立表达的小册子和独立媒体可以看出来,无论其所能涉及的“公共范围”有多大。而对于其他政治色谱的大多数运动者而言,社会动员是重要手段,动员公众的支持与参与非常重要,相应的,媒体对其而言总是重要,尤其来自大众媒体的报道。假如我们将“上访”看作是一种具有中国特色的行动主义,我们就可以看到,这样的行动多么依赖于媒体,以至于将记者或知名人士/意见人士看作是人士的救命稻草,希望它们的报道与发言能够形成一种社会压力,因为,对于他们而言,这是一种可以将自己的“冤情”传达到清廉的上层的特殊途径。

同时,我想,绝对“自言自语”的艺术几乎是不存在的。一个艺术家在工作室里进行文本图像声音创作时可以在某种程度上看作是“自言自语”,但一旦作品出了工作室,那它就不得不面对公众—不管其所面对的公众数量与范围有多大。这个时候,作品甚至都“不再属于艺术家本人”了。宫廷艺术家为皇帝服务,宗教艺术家为上帝服务,那么现在呢?中国的艺术家大部分为市场服务,或者为一个值得怀疑的所谓集体名词“消费者”服务。最新的一期《新周刊》的封面主题便是艺术的“兑现主义”。这个过程中,艺术不仅不避讳,反而使劲浑身解数,要俘获“大众”:物的艺术化,艺术的物化,去政治化,“创意”产业化。

即便是一种所谓的激进的政治艺术,大家也没有想过避免大众,相反,他们也在以自己的方式解释“为人民服务”, 比如戈达尔。东湖艺术计划的被发起的目的,是因为寻求在主流媒体与本地媒体被审查的新闻与事实,能够藉由另一种语言与信息通道—艺术的语言—从审查里挣脱出来。这个信息会发散到什么程度,不会有人保证,因为艺术毕竟在某种程度上“特殊的语言”。计划的发起人之一李巨川是戈达尔的爱好者,另外一个发起人李郁也是戈达尔的爱好者。李郁自己的摄影作品,是通过对新闻再现(news representation )的再现(representation of the news representation) 来试图反诘主流的媒体话语。他将类似的手法应用了东湖艺术作品中。对地图再现的再现(representation of map representation),不仅历史和媒体说谎,地图—-在某种程度上拥有科学的威严—同样也在说谎。那么,这种通过画面(照片+装置)展现出来的的艺术语言,会在哪些媒介上,被哪些人所接受?事实是,艺术媒体或者研讨会,讨论会。而接收者大多数是接受过专业艺术训练或者有所阅读的业余爱好者。艺术所能影响到的,可能只是一个“公众”集合中的少数人(甚至这些人具有某种专业主义倾向),更加无奈的现实是,艺术所关注的事件的直接“当事人”,比如,失地的农民,明确地告诉我们“看不懂”。

当然,看不懂的,不仅仅是艺术,即便是“我的东湖”网站上的文章(试图从各个方面去论证开发的不合理性,并揭露开放过程的野蛮性,暴力性,反民主性等等),农民也表示看不懂。所以,艺术和行动主义在如何接近“公众”的问题,面临着许多我们所谓的沟通的障碍。这沟通的障碍,不仅仅是“语言”与“言语”的问题,也与价值观、直接性、以及大家对一个“复合”问题的关注点的差异相关。对于农民而言,他们需要直接的语言,也依赖于一种最简洁的逻辑:“地被夺了,需要赔偿,赔偿需合理”(且“和平”)。

而艺术和行动主义的焦点,大多数则在“规划民主”,“环境保护”。这里存在一个巨大的断裂带:多数农民并不愿意继续耕种,保存其土地,只是希望赔偿更合理。而环保,则希望保存耕地/渔场与湿地,农民的补偿问题被弃置一边。关于“公共空间”的争论,焦点集中于“民主”,并不是“公共空间”是一个什么样的空间:公园与湿地,哪一个更“公共”?因此,艺术在这里的问题是,究竟它是进入了一个所谓的“事实”,或只是将一个“事实”作为一个政治观点的现实证据?

等等。

行动主义和艺术在某种程度上都是对媒体开放的。这是往往其通向公众的一条重要途径。当然,这里面有很多的问题会在现实中分裂出来。

Do we need to produce things—models, discourses, trains of thought, if not outright objects—because of this program of visibility?

我们需要因为可见性的要求而制造些什么东西吗?即便不是有形的东西---如榜样,研讨会,思想训练等?

是否需要? 回想起过去的一些经验,我的问题可能不在于是否“需要”, 而是“如何”传递以及传递“什么”信息—-既然传递欲望是不可避免的,且现实中,我们也未曾“一概”避免。而且,这只是我们一厢情愿,从我们的角度来看这个问题。另一厢,Visibility/publicity本身也包括了其他的面向:visibility,除了所谓的亲密关系的范围,以及个人以DIY伦理自我表达,若是要面对所谓的大众媒体(无论是官方媒体还是商业媒体。中国并没有真正意义上的“公共媒体”—所以不便加以评论),那么它的“可见性/公共性”的生产机制是什么? 大众媒体出于什么动机要报道和传递“this program”? (某)艺术又如何籍此扩展其范围?其意义是如何发生外溢的?这个过程当中是一个“有选择的过程”,其结果是选择后有特定导向的结果吗?它是抱着“启蒙”的目的?或满足一种“满足与快感”的需求,还是其中包含着两者兼有的一种所谓的曲折的策略?也许,这需要细致且谨慎地考察媒体的话语生产。

那这所谓的visibility又是怎样出来的?是因为distinguishability?比如,我们这里所关注的“食物”,就其生产方面而言,它是否提供了一种对当前食物生产模式与安全危机的替代方式,甚至是现阶段一个可靠的an alternative to instead of capitalism for the future? 或者,它只是中产阶级的休闲方式,其意义和“农家餐馆”甚至“高尔夫球场”,旅游胜地并没有根本区别,它是新的fashion(就像记者总是以为的“时尚达人”,或者,通过“时尚达人”才能报道—-政治是要避免的)?

那么,这个program是怎么样被看的(how is it seen by the others, including media?) 如果你拒绝开放你的园子,另当别论。但如果你开放,那么你的生活(或者说实验)会如何被他人所解读,所阐释?你的实验可能的结果,常常被他人输入另一套(或者多套)话语模式,是不是?怎么来处理这样一种局面—当误读(misrepresentation, 且不说ignorance)?当然,这里需要往前追溯一下,即,在出发点,你打算想将你的生活方式当作一个开放的艺术品,放弃意义的所有权,对所有人开放?还是打算我应该说出我自己所想的(因为你已经在做你自己想做的)?完全的开放,可能会有危险,即所谓的“收编”。比如,被一家以lifestyle为主的媒体将你并置在咖啡馆、购物广场、美食以及美甲店或者创业成功案例的页面之间时,你的感觉是怎样的?

按照结构主义的逻辑,如果你自己不说话,那么,社会结构就会替你说话。

++++++

Does the way in which we live have to be visualized? Of course not; but it seems that visibility is an important part of both art and activism.

How do both art and activism approach a public?

I believe the desire to transmit occurs in everyone. As regards activism, even the most individualistic anarchist or the individual preferring spiritual connection long for sympathy from others. This is reflected in self-expressive anarchist brochures and independent media, regardless how large its public sphere extends. Yet for other social movement actors, social propaganda is a crucial tool, as the participation and support of the public is important, correspondence with media likewise, and especially reports from the mass media.

Viewing petitioning as a form of “activism with Chinese characteristics,” we see how much these actions rely on media. To the degree that reporters and opinion-makers become the saving straw for petitioners, hoping reporting and giving-voice can form and inform social pressure. For them this is an exceptional way of transmitting their “grievances” to the uncorrupted political upper classes.

Meanwhile an art characterized by absolute auto-discourse doesn’t exist. An artist working with text, images, sound in own his or her studio can be viewed as one involved in an auto-discourse. But once the work leaves the studio then it must face the public, again, regardless of the number or extent reached, which is out of control. The work no longer belongs just to the artist. Court artists served the emperor, religious artists serve god, and the majority of Chinese artists now serve the market, or some dubious “consumer,” an abstract collective. The newest edition of News Weekly consequently featured art’s “contractual fulfillment” on its cover. In this process, not only does art shun the taboo of the mass, on the contrary, it tries with all its might to enslave the mass: the artification of the object and the objectification of art.  De-politicization and innovative industrializing.

