Development 713 "Ethics and Governance in International Development"

So far this semester I've been leading a double life...
Most of the time I'm at elam as usual, working away, making art, drinking too much coffee, etc. etc.
But once a week I've been skipping class to spend my Tuesday mornings in an obscure little seminar room in the Arts building, sitting in on classes for a postgraduate course in Development Studies. Who knew that such a thing existed? I didn't. And the people who take it can't even tell me what this degree means. From what I gather it seems to mean 'systems', in a really general sense of the word. The university website sums it up like so: 'The theoretical approach seeks to understand why and how societies, regions and communities change to improve quality of life. The more applied focus is on how governments, NGOs, international donors and other development agents can facilitate such change.' I.e. really awesome interesting stuff.
And there you have it. For a couple of hours each week, I'm not Ali the fine arts student - instead, I'm doing a bad job of pretending to be a Development Studies student. There are only about 15 other people studying development at postgraduate level, so they all know each other already and knew straight away that I wasn't one of them. 
This particular course is about food systems (and water, and energy.) Since this is exactly what I research somewhat obsessively in my spare time, this class has been a chance to get the facts straight and unleash my inner nerdy know-it-all. I've been asked 'are you SURE you're not actually taking this course?' and when I confirm that yes, I'm a fugitive elam student and not actually enrolled in this paper, the question is 'Why not??'
I don't know, and they're right, this subject is totally up my alley, maybe I should transfer? (Might be a bit late in the game, though.)

The professor, Andreas Neef, came to see the Food? exhibition and got in touch with us curators via email 'Here is some information about my course DEVELOP 713 which includes a few classes on food. If you (and/or your friend Alison) are interested to audit a few classes, you are welcome to come to the class next Tuesday. I attach the syllabus and some material for your information.' -> Neither Jane nor Dominique ended up going though. They missed out, big time. Between the links Andreas provided and the handouts and recommended readings from the classes, and discussions with Andreas and other students, I've been overwhelmed with information to help with my research & essay. Can't believe my luck!!

Karsten Wegener

Another contemporary frivolous food sculptor / photographer, Karsten Wegener

Michiko Kon

Michiko Kon “Octopus and Melon” (1989)/Courtesy Robert Mann Gallery

Michiko Kon: Still Lifes presents this unique artist's photographs of the impossible objects she has created in her studio. These objects are assembled from fish, flesh, and fowl with a Surrealist sensibility reminiscent of the works of Man Ray and Meret Oppenheim. Michiko Kon's photography deftly makes a permanent record of subjects that only exist temporarily: a garter belt fashioned from fish; a pair of melons covered with octopus tentacles; and a boot made of shrimp, among many other non-delectables. Michiko Kon takes the classic tradition of the still-life photograph and gives it new life through the reanimation of object parts and body parts in new forms. Kon writes: "A fish with legs, a vacuum cleaner turned into an animal, a light bulb turned into a pear, a remote device turned into a living creature...." It is this exchange of the inanimate with the animate that imbues the stillness of her photography with the dynamism of the balance between life and death, the fashionable and the commonplace, being awake and dreaming"

 Source: "Michiko Kon: Still Lifes" Kon, Michiko, Ryū Murakami, and Toshiharu Ito. New York: Aperture, 1997. Print.