“Few drinks inspire skepticism quite like the pickleback […] a slug of whiskey followed by a bracing chaser shot of pickle brine, poured straight from the jar – has gained popularity in the U.S. in recent years as a novel way of making mediocre liquors more palatable.”
Tim Hume, The Power of the Pickleback, Wallstreet Journal 28.2.2013
The shot can also be chased by a bite of a selfmade pickle. Feeling like an alchemist, I created a special gourmet welcome drink on the occasion of “als künstlerische Praxis” curated by Franz Thalmair as part of the exhibition series “In der Kubatur des Kabinetts” in Fluc Vienna. 2 weeks before the exhibition’s party, I pickled organic pickles in apple vinegar with pepper, salt and carraway seed in a 3.400 ml preservation jar and many double shots of whiskey in 47 ml jars that I carefully placed in the entrance area on a table, covered with tinfoil, which belongs to Fluc.
Pickling is political: as a productive catalyst for digestion with healthy pure brine in recyclable zerowaste jars standing for static national purity’s preservation, but at the same time, a sign of moving bacterias, rotting and disintegration and exportation.
Within my broad artistic practice I started in 2018 “My Gourmet Diary In Preservation Jars” #jaroftheday on Instagram inspired by Martha Rosler’s “A Budding Gourmet”. I am acting as zerowaste influencer while thinking about international food production and how gathering to eat and drink can connect cultures and rituals from different times and places. Since 2013 I have frequently used food package products such as jars and foils to produce sculptures.
The jar menu presented in “My Gourmet Diary In Preservation Jars” applies inventive approaches such as fermentation and pickles, creating vivid, veggie and nutritious snacks, sweets, drinks. Through these, the menu explores waste-free, food and drink preparation, the “gourmet”, and authenticity in relation to migration of foods and customs.
Running parallel to the exhibition A Painter’s Doubt, the young, Salzburg-based painter Margareta Klose has developed a painting installation in the Kabinett space. Her intervention in the gallery involves an arrangement of wall-painting, flooring and carefully placed sculptural elements, to transform the space into an experiential and contemplative zone. The entirety of her work in this installation has mainly been produced over the past three years, with new additions specifically for her exhibition in the Kabinett space. With her practice with painting at its centre, this installation alludes to and emerges from her attentiveness to the passing of time as an observable phenomenon. One might witness her processes of discerning and marking the passage of time not only in her painterly gestures but also in her collection of preservation jars, her collection and production of writings such as poems, songs and aphorisms, and other sculptural elements, all included in the exhibition. Her abstract gestures in the painted elements are complemented or sometimes confounded by her ripe, deliberate and delicate use of text within or adjacent to the painting. The exhibition is both a personal expression of the potential to experience a sense of rapture in the face of reality and its ever-mysterious presence, as well as an open invitation to audiences to make what they will of this expression. Her exhibition is thus intentionally timed to complement the exhibition in the Main Hall, which has a trajectory of contemporary European painting today. A few concerns around painting as an artistic practise today are shared between these exhibitions.
Margareta Klose, born 1993 in Berlin, lives and works in Salzburg.