66:. It was an initiative which blended contemporary art and cuisine. The restaurant's became an iconic symbol of the New York scene of the 1980s. The project engaged food, sensorial experiences and installation art as vehicles and rituals for transmitting and subverting traditions and blending social practices of the time. El Internacional was seen as a point of convergence for the artistic community, and, at the same time, as a real place that engaged neighbors and celebrities alike in its culinary inventions and exotic allure. El Internacional was an ongoing process of the almost 3-year day-by-day creation of a work of installation and performance art.
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491:, the identity of the restaurant and the management changed. The restaurant became El Teddy’s, specializing in Mexican food. In 2000, Steven Elghanyan, from the Epic development firm, bought the building from Sal Cucinotta for nearly 3 million dollars and started what was to be a long, intense debate seeking to prevent the immediate demolition of the building, its memory and its iconic crown, with the support of the City Landmarks Preservation Commission and the neighbors. The case was lost and the restaurant was demolished to make way for a new 7-story apartment building in 2004.
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was given to clients as they entered, as part of the menu. Four issues were published, each one printed in a different color, with texts about the environment and the food. The international, multi-lingual staff of the restaurant was integrated into all aspects of the operation and even the customers
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that
Miralda reproduced on one of the walls and on which he placed elements found and collected during rebuilding, encrusting them into the walls rather like the layers of an ancient archeological site. The El Internacional project thus became the melding of Teddy’s and El Internacional as a dynamic
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The El
Internacional project began with the choosing of its location. In the 1970s, Miralda had lived across the street from Teddy's, a Tribeca restaurant, and was fascinated by the presence of this restaurant, unaware of its history. Between 1920 and 1945 Teddy’s was believed to have been a popular
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had supposedly lived. In 1945 the owner, Teddy Bartel, sold the restaurant to Sal
Cucinotta who would build, at 217 and 219 West Broadway, the luxuriously emblematic Italian restaurant Teddy’s, which attracted numerous stars from the movie and entertainment industry in the '50s and '60s. At the end
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The façade was redrawn on the existing one, like an optical illusion, and the building underwent a total transfiguration without erasing its previous architecture. Beneath the new façade, the camouflaged name of Teddy’s was still present. From the street, the restaurant appeared to be like an
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El
Internacional was a team project and a collective work of art. The space framed the experience and interactions around food as clients ended up being participants in a multi-layered experience few had imagined. The visit led to unexpected situations and stimulating relationships between
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was shown on a monitor that presented the dishes, drinks and experiences available inside. Through the front window one could see the bar, and at the end, the kitchen window, this being one of the first open kitchens that existed in the city. Patrons got to the restaurant through the
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El
Internacional was part and witness of a social and cultural chronicle of Tribeca, originally an industrial area to which the artistic community started to move at the start of the 1980s. It was a destination, especially at night, with the
246:, a dining room in which the walls became an atlas of kisses where the diners would make the place their own by writing comments on the walls and leaving their kisses. Then, the
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of the '60s, while under new management, the façade and interior of the building were renovated once more, but the restaurant ended up closing supposedly due to
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Shortly after
Miralda and Montse Guillen withdrew from the day-to-day running of El Internacional to inaugurate in the same year, 1986, the
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enigmatic construction site/work of art causing unexpected reactions from the onlookers. The first thing visitors saw when arriving at the
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The interest generated by El
Internacional, also had great repercussions in the media: television, press and magazines such as
227:, a floor comprising flags from numerous countries symbolizing and celebrating the diversity of New York, and then on to the
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which incorporated a wall of tiles, white, turquoise and gilt from the 20s found during refurbishment. After that was the
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marked the restaurant as a cultural destination, unusual museum, and adventurous cuisine and lively social spectacle.
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in
Tribeca, both places that also began to mean fusion at the time. Celebrities among its clientele included
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Miralda and Guillén described the El
Internacional project as a contemporary archaeological space, an actual
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579:. 44 Biennale di Venezia, Ministerio de Asuntos Exteriores. Ambit Servicios Editoriales, Barcelona, 1990
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Show. El
Internacional and its Tapas Bar was the unofficial landmark of cool downtown in 80’s New York.
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was conceived as an artistic project and social experiment, carried out between 1984 and 1986 by artist
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were influenced by the aesthetics of the place and ended up wearing black and white like the façade.
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on the roof of the restaurant and the bar became the opening title sequence of the NBC TV Network’s
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had the video installation of images of the celebrities that frequented the golden era of Teddy’s –
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during which the roof of the building was fitted with a life size replica of the crown of the
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5 Ronald Christ. El Internacional An Archaeological Sandwich, Sites 14, New York, 1985
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At El Internacional events were a hybrid of celebration, food and performance such as
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where four dried and salted cