Bite the culture

In Italian, there is a saying, “Speak as you eat,” used when a person speaks in an overly complicated way in a context where it is not necessary; they are therefore invited to speak in a simpler way, as simple as the act of eating is.

Can eating, then, be considered a simple action?

Supermarkets, restaurants, fast food, meals and shopping directly at home: these are just some of the options from which a small portion of the world’s population can opt to feed themselves every day, with a minimum effort.

But this apparent proximity to food actually hides an increasingly widespread detachment from and less awareness of this issue.
When we eat a sandwich, bite into an apple, or shop for groceries, there are many questions we can ask ourselves to increase this awareness: where does what I am eating come from and how is it produced? What impact do my food choices have on the planet we live on?

The answers to these and many other questions explain why sustainability also comes through our diet and, in a broader sense, through our choices. Once again, Milano Green Forum Museum wants to emphasize the importance of creating a synergy between individuals, institutions, and businesses through an exhibition that explores the food theme from different angles and through the collaboration of international artists and artist collectives: Honey and Bunny (Austria), Fallen Fruit (US), Natalia Carminati (Food Cultura, Spain), Mary Mattingly (US), Gayle Chong Kwan (UK), Daan Roosegaarde (Netherlands), Grace Gloria Denis (France), LABVA (Chile), Carolien Niebling (Netherlands), Futurefarmers (US).

Through the works of these artists and collectives, this digital exhibition thus aims to make us rediscover the beauty of food, help us understand the environmental and social impact of our food, prompt us to reflect on the amount of waste produced and the importance of reusing resources and, finally, emphasize the role that community and public land use play in our choices.

To improve our relationship with food, present and future.

Made with the contribution of Silvia Bonaventura.


Honey and Bunny (Austria), Fallen Fruit (US), Natalia Carminati (Food Cultura, Spain), Mary Mattingly (US), Gayle Chong Kwan (UK), Daan Roosegaarde (Netherlands), Grace Gloria Denis (France), LABVA (Chile), Carolien Niebling (Netherlands), Futurefarmers (US)



All images, videos, and audio are protected by copyright.


This is where our journey of food (re)discovery begins.

The purple of the eggplant, the red of the tomato, the yellow of the banana.
A world of colors expands before our eyes every time we set foot in a supermarket.
But how difficult is it to stop and admire such natural beauty?

Washing, slicing, grating and curing a vegetable, browning it on the stove.
How many sounds do we make when we cook?
Yet how often do outside noises take over redirecting our attention?

At the same time, our eye every day is caught by food with perfect features: fruits and vegetables without imperfections and candies with bright colors and the most varied shapes.
How aesthetics affects our food choices?

This chapter aims to help us understand that all that glitters is not gold, while at the same time helping us rediscover the natural beauty of food through smell and sight.

Aural Oral

Artist – Grace Gloria Denis

Aural Oral is a series of site-specific studies and sensorial junctures in agricultural research, offering a sensorial reflection on processes of cultivation and consumption. The meal pairs an auditory archive of its ingredients with its ingestion, implementing various microphones to transmit a series of recordings of culinary and cultivation actions coupled with environmental sounds from the site of production. Each accompanying track sketches a sonic cartography of the dish, amplifying the micro-actions of both the farm and the kitchen, proposing resonant reflections of its cultivation and consumption to extend beyond the domain of the gustatory. Aural Oral draws reference to acoustemological research, as coined by Stephen Feld, that valorizes methodologies of “knowing-with and knowing-through the audible.”

