Mesa is a project by artist Inês Neto dos Santos. It exists in the form of various eating experiences, which challenge our encounters with art and are designed as platforms for creative discussion and conversation.

Mesa means 'table' in Portuguese. The table is an object / space which stands at the base and heart of this project. It is the starting point for each event and, whatever its format, symbolises gathering, exchanges and collaboration.

Mesa + Helen Cox
presenting double pendulum
11th + 12th April 2018, arebyte Gallery

On 11th and 12th of April, artist Inês Neto dos Santos and choreographer Helen Cox collaborated for a unique evening of contemporary dance and food, bringing an innovative spin on what a dance and a meal can be, individually, or together. This event was held at and supported by arebyte Gallery.

The choreography, double pendulum, created and performed by Cox with dancer Andrew Oliver, is a duet inspired by the motion of two connected pendulums in motion, creating complex and uncertain patterns as metaphor for the relationships we have with those people close in our lives. Danced to the music of electronic artist, Floating Points, you see two people pushing, pulling, flourishing and faltering but never stop.

Guests were invited to experience a dinner and a dance piece intertwined: the menu borrowed themes and aesthetics from double pendulum, interpreting them through flavours, textures and colours. This immersive, multi-sensory experience aims to introduce new audiences to contemporary arts and dance in an interesting and stimulating environment.

at 4Cose, Vyner Street. September 2017

A tasting evening for the senses: exploring stories and histories of honey, exploring this sticky substance’s hidden values and wide geographies. Sweet, savoury and in between: all bites will contain this golden viscous element.

HONEY invites you to get stuck into its gloopy, uncontainable, sensual, radical, borderless, mythical sweeteness. How can these qualities be representative of contemporary limits, boundaries, margins? What is so attractive about slippery stickyness?

SPECIAL GUEST: Natasha Cox performs a new work ‘This is not the place’. Made while on a residency at the Merz Barn, the site of Kurt Schwitters’ last Merz. The actual work, a mixed media plaster relief, was removed in 1965 and relocated to the Hatton Gallery in Newcastle. A large canvas photographic image of the work rests in its place. Soundtrack accompaniment from Phil Swan.

Images by Carlotta Marangone.

The Happiest Barrack
Gallery Six, London, June 2017

For this event, Mesa invited filmmaker Noémi Varga to screen her recent film The Happiest Barrack and collaborate on the creation of an immersive eating experience.

The film observes the effect of the socialist era of the country’s history on the individual through the retelling of the director’s maternal grandmother’s life. This experimental documentary, a 15-minute long single take through the everydays of one of the so called “kommunalka’s (shared apartments) shows the dramatic impact and the structure of Kádár’s Hungary.

Following the screening, guests experienced an intricate 5-course meal inspired by the themes and aesthetics of the film, exploring traditional Hungarian cuisine with a contemporary touch. Each course, including a specially crafted drink, were designed to take guests on a journey through and beyond the film. Images by Liliane Spielmann

Vyner Street, 2016

An evening exploring both the timelessness and volatile nature of transition. How long can we linger under thresholds? Do we live in a constant in between state? For the event, two contemporary short films were screened, relating to ideas of boundaries and transitional states. They were accompanied by a 5-course dinner, which interpreted and explored the themes of the films through flavour, texture and colour.

In collaboration with Egle Pernare, filmmaker and artist (photos by Egle).