Even in so-called radical political art, artists don’t think about avoiding the public/mass. On contrary, they are defining “serving the people” in their own ways, for example Godard. The purpose of East Lake Project was focused on the liberation of censored contents through a different language and information channel, namely the language of art. The extent to which this information will circulate, no one will know, because art to a certain degree is a special discourse. One of the East Lake Project initiators, LI Ju Quan is a Godard fan, as is the co-initiator LI Yu, whose own photo work involves the subversion of mainstream media discourses through “representation of the news representation.” Employing similar means for East Lake Project, concerning “representation of the map representation,” showing not only history and media are lying, but also the map, which assumes the authority of science. Therefore, this art language manifests through image: what kind of media/people will find this language acceptable? In this case, photo + installation. The fact is those who accept these are art media, symposiums, seminars, workshops, in other words circulating within its own sphere. The majority of recipients received professional art training or make up amateur art readerships. Interested population more likely limited to a minority of the public. These people might have an inclination to professionalism. More disheartening are the responses of the protagonists of those events that this kind of art concentrates on, for instance the farmers who lost their land, who unambiguously and emphatically tell us they don’t understand.

Of course art isn’t the only incomprehensible thing. The articles on “My Donghu” website [wmddh.net; currently inactive] are just as incomprehensible: trying to demonstrate irrationality of the project from different angles, to reveal barbarism, violence, antidemocratic tendencies within the area’s development. So the question how art + activism approach the public while facing a so-called communication barrier is not only a matter of discourse and language but also of the value standards, immediacy and difference intrinsic to people’s opinions concerning a compact issue. The farmers, they need direct language, and the simplest logic: land is taken away, compensation is needed, such compensation should be just (also in a peaceful manner).

Yet the focus of art and activism in the main is concerned with regulative democracy/environmental protection (ie. the bigger issues), and here exists a big gap with the farmers. Most of the latter do not want to keep farming, and preserving the land is only a means or way to bargain for more compensation. Those who commit to environmental protection want to preserve arable land/ fisheries/wetlands and therefore the problem of compensation is suspended. The debate concerning “public space” is focused on democracy, not on the question of what kind of space is the public: parks and wetlands, which one is more public? Therefore the problems for art to investigate are whether art itself has become a “fact” or whether it is just using a fact as evidence for a political view. Activism and art are to a certain degree open to the media; this is a crucial path to reach the public. Of course, many singular problems will multiply into a plethora in reality.

Do we need to produce things—models, discourses, trains of thought, if not outright objects—because of this program of visibility?

Do we need it? Let’s recollect past experiences. Our problem may not lie in whether such undertakings are needed, rather the how of transmission and its what. Since the desire of transmission is inevitable, in reality we have not altogether avoided it. Furthermore, this is just our wishful thinking. On the other hand, visibility, publicity themselves have other facets. Visibility—other than its so-called sphere of intimate relations and the self-expression through DIY—if they are to face so-called mass media, what would their production organism be? What would their visibility/publicity production mechanism be? (note: If they are to face so-called mass media, be it official or commercial, China does not have “public media” in a true sense, so we can’t comment much about that.) Out of what motive would mass media report and transmit “this program”? How can a certain art extend its sphere of influence through this, how can its significance exceed its boundaries? Of course, there is a process one could choose, yet the result is the outcome of specific channeling (manipulation). Does it possess a goal of enlightenment or satisfy a demand of fulfillment and pleasure, or maybe it is a roundabout strategy that incorporates both. Perhaps this demands a meticulous and conscious investigation of how media produces discourse. How does this visibility come about, is it because of distinguishability? For example, the food we are concerned with here, in terms of its production, has it produced an alternative for the prevalent mode of production and its consequent safety crisis? Or is it just a reliable alternative, or a form of recreation for the bourgeoisie—then its significance at bottom is not so different from “farmers’ restaurants,” and even golf courses, and other tourist sites. It is  the new fashion (which has little to do with politics).

How is it seen by others, including the media, if you refuse to open up your garden, is a different issue, but if you do, your life or experiment will be interpreted/defined by others. The result of the experiment will often be imported into another mode of discourse, no? How do you solve this state of misrepresentation let alone ignorance? Of course, we must backtrack a little, to the the point of departure, which is the question: do you want your lifestyle to be an open work of art? Thus relinquishing your authority over its meaning, or do you want to do just as you think (because you are already doing what you want to do). Absolute openness can be dangerous, danger lies in being subsumed/coopted. For example, when media who features lifestyle puts you side-by-side with coffee shops, shopping malls, cuisine and nail salons, and other cases of entrepreneurial undertakings, how does that make you feel?

According to structuralist logic, if you do not speak, then the social structure will speak for you.