The first track proposes a symphonic introduction to the world of mezcal fermentation, illustrating the slow and effervescent transformation of the fibers and liquid romanced by yeast. The second track surveyed the soundscapes of Xochimilco during the construction of a chapin, an ancestral soil bed technology, at Chinampa Tlazolteotl. Chinampas, descending from the Nahuatl word chinamitl denoting “hedge close to the reed”, are an ancient sub-irrigation agricultural system, using rectangular areas of fertile land fabricated upon shallow lake beds. This delicate lacustrine ecosystem consists of alluvial soils, dotted with clay and basalt, and can produce up to seven harvests per year. This action transpired from an invitation to participate in Cocina Colaboratorio’s Archivo Biocultural Vivo, navigating the soundscapes during the construction of the chapin; from the gathering of natural fertilizer to the collection of mud solely accessible via canoes. This dish was paired with fresh produce from the Xochimilco-based agroecology initiative, Colectivo Ahuejote. The third track presents an amalgam of sounds recorded while cooking with fire; the crackles of dry heat undulate into a rhythmic score that presents the recipe as that of a musical composition. The fourth track explored the juxtaposition of buzzings inherent to Huerto Tlatelolco, an urban garden dwelling on Paseo de la Reforma, contrasting the whirring of cars on the highway to that of the melodic bumbling of bees, highlighting various forms and velocities of movement at the garden. A sonic survey of the site collocates two audible rhythms, that of the natural cadence of the garden next to the throbbing pulse of the city. The stark contrast of two temporalities, that of the urban and the transposed-rural, posits a contemplation of momentum within the metropolitan context.

Part I: Mezcal Fermentation in the palenque of Yola Mezcal

Part II: Chapin Construction with Cocina Colaboratorio at Chinampa Tlazolteotl

Part III: Guajillo, Ancho, and Morita chiles slow roasted on fire

Part IV: Soundscapes of Huerto Tlatelolco

Aural Oral by Grace Glora Denis
Aural Oral by Grace Glora Denis

Native Plants

Artist – Fallen Fruit

“Native Plants” is an asynchronous repeat pattern from Fallen Fruit, created using photographs taken at the Royal Botanic Gardens in Cranbourne during a visit to Melbourne in 2020. It features banksias, kangaroo paws, and other flora among the hundreds of indigenous species preserved in this pristine ecosystem.
Using the medium of wallpaper, David and Austin / Fallen Fruit create unique designs inspired by seemingly local flora and fauna. “Natural History” 2020, takes its subject matter from Australia and critically combines introduced species of birds and plants together with indigenous ones, many of them drawn from images held in the NGV Collection.
“Native Plants” draws into focus the complex and dynamic relationship between historical and contemporary ideals of beauty and nature, religious ideology, and narrative themes of colonialism and how they function as storytelling in Western art. This is a detail of an immersive artwork created for the European Galleries at the NGV.

Music by Andrew Stanley (of Yolanda Be Cool).

Public Gathering at the Monument to Sharing

Artist – Fallen Fruit

“Public Gathering at the Monument to Sharing” is a digital collage made with recontextualized anthropomorphic fruit characters originally created by the public for “Fallen Fruit Magazine” – mainly from their participatory project at the V&A Museum in London, and also various cities around the world.
The characters are gathered around the “Monument to Sharing,” the artist’s permanent installation artwork in Los Angeles’ State Historic Park. It is an installation of 32 orange trees meant to be shared with everyone.
This image was created in 2021 to celebrate the launch of the Endless Orchard – Fallen Fruit’s collaborative non-contiguous public sharing orchard. Join them in creating the largest edible artwork in the world.


Music by Andrew Stanley (of Yolanda Be Cool).


Artist – Natalia Carminati (Food Cultura)

Food art, artistic intervention and installation
Haribo bear, homemade baby marshmallows, ziploc bags, stickers, helium balloons, sticker on original Haribo Gold-Bear packets
Variable dimensions

Dominated by the same principles of any other market, the food industry mass-produces edible products that are visually appealing, while nutritionally appalling and even toxic for both our physical and mental health. Plastivores is a project that conjugates different lines of action to reflect on how the visual value of food has taken over the nutritional value of what we eat. The project integrates fieldwork research, art intervention and the creation of a candy that works on the limits of what we consider edible.


