Bread making and world making: scenographing relations
Day 21. Late afternoon in the office. My mother got lost today, because of a fire that created chaos in the tram system. She did not have her mobile phone with her. I described her at the lovely local book shop and coffée place Lohrs and a lot of people looked out for her. Eventually she showed up. I gave her a freshly baked bread. The scenographic smell of this bread is now all over the place, in my nose, my hands, my memory, the photos I am publishing here and so forth. A bread that my mother now can eat after her strange city adventure.
The smell of bread resonates and affects, it triggers imagination, it is relational, it invites dialogue, and thus it says alot about the scenographic. To quote my friend art historian and theorist Marsha Meskimmon - who bravely has engaged in some of scenographic adventures in situ in the city - art (and I add the art of scenographing) it opens for the "generative possibilities of multiple meanings, and converses readily in and through difference" (Meskimmon, Contemporary Art and the Cosmopolitan Imagination, Routledage 2011, p 92.)