《你吃了吗?》是一篇有关农业以及食品生产和消费的艺术家实践汇编。本汇编相当于一个 数据库,其目的是帮助人们收集,对比,和学习这些艺术家的实践,意图,方法,社会网络。它是一 个正在进行中的列表,这一列表是在中国的语境和可获得的信息条件下为《市集/Country Fair》项目 所做的。但它也寻求这类实践的国际信息。本汇编在网络和市集上都可以找到。 因为这类艺术实践在现代艺术中谈及的较少,所以本数据库是很有必要的。颇具讽刺的是可及性还是许多这类艺术 家的项目所关注的。泛泛地说,虽然这些艺术实行常常跟本地环境、经济和社会体 系有关,但是它们大部分也关系到共有知识网络,在许多情况下 也巧妙地,综合地使用了科技手段。 当 然,艺术家个人网站上的信息是更深入的;《你吃了吗?》只是走近他们工作的一个切入点 。

“Have you eaten yet?” is a collection of artist practices that work with farming and food production and consumption. It is meant as a database to find, compare and learn from these art practices, and their intentions, their methods, their networks. This is an ongoing list being compiled for the project Country Fair, within the context of China and the information available here, but it seeks to connect information of these practices internationally. It is presented online as well as at each Country Fair.

请访问! Please visit!
http://www.homeshopbeijing.org/nichilema/

Walking around the church grounds, one step after another is fluffily soft; feeling microorganisms living underneath. Someone mentioned that perhaps a graveyard is the most nutritious and healthy environment to grow plants, on which no one has spread chemical pesticides. Sometime in the 16th century, the cemetery of St. Andrews church in Coniston, England was established to accommodate the practice of burying dead bodies. No records of death were kept, and it was long before the current church was constructed in 1819. According to the vicar Mark East, the first appearance of gravestones was around this time; in order for the family of the deceased to express wealth and living history, a visualization of death was constructed and carried on as a conventional wisdom.

“There is no wealth but life,” were the words of John Ruskin, the great thinker and early pioneer of ecology, who from 1900, the year of his death, also sleeps at grave #172 at St. Andrews church. He had spent his later years in Brantwood, his house overlooking Coniston Water. During this period, he published a monthly series called “Fors Clavigera: Letters to the Workmen and Labourers of Great Britain”, which took a form equivalent to the Blog in today’s terms, predicting the effects of industrialization on the natural world, and devoting his writing to his social reform crusade.

Although the issue of social inequality was addressed to the factory workers around the time of the Industrial Revolution in Britain, it hits a sore spot in current society. Coniston presently engages with tourism on industrial scales: the town is surrounded by nature, and 40% of the local population is composed of holiday homes; sheep farmers are subsidized by the government to maintain heritage varieties; people are generally “well-off”, so consequently isolation in one’s own individual interests cuts off engagement in village culture, and it interferes in local food production and distribution. In this context, small local farmers went into bankruptcy because of the price control of multi-national corporations, better able to service the high turn-over rate of tourism. Urban agriculture and the allotment system are very popular community models elsewhere in England, but in a place like Coniston they are not the custom.

Well then, how can we (artists) revitalize the idea of village food production, and maybe thereby revitalize the village? Together with Grizedale Arts, we proposed to the Church Council of Coniston the idea of growing vegetables on John Ruskin’s grave at St. Andrews Church.

“…six feet square, if no more can be had, — nay, the size of a grave, if you will, but buy it freehold, and make a garden of it, by hand-labour ; a garden visible to all men, and cultivated for all men of that place. If absolutely nothing will grow in it, then have herbs carried there in pots…” (John Ruskin 1874).

Taking his words seriously, this project is more symbolic rather than provocative, by growing food by hand to enrich the village with a group of locals.

to be continued…

///////////////////////////////////////////////

Grizedale Arts is a residency organization based on a farm in the centre of the Lake District in England. It tries to develop the way art thinking and art practice impact on society, through projects, exhibitions and events developed through an extended community of artists and creative people associated with it. Emi Uemura is a resident artist for Grizedale Arts 2011.