Obtaining the right color

Artist – Natalia Carminati (Food Cultura)

Collective action and installation
Dough for bread and food colorants
Created with Anna Irina Russell

Obtaining the right color explores how visual perception influences our eating behaviors. Bread, as the basic food of every diet and faithful companion of each dish, becomes a game of colors and shapes utilizing the very popular Paella colorant Dani. In this way, bread becomes a meeting point in which, without previous indications, the participants of the Paella Laboratory must decide if it is part of the prop or if it is edible, and if so, how it’s distributed. A second element, this time in the form of a game, invites participants to touch, interact and play with the display they are in, experimenting with the visual value of the food and the decision of what is and what is not edible.

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Ask Me if I believe in the Future

Artist – Carolien Niebling

Food accounts for over a quarter (26%) of global greenhouse gas emissions. Let this sink in for a moment, it is a lot. But somehow it is also understandable because food is a basic need. What is more difficult to understand is that 6% of this food is wasted and not even during production and harvesting but after, during transport, storage, in the supermarket, and at home. It is time for that to change.

“Future-Proof Plating” gives us a fresh look at natural foods that are not yet part of our daily diet, but should be. Macro photographs of algae and edible plants printed on textiles beguile the eye with their striking textures and shapes. Carefully placed arrangements of sea plants are embossed on ceramic plates. All these edible seaweeds have been purchased from food shops or online, rehydrated, and celebrated for their aesthetic appeal for us to think about an alternative future for food and for our planet.

We have completely lost touch with the origin of our food and the effort that goes into growing or rearing it. This results in a lack of respect and knowledge of our food, and thus is it easier to throw food away. This project created eating plates that bridge the gap between what is on the plate and where it comes from. Showing the beauty of edible seaweed.

Light, smell, atmosphere, memory, colour, sound, texture, and presentation of a dish, influences the experience and even the actual taste. When we talk about food, we tend to describe it in terms of its flavour – what we experience with our sense of taste. The design of these plates plays with our senses and reveals the beauty behind our food. The textures are captured so precisely by the porcelain that it almost seems the real material.

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barbi di fratta by lorenz cugini carolien niebling
Codium by carolien niebling lorenz cugini
Dulse by Lorenz Cugini and Carolien Niebling
wild brocolli by carolien niebling lorenz cugini
Radicchio rosa by carolien niebling lorenz cugini
Irish moss by carolien niebling lorenz cugini
puntarelle by lorenz cugini carolien niebling
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We start flipping through the menu pages.

«Finally, we’re sitting at the table!»
«I thought this was a summer fruit, I wonder where they grew it!”
«We’ll have 8 hamburgers and 10 nuggets.»
[restaurant phrases]

How long does it take us to digest a heavy dinner?
 And how long does it take the environment to digest our food choices?
This chapter aims to teach us to reflect that the cost of the food we eat is not just economic.

Market of externalities

Artists – Sonja Stummerer & Martin Hablesreiter

Would you pay € 35 for a chicken or a loaf of bread? No?
Well, that is quite unfair, as so much value has gone into its production!
Let’s analyse the price we are unwilling to pay: the poisons we spread in the environment for a simple meal, encouraged by the awesome power of the food industry.
We pay for herbicides and pesticides, and machinery for harvesting and transport, but we don’t pay for their impacts on the health of the planet and its people … Sit down, relax, close your eyes and savour your chips, your noodles, your bread. Is it Glyphosat, Azoxystrobin, Atrazine, Chlorpyrifos or is it gas, gasoline or coal?
What are you eating?

The short films are interpretations of the cultural value:consume.
Fairness is keeping decisions free from any form of discrimination. Does that mean that fairness is an ethical
value? And do we need a debate about the environment too? Do we all (7 billion human beings) have an equal right for a fair environment, which keeps us healthy and wealthy? Should we say that sustainability is an issue of fairness?
Notably, the artistic approach to sustainability sets into motion the reexamination of living conditions in the areas of “Third World”, which supply raw foodstuffs to the globalised “world market” for the benefit of the “First World”, or of the effects of “climate change” to present and future biological and social systems. So, we are talking about fairness, isn ́t it? A discussion on sustainability also means investigating the question of why “we” Europeans consider living sustainably such a challenge.
The current way of living, including ethics, such as the belief in a steadily growing market economy, the necessity of constant consumption, or the desire for so-called supermarkets, seems to hinder us from reaching a fair way of living.
climatico” sui sistemi biologici e sociali presenti e futuri.
Quindi, stiamo parlando di uguaglianza, non è vero? Una discussione sulla sostenibilità significa anche indagare la questione del perché “noi” europei consideriamo una sfida vivere in modo sostenibile.
L’attuale stile di vita, compresa l’etica, come la convinzione di un’economia di mercato in costante crescita, la necessità di un di un consumo costante o il desiderio dei cosiddetti supermercati, sembra impedirci di raggiungere un modo egualitario di vivere.

