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Nature, Art, ACTIVISM 24] Food in situ is also a collection for serving food, the conceptual background of which implies the customary aversion people have to the leaves of root vegetables. Thanks to Kati Réthy, the founder and horticulturist of the Season garden, I used freshly picked root vegetables to make imprints on the dishes which customers of supermarkets have never seen in this form. Not only are the size of the leaves of carrots, beetroots and radishes strange (though in small organic gardens, roots do not “grow” as large as their over-fertilized counterparts); the shapes of the roots are also intriguing. Then I cut the dishes into two or three parts like puzzles; I cut the imprints at the points where the — otherwise edible — parts are cut off in the shops before selling them. Thus, parts of a plant can be put together again and again to complete a dish, thereby further reinforcing the recognition that the parts earlier regarded as waste are not only important for our lives as humans but also for the entire ecosystem. Finally, let me stress that none of the series could have been born without the experience I usually call “my second childhood”, because the intense one and a half years, rich in interactions, which I spent during the Covid lockdowns in a region of farmsteads, had an indelible influence on me, born in a city. Hajnal Gyeviki, 1 February 2023° Fanni Sall “Fanni Sall’s communal art project is the documentation of the landscape regenerating work of the members of the Nyim Eco Community and of volunteers, as she realized that a more extensive action of planting trees and some other processes such as protecting the trees and applying mulch, leave a trace in the landscape and can be interpreted as creativity, owing to the extent of the trace thus left behind, and to the character of the process allowing for absorbed meditation.” When the 26-hectare area of the Nyim Eco Community was bought, it was an eroded plow-land, and now it’s a meadow planted with saplings. Over the past ten years, we have planted over 4000 trees in the area. The protection of the trees was always a problem. There was wildlife damage and despite the efforts of the community, most trees — though still alive — simply vegetated at a height of 10-20 cm in the grass. For years, the community failed to find the right answer. All smallscale and ecological solutions would have required an irrational amount of time. In our desolation, a moment arrived when we simply shook off the immense pressure of caring for the enormous area. We realized that whatever step we took, we could only improve the situation. Experimentally, we began building heaps of twigs around the saplings against wildlife. The first were made in 2019 and we keep building new ones, so that several hundred young trees are now guarded in this way. Surrounding the saplings with twig fences has several advantages: it gives shade to the saplings and other living creatures in the field, its decomposition ” The first and third collections were made during the MOME ceramic design Master’s course with the possibility, space and starting impetus it provided. I am grateful for the help. The second collection was supported by the Scholarship for the Young Talents of the Nation.