ずーんとみしらぬ大きなもの。植えたことさえ忘れていたとうもろこしをみたときここにいなかった30日分の太陽と雨と空気とかがすっかりかたちになったことに気づいた。とそんなことはおそだしで今つけたしたが。そのすぐそばには空心菜が一面を多い、おいしい実りをつけているはずの豆類は跡形もなくなっており、レタスが上に伸びてかっこう悪くなっており、シソがものすごく幅をきかしていてその影で凛としたたたずまいでオクラが3本。じゃがいもはまだ地中ですごしているようだし、トマトは大暴れの雨や風邪にひやかされながらも真っ赤な実をいくつもいくつもつけていた。雑草達はゆかいそうにきっちりとびっちりと意気投合したよう。ピーマンと辛いピーマンはみごとなもの。なすびは規格サイズくらいなものから巨人クラスのものまでさまざま。きゅうりはビールッパラの下膨れ何がどうなったらこんな形になるもんだか、きゅうりってすらっとしていぼいぼの予定だったんだけど。6月上旬にとれていたズッキーニも見当たらない。ダンミンとチンサン(畑の相棒)によるとこの夏は雨だらけ、幾度も雨。そういえば今日も寝ている間ものすごい音をたてていたかしら。そんな中でも7月の日历餐厅では新じゃがでニョッキ、バジルソース、菜園サラダ、オーブン野菜、スコーンとラズベリージャムフロムUK plus wine and teaで目もおなかもみたしながらもお天気予報お姉さんと農夫がする”天気と野菜を育てる話”に耳とこころをかたむけます。(google translate will offer no help for this article).

2011年7月的雨水多得超乎想象!

7月1日  雨

7月2日  中雨转小雨 收紫甘蓝,拔草,松土,两周前洒的白菜长了,不过很多叶子都烂了,因为种植太密,架不住一场雨一顿阳光,下涝上烤,自然扛不住;洒白菜籽,未浇水~回家的路上开始下雨。

7月5日  阴转阵雨

7月6日  雷阵雨转多云

7月7日  雷阵雨 趁凉去小毛驴农场,发现地里的玉米倒了一片,有好几棵都抽穗长苞了;emi的小西红柿被直接拍地上了,估计命不久长,紫甘蓝姑娘们雨淋日晒后脸现溃斑,芳华尽逝;劳作一天,深刻体会看天吃饭农民之苦。

7月11日 多云转雷阵雨

7月12日  雷阵雨转阵雨

7月13日  多云转雷阵雨 田间劳作

7月14日  阵雨转多云 入伏第一天   植村绘美同学从伦敦回京。

7月16日  多云转雷阵雨 有机农夫市集马甸集。11:00植村绘美同学在交流讲座环节跟大家分享了伦敦墓园种菜的有趣经历。

7月17日  阴转中雨 晚7:00,北苑路北,植村绘美与方丹敏讨论日历餐厅本月活动。讨论最多的是:多雨的北京,对有机生产者来说意味着什么?对有机销售者意味着什么?对有机消费者又意味着什么?

7月18日  中雨转阵雨

7月19日  阵雨

7月20日  雷阵雨转多云

7月21日  雷阵雨 下午四点,植村绘美与方丹敏在小毛驴农场,刚干了一个多小时活,开始打雷,又要下雨了。

7月22日   雷阵雨 凌晨的窗外,正在打雷下雨

7月23日  (预报)晴转雷阵雨

7月24日   (预报)中雨转阵雨 我们将在哪片有雨的云下收获蔬菜?又将在那哪有雨的云下吃饭?

七月日历餐厅活动主题,是从那湿漉漉的地里拔了新鲜的蔬菜(因为雨,有一些不太好看),让这些蔬菜传达给我们当月大自然的信息。我们其实很希望有气象达人来跟我们分享一下雨量多少与大气环境或自然环境变化的关系,让我们的眼界从小小的餐桌延展到更广阔些的地方去。我们也希望能邀请 一位在有机耕作中兼具种植与销售经验的人,给我们讲讲如何认识消费者心理的故事(这两位的活动免费,我们还会提供少量的市内交通费)。气象达人仍然在寻找 中,请大家积极艾特@哦,如果气象达人们实在都没有空,我们就自己边吃边聊吧。

我们的厨子除了植村绘美同学,本月流动厨子(moving chef)是@海花胖蜗牛厨房 的海花胖同学,她也是日历餐厅6月活动的参加者。以后我们每月都会邀请一位流动的厨子,当然,每一位前来参加活动的同学都有机会一起共做一道菜。

7月的菜单/menu

–  蔬菜沙拉, Tomato,Cucumber, Shiso(紫蘇)salad

–  意式(新鲜土豆)团子, Gnocchi (with fresh potato)