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Just for 4.25€

Artist – Natalia Carminati (Food Cultura)

McDonald’s Quarter Pounder, purchase ticket, golden base, 2500 liters of empty bottles of water, iron structure, flexible pvc
Variable dimensions

Just for 4.25€ is a project that meditates on the sustainability of the processes of industrialization of all contemporary productions. The project stems from a collective action proposed to Fabra i Coats’ community and different neighborhood entities of Sant Andreu with the purpose of collecting all the empty bottles of water that were consumed daily during a month. Throughout September 2018, hundreds of bottles of all sizes were gathered. However, this volume amounted to 1500 liters of empty water out of the 2500 liters of water consumed by the food industry to produce a burger of 250gr of meat. In this way, the collective action allows us to dimension the massive and constant exploitation of water that’s never to return to its territory nor is economically compensated.
This action is materialized in a final installation that questions the alarming emptiness regarding sustainability policies and the need to meditate on how we understand natural resources, as well as identify how we relate and coexist with nature through our everyday life decisions.

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We finally get up from the table.

First we take one last look at what’s left:
pieces of breads in the baskets provided, remnants of food on the plates.
Valuable resources that will end up being thrown away.

This section teaches us to give thought to what we throw away,
and to see with different eyes the parts of food that are not considered edible.


Artist – LABVA

We return local organic agroindustrial waste back to the productive cycle through the creation of a biomaterial. Consequently turning food waste into objects intends to keep the matter flowing while avoiding the waste stream.


We craft polymers from algaes, fish offal, native potatoes, and food waste such as avocado pit, to create new biofilms in a kitchen. These extractions are made artisanally, using low energy and inexpensive tools and materials.

Using biological growth instead of expensive and energetically intensive fabrication processes to convert organic waste in new and environmentally friendly biomaterials.
By brewing native materials we seek to promote material autonomy using local and abundant resources.


New local materials and its divulgation allows us to reconnect territory, culture and technology. We believe that, in the face of an environmental crisis, biomaterials pose as an agency tool for communities. Through biomaterials we can experience the biodiversity of a territory as well as the material abundance that lies in the anthropogenic processes. We want to question the materialities that surround our everyday life in order to understand the processes behind them and, therefore, practice sovereignty.


Les Preciouses and Paris Remains

Artist – Gayle Chong Kwan

The Grand Tour was a three year Arts Council England touring project, with accompanying publication, which I developed in the sites of the historic grand tour, in which I explored early developments in tourism with waste, ruin, and contemporary tourist developments, particularly in Dubai. In ’Les Preciouses’ I photographed the discarded and waste food stuff that I encountered on the streets of Paris, this was a series in itself, but also became a partner to and developed into another series of photographs in the project. In ‘Paris Remains’, I collected the discarded food, such as citrus peel, apple cores, banana skins, and other food remains, that I had photographed on the streets of Paris, and created them into a miniature version of the city as a ruin. The inhabitants’ sense of taste has disappeared; leaving only the sensory trace of what once existed. A pathetic monument to the sensory history of Paris. The monumental and ruined landscape is based upon the architecture of the city, imagined as though the city had been destroyed through the loss of taste of its inhabitants. Perhaps an ironic monument to the fate that may have fallen to Paris if it had not accepted the Vichy Regime, or a real mourning for the past sensory history of the city.

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Let’s take one last step outside. Let us look around and analyze the landscape around us.

This last chapter emphasizes the importance of agriculture and common spaces, conceived as places that can potentially provide livelihoods for the population.

