In "The Kitchen," time stands still, ceases to exist, appears here and now like an imperious necessity of creation, fruit of a sensory experiment that takes shape through the understanding. Marina Abramovic puts into practice the maxim of Roni Horn: "I do not want to make anything without being here. The creation of something takes me away from here. I want to manage to make being here enough in itself ." "The Kitchen" is a simple production; Marina Abramovic does not use an elaborate display of means, rather she works with the essential, inhabits the space, translating it and defining it -making it her own. Each photograph is a photogram of the performance of Marina Abramovic¿ inside this immense kitchen which fed, first, young orphans, then young pupils, children from a very concrete period in history, meteorite children, children of pain, children of sperm, children of language and of dreams. Children whom they cure with magical recipes: "breakfast with a glass of liquid gold. Lunch with fresh fig; dinner with a glass of liquid silver."