–  巴西沙司, Basil sauce

–  烤茄子,辣椒,  Roasted eggplant, green pepper

–  空心菜, Konxincai dish

–  腌紫苏(保鲜技巧), Salted Shiso(紫蘇) (preservation technique)

–  覆盆子司康(用于做此甜点的覆盆子酱来自圣安德鲁斯大教堂,关于此果酱的故事emi已在市集介绍,没听到的同学可以餐间随时问~)Scone with cream and Raspberry Jam from St. Andrews Church

– a glass of wine and tea   一杯酒 / 茶

////////////////////////////////

活动时间:2011年7月31日 晚18:00-21:00

活动地点: 交道口北二条8号,家作坊
地图 MAP: http://maps.google.com/maps/ms?ie=UTF&msa=0&msid=217570249394613675179.000497a945f6f4b280f37

活动方式: 我们将邀请10位朋友,在日历餐厅以活动共享的方式,跟我们一起品尝我们种植的自然生长的有机蔬菜,交流, 互相学习, 我们可以一起做饭。请带毛巾和围裙

报名方式:评论回复微薄@日历餐厅报名即有效我们将从前往后确认到第十位,并在微薄@日历餐厅公布。如果收到确认信息因有事不能参加,请即刻联系告知,我们将及时把空出名额转到下一位。

鸣谢:小毛驴市民农园对日历餐厅活动的大力支持


感谢大家一直以来对北京有机农夫市集的关注和支持。

下一次市集将和远洋地产合作,6月11号星期六在CBD光华国际。届时将有20多家北京本地的农户、食品作坊、环保和三农NGO、艺术家和音乐家前来参加。您不但可以买到健康、有机、环保的农产品,还可以品尝到我们用有机食材制作的中西式美食、甜品和饮料(数量有限,欢迎您自带餐具)。同时,您还能在市集上了解与食品安全、环保、可持续生活相关的信息,让您吃得更放心,生活更低碳。市集志愿者的小厨房收入将会捐给日本和云南盈江地震灾区。欢迎您来市集了解更多我们在两地合作的NGO的工作。

北京有机农夫市集 / Country Fair
时间:2011年6月11日星期六 上午10点30至下午4点

地址: 远洋光华远洋国际
中国北京北京市朝阳区金桐西路光华国际AB座一楼 餐厅GORI前边,Costa Coffee附近
地铁站:10号线金台夕照 或 1号线 国贸。[map]
*备份空间时下雨
电话: 134 0105 6422(中文)/ 136 9363 9394 (English /日文)

豆瓣:http://www.douban.com/event/14076690/
微博: (http://t.sina.com.cn/1918547924
北京有机农场地图:http://pangbianr.com/farmmap.html

北京有机农夫市集 Country Fair
联系人:134 0105 6422(中文)/ 136 9363 9394 (English /日文)
farmersmarketbj@gmail.com

//////////////////////////////////////////

This month, Country Fair will be held on June 11th at the Guanghua International complex in CBD.  There will be more than 20 participating farmers, vendors, environmental and rural aid NGOs, artists, and musicians.  Come for fresh, healthy produce and snacks, and stay to learn more about the connections between agriculture and the environment.  Feel good about what you’re eating – meet your farmers!

北京有机农夫市集 /Country Fair
Beijing Farmers Market
Date: June 11th Sat, 2011   10:30 a.m.~16:00 p.m.

Address:  Office Park (East side of The Place)
Office Park, 1F Tower AB In front of Gori (across from Costa Coffee), Jintong West Rd, Chaoyang District, Beijing
Metro: Jintaixizhao on Line 10 or Guomao on Line 1.[map]
Phone:134 0105 6422(CH/EN)/ 136 9363 9394 (EN /JP)

Douban:http://www.douban.com/event/14076690/
Weibo: http://t.sina.com.cn/1918547924
Beijing Farm Map: http://pangbianr.com/farmmap.html

———————————————————————–

小毛驴市民农园 Little Donkey Farm
凤凰公社 Phoenix Commune
德润屋生态环境科技中心  De Run Wo

天福园有机农业 God’s Grace Garden

芳嘉园 Fangjia Farm
圣林生态农庄 Sun Lin Farm

特奥愛心农庄 Special Commune

国仁绿色联盟 Ground Green Union
小团山香草农庄(合肥)Hilltop herb farm

北京润田丰作科技有限公司
北京六合神州生物工技术有限公司
陈艳红(顺义)Chen Yanhong

AG天然主义专卖店
北京布乐奶酪坊 Le Fromager de Pekin
米酒先生 Mr. Rice Wine
手土义坊 Shou Tu Yi Fang
谢睿慈 Lily HSIEH (厨余垃圾堆肥 EM compost)
瀚海沙 Han Hai Sha
自然之友 Friends of Nature
达尔问自然求知社  Green Beagle