Every city should cultivate its own garden, yes. Literally.

Theater of the sun

Artists – David Allen Burns and Austin Young (Fallen Fruit)

Site specific installation artwork created for Manifesta 12 in Palermo, Siciliy, Italy.

When we walked around the city to map fruit that is accessible to the public – We were inspired at how many fruit trees exist in public spaces in Palermo. We found Prickly pear, hybrid lemons, bitter oranges, grapes and more. There are fruits common to Asia and North America and other parts of Europe. Some are known today, but were considered exotic in the past. They all come from other places in the world but they have become a part of the landscape of the city from migration and commerce over hundreds of years. We mapped and we photographed these fruits and flowers to create the wallpaper pattern and accompanying public fruit map. We feel the installation artwork is a portrait of Palermo — both contemporary in design and impact and honoring a long tradition of being a city that is transnational and a blending of world cultures.

We were very inspired by the churches, palaces, and monuments in Palermo – and decided to create a sublime space that would uplift visitors and become a social space. We custom made the installation artwork specifically for the room in Palazzo Butera – the side of the room with the windows is pale blue like the sea and the sky. We call the room the ’Theater of the Sun’ because of the play of light across the walls. Also, the name of the artwork describes that the city of Palermo and its flora performs throughout the year.
The existing ceiling is a mural from around 1763-65 by Gioacchino Martorana and Gaspare Fumagalli. These two artists worked together, and their frescoes are in many of the churches and the palaces in Palermo. The murals refer to the months of the year. But we think of the room as encompassing all of the seasons. In one way this is illustrated by the seeds being cast down into the room to begin again in the new year.

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Artist – Mary Mattingly

Swale is a floating food forest built atop a barge that travels to public piers in New York City, welcoming visitors to harvest herbs, fruits, and vegetables for free. Swale strives to enhance the quality and responsible use of public waterways and land; works to encourage New Yorkers to reconsider our relationships with environmental ecosystems; and aims to change perceptions and policies in order to increase the presence of edible perennial landscapes.

Swale is organized with the help of individuals and community groups, as well as city organizations, in order to reinforce the concept of food and water as part of a cooperatively stewarded commons. Since 2016, Swale has been working toward public food in and around New York City. Swale catalyzed (and continues to help steward) the first 24-hour public foodway in a park in New York City.


Flatbread Society Soil Procession

Artist – Futurefarmers

Soil Procession was a ground building ceremony that used the soil collected from over 50 Norwegian farms from as far north as Tromsø and as far south as Stokke, to build the foundation of the Flatbread Society Grain Field and Bakehouse. A procession of soil and people through Oslo drew attention to this historical, symbolic moment of the transition of a piece of land into a permanent stage for art and action related to food production.

At high noon, farmers gathered at the Oslo Botanical Gardens joined by city dwellers. Tractors, horses, wagons, wheelbarrows, musical instruments, voices, sheep, boats, backpacks and bikes processed to Losæter where the farmers’ soil offerings were laid out upon the site and a Land Declaration was signed.


Artist – Daan Roosegaarde

Daan Roosegaarde’s latest artwork GROW is an homage to the beauty of agriculture. In the world film premiere GROW appears as a luminous dreamscape of red and blue waves of light over an enormous field. GROW is inspired by scientific light recipes which improve plants’ growth and resilience.
Most of the time we hardly notice the huge areas of the Earth which are literally feeding us. GROW highlights the importance of innovation in the agriculture system: How can cutting-edge light design help plants to grow more sustainably? How can we make the farmer the hero?

GROW consists of a design-based light recipe which shines vertically across 20,000m2 of farmland with leek (Allium porrum). You experience the artwork as ‘dancing lights’ across the huge agricultural field. The light is poetic, and inspired by photobiology light science technologies which have shown that certain recipes of blue, red, and ultraviolet light can enhance plant growth and reduce the use of pesticides by up to 50%.
The film GROW shows the development of this luminous dreamscape and how the beauty of light can help plants. It is also a call for enlightenment during these dark times. GROW can be good for nature but also sends hopeful light to people. It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork.

Prof. Dr. Wargent, PhD, Chief Science Officer at BioLumic, world leading expert in plant photobiology: “The project GROW is a fascinating project and supported by scientific research which shows specific light recipes can enhance growth and reduce pesticide use up to 50%.”

GROW is part of the artist-in-residence program of Rabobank. Daan Roosegaarde and his team of designers and experts developed GROW over two years, informed by expert knowledge sessions at Studio Roosegaarde, Wageningen University & Research, Springtij Forum, and the World Economic Forum in Davos. It is the first in a series of dreamscapes by Studio Roosegaarde which show the beauty of combining art and science to create a better world.

Artists and collectives exhibited

Honey & bunny

honey & bunny is a transdisciplinary studio collective. Founded in 2003 by the architects Dr. Sonja Stummerer and Martin Hablesreiter, honey & bunny’s work is situated at the intersection of research and design. Science and art are united by a thirst for knowledge and the urge to make change. We wish to identify problems, to single them out and to address them. To do so, we work at the interface between various art forms and the intersection of theory, science and public participation. Research and performance are central to our processes of both understanding and acting. We realize our interpretations in many formats, such as performatively, publicly, digitally, while always remaining as political as possible.

Fallen Fruit

Fallen Fruit is an art project that began in Los Angeles by creating maps of public fruit: the fruit trees growing on or over public property. The work of Fallen Fruit includes photographic portraits, experimental documentary videos, and site-specific installation artworks. Using fruit (and public spaces and public archives) as a material for interrogating the familiar, Fallen Fruit investigates interstitial urban spaces, bodies of knowledge, and new forms of citizenship. From protests to proposals for utopian shared spaces, Fallen Fruit’s work aims to reconfigure the relationship of sharing and explore understandings of what is considered both — public and private. From their work, the artists have learned that “fruit” is symbolic and that it can be many things; it’s a subject and an object at the same time it is aesthetic. Much of the work they create is linked to ideas of place and generational knowledge, and it echoes a sense of connectedness with something very primal – our capacity to share the world with others. Fallen Fruit is an art collaboration originally conceived in 2004 by David Burns, Matias Viegener and Austin Young. Since 2013, David and Austin have continued the collaborative work.


FoodCultura is a non-profit, cultural, interdisciplinary and unique organization in its field. It is an open structure or platform from which to present and rethink the “FoodCultura” concept, not only from the perspective of food or nutrition, but also from artistic practice and anthropological research.
FoodCultura is a project in process that the Catalan artist Antoni Miralda.

Natalia Carminati

Artist whose work focuses on the development of multimedia projects that explore the nature of perception and the way we decode our environment. She is interested in investigating how the mechanisms of invisibility, privatization and deterritorialization operate and configure reality, generating notions of “the normal”. Her work is concerned with identifying these physical and mental spaces of normalization that instruct and anesthetize our perception. Thus, her research explores concepts as diverse and related as decolonization and sustainability, as well as the social structure of time and all forms of reality where power and social and cultural control nest.

Mary Mattingly

Artist who bases his production on themes of ecology and co-learning. In 2021, he facilitated the creation of a temporary educational center for estuarine plants on the Thames River in the United Kingdom that focused on the Nipa Palm, a plant that proliferated there when atmospheric CO2 was 1000 ppm. In 2013 he grouped personal objects together to create large-scale sculptures used for performances related to the concept of consumption, documenting the content and focusing on the complex military industrial supply chain of cobalt.

Gayle Chong Kwan

Dr Gayle Chong Kwan is British (Scottish and Chinese-Mauritian) artist and academic whose photographic works, immersive installations and collective sensory events are exhibited internationally in galleries and in the public realm. At the core of her practice is an expanded and embodied notion of the visual through which she explores the politics of food, travel, trade, and consumption though an engagement with interiority and collaboration. She uses techniques of collage to create mise-en-scene landscapes, sensory experiences, and sculptural pieces worn on the body, which draw upon archives and collections or which develop working with groups and communities. Gayle Chong Kwan has PhD in Fine Art from the Royal College of Art on ‘Imaginal Travel: political and ecological positioning as fine art practice’. She won the Sustainable Art Prize in 2019.

Daan Roosegaarde

Creative thinker and maker of social designs which explore the relation between people, technology and space. Roosegaarde has been driven by nature’s gifts such as light-emitting fireflies and jellyfishes since an early age. His fascination for nature and technology is reflected in his iconic designs such as Smart Highway (roads which charge from sunlight and glow at night), Waterlicht (a virtual flood) and Urban Sun (cleans public spaces of coronavirus to bring well-being).
He founded Studio Roosegaarde in 2007, where he works with his team of designers and engineers towards a better future. Together they develop ‘Landscapes of the Future’ and build smart sustainable prototypes for the cities of tomorrow.
Roosegaarde is a Young Global Leader at the World Economic Forum, named Artist of the Year 2016 in The Netherlands, and visiting professor at Tongji University Shanghai, OCAD University Toronto and Monterrey University in Mexico.

Grace Gloria Denis

Grace Gloria Denis’ work converges agricultural research with interactive installation, incorporating edible material, sound, and image to propose a convivial and comestible approach to critical inquiry. Implementing the meal as both a medium and a pedagogical tool, her work refers to participatory action research models, engaging in collaborations with actors in local food systems. Her work considers the meal, or quotidien interaction with edible matter, as a poetic tool of transmission, inviting a reimagination of sensorial relationships to consumption practices. She received her BFA from Cal Arts and her MFA from TRANS at Haute école d’art et de design de Genève (HEAD), with a focus on critical pedagogy and socially engaged practice. Her work has been exhibited in Mexico, the United States, France, Switzerland, Spain, Germany, Greece, and Morocco. Grace has taught and developed non-profit arts education programs for various institutions and recently published the book In, From, and With: Exploring Collaborative Survival. The book presents a collectively constructed lexicon by a constellation of contributors, proposing an array of embodied pedagogies, from walking to fermenting, including edible and non-edible recipes and a foreword by Anna Tsing.

Biomaterials Laboratory of Valdivia – LABVA

The Biomaterials Laboratory of Valdivia (Chile) initiative emerges as an independent, self organized and citizen Biomaterials laboratory. Through the divulgation of biomaterial investigation and experimentation that arises from transdisciplinarity, LABVA’s main vocation is to question the materialities that surround us and the culture associated to them through a Biodiversity Driven Design approach. We create new biomaterials by developing kitchen recipes (CIY) or growing them (GIY) on substrate derived from agroindustrial waste.
Our main goal is to generate a biomaterial palette that is heterogeneous, diverse and with designation of origin from natural polymers that are artisanally extracted and abundantly present -both natural or derived from anthropic waste- in our territory.

Carolien Niebling

Carolien Niebling (b. 1984, Maastricht, the Netherlands) lives and works in Zurich, Switzerland. She is a designer and researcher who specializes in food-related projects. Carolien’s work uses design to unite the fields of science and food. She received a master’s degree in product design from École Cantonale d’Art de Lausanne (ECAL) in 2014 and was asked to stay on as assistant teacher. Her research resulted in the book The Sausage of the Future, released by Lars Müller Publishers in 2017. Carolien has won the Design Parade Hyères Grand Prix at Villa Noailles (2017), the Hublot Design Prize (2017) and the Design Prize Switzerland (2019). Carolien has worked with clients such as ECAL, TEDxGeneva, IKEA, Nestlé, Swissnex, ZHDK, Design Indaba, Semi-Permanent, V&A, SaloneSatellite, Lars Müller Publishers, Louis Vuitton amongst others.


Futurefarmers is a group of diverse practitioners aligned through an interest in making work that is relevant to the time and place surrounding us. Founded in 1995, a design studio serves as a platform to support art projects and an artist in residence program. We are artists, designers, architects, anthropologists, writers, computer programmers and farmers with a common interest in creating frameworks for exchange that catalyze moments of “not knowing”.

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