全球和平妇女 Peace Women Across the Globe
农业与贸易政策研究所 Institute for Agriculture and Trade Policy

吃素的 The Veggie Table (素食餐厅)
GORI
为日本地震灾区募捐
Mom China
and more

/// 联系方式 ///
北京有机农夫市集 Country Fair
电话:134 0105 6422(中文/English)/ 136 9363 9394 (日文/ English)
邮箱:farmersmarketbj@gmail.com

2011年1月6日,小寒的北京,凤凰岭的冬天。我们在小毛驴农场的地,正在休息。

2011年2月19日,雨水的北京。没有雨,晴!那片有树的地,仍在休息。整个2月偶尔会有雪下来,落在几排经冬的韭菜根上。其他,什么都没有。

2011年3月21日,春分的北京。暖和!我们到小毛驴翻地,太阳照得很热烈的时候,我们总在幻想,是否现在就可以播种?结果总被告知,到了晚上,此地依然零下。太着急了!

2011年4月5日,北京入春。当日,卫生部从北京、天津和河南等地区露天种植的菠菜中,发现微量的放射物碘-131。我们的韭菜,在那棵树下,开始逢春蓬勃。

2011年4月16日  小毛驴农场开锄节。韭菜茂盛,2011年的第一次收获,从它们开始。日历餐厅饺子工作坊,用收获的韭菜在开锄节包了120个饺子,扣除成本外的收入87元,捐给了
日本地震灾区的农民。四月也是播种季节:紫甘蓝、香菜、薄荷、小白菜、玉米、西葫芦、茄子、辣椒、西红柿、黄瓜……在这三十平米的树下,蔬菜们正在开大会..

2011年5月6日,立夏的北京。因为耕种,我们惊觉北京雨水之少,每次劳作,松土、浇水是重头戏。我们的菠菜转眼间就老了,香菜也是。西红柿开始爬藤开花,紫甘蓝张开大手兴
高采烈,茄子蔫头蔫脑,生菜老趴在地上装死……

2011年6月3日,芒种快要到来的北京。这一晚,我们邀请您,来到日历餐厅在HomeShop的家,跟我们一起分享:收获的喜悦与食物的历程。

因为参与了种植的经过,我们开始了解自然生长的蔬菜,从田间到我们的餐桌,需要时间,并非随时可得。方便消费,付出的代价,便是一切以速生为目的的:大棚、化肥、农药、添加剂、膨大剂……砰,西瓜爆炸了……

日历餐厅是一个慢餐厅,它什么时候开张,由地里的蔬菜说了算。这次,我们的地和蔬菜们讨论了5个月,终于决定:6月开张!好吧,欢迎你来!

Calendar Restaurant OPEN tomorrow! Please join us to share and exchange the natural way of eating through the vegetables of our garden.

活动时间:2011年6月3日 晚6:30~9:30
活动方式: 我们将邀请10位朋友,在日历餐厅以活动共享的方式,
跟我们一起品尝我们种植的自然生长的有机蔬菜,交流, 互相学习, 我们可以一起做饭。
请带毛巾和围裙。

/////我们的菜单/////

  • 播种for夏季日历餐厅
  • 一杯 葡萄酒
  • 萝卜意大利沙拉
  • 卷心菜春卷(with 法国奶酪+日本紫苏)
  • 韭菜鸡蛋蒸饺子
  • 小饭团

等等 and more!!!

////////////////////////////

Please email US for more information:
piatarorchestra [at] gmail [dot]com

地上On the ground:

玉米 corn and 南瓜 pumpkin competing over a rectangle of dirt revealed by the removal of a section of cement.

turtle den becomes a jungle, and potted plants struggle on. We think the clay-rich soil from the riverbed may not have been nutritious enough for some plants.

黄瓜 cucumber and 紫苏(大叶) shiso, like many other plants, are complemented by a deceptive and ubiquitous 杂草 weed.

Once these 杂草 weeds are removed, you can see how small these 紫苏 shiso plants have remained.

菠菜 spinach, 芝麻菜 rucola, 香菜 cilantro, and 杂草 weeds.

屋顶上On the roof:

(L) other 紫苏 shiso crops benefited from a transplant; (R) 秋葵荚 okra

(L) green beans and weeds; (R) small tomato plants and weeds

土豆 potato stacking: when the 土豆 potato plant pokes above the soil by about 20cm, cover it over again with more soil. The potato plant will revert to root state, and will grow more potatoes in a single area. This can be repeated again and again, forming a sort of potato tower, increasing productivity in one area by moving vertically.

The roof system simply uses a small platform to keep the boxes from direct contact with the roof, over areas supported by structural walls downstairs.

变形Transformations:

The 南瓜 pumpkin grows out of its area, and needs some structural support.

南瓜阶梯 The pumpkin ladder.

Digging down halfway, we find the 堆肥compost in the white pot has produced 好的土good soil. It is used to fill a box for a transplant.

Behind the ecstatic 南瓜 pumpkins are three 西红柿 tomato plants that need to move out.

甜菜根 Beets also need more space, and are transplanted to a larger area.

A transplanted 南瓜 pumpkin pouts. Notorious over-achievers (in German: streber). A question that comes to mind: Even if we are successful, what happens to all the stuff that is produced day after day—ideally becoming more healthy soil in the process—but still, basically dictating a general structural expansion, expansion of material, surplus, excess. Where does all this material go? Can we ever really generate a system that recycles? Or do we constantly need more land to exploit, more time, more converts? This in a way illustrates the paradox of self-sufficiency in the city. Surplus is the norm, in fact. Implying: we must go beyond ourselves..

See how other people do it:

花flowers

Get the Flash Player to see the wordTube Media Player.

The HomeShop farm continues to gain momentum! Some updates…

potato minimalism with neighbor seedbed (葫芦 hulu, 丝瓜 sigua, 南瓜 pumpkin), compost pumpkin seeds (in wood box, foreground) and stubborn tomato starter seeds in leftover takeout.

The permanent compost facility before (left) and after (right). (On far left you can see basket containers we picked up from fruit vendor, they were mango boxes.)

豆子 Beans. (type?) and maybe grass. Or 芝麻菜 arugula.

甜菜根 Red Beets

龙蒿 Tarragon

???

Turtle den with 大葱 onions, 葫芦巴 fenugreek and various seed pots.

Double decker; 紫苏(大叶)shiso on top, 大蒜 garlic and 黄瓜 cucumber below.

秋葵荚 Okra, we hope!

PLANTS
Today we did some re-organizing of the space and the full range of containers that are now almost fully planted (many already 2 weeks ago) with the following plant types:
草莓 strawberry plant (from LDF)
葫芦巴 fenugreek (from Indian friends)
南瓜 pumpkins (seeds started growing from compost)
葫芦 hulu gourds + 丝瓜 towel gourd + 南瓜 pumpkin (from neighbor)
大蒜 garlic (from leftover head)
大葱 onion (left in soil last year)
龙蒿 tarragon (commercial seeds from Canada)
香菜 cilantro (commercial seeds from China)
紫苏(大叶)shiso (commercial seeds from Japan)
黄豆 soybeans (from neighbor)
西红柿 tomato (commercial seeds from Japan, trying to sprout them, no sign yet)
秋葵荚 okra (commercial seeds from Japan)
土豆 potato (from leftover potatoes)
芝麻菜 rucola (commercial seeds from Canada)
甜菜根 red beets (commercial seeds from Canada)
芹菜 celery (commercial seeds from China)
薄荷 mint + 迷迭香 rosemary (cuttings from “Italian” farm in Beijing)
苦瓜 bitter melon (commercial seeds from China)
西葫芦 zucchini (commercial seeds from China)
菠菜 spinach (commercial seeds from China)
and probably some more…

SOIL
One batch from the riverbed near Little Donkey Farm; another from last year’s mobile garden; some lifted from a nearby park (with clumps of grass); some even resulting from the compost underway since last month or so.

COMPOST
The compost systems were also checked up on and updated.
The various types: EM plastic box starter w/o micro-organisms;
cardboard box blend;
styrofoam box blends;
clay pot blend;
worm compost, slow but still going.
They are all more or less converting to useable soil, we mixed this material with drier dirt from the park today, as some had moldy parts. It seems to be going well.

HARDWARE
Baskets from a fruit vendor, pots and containers from here and there. A large plastic container brought by a re:farm participant to hold “grey water.” Still needed: windshield wiper pumps, ladder.

ELECTRONICS
See more at re:farm. Coming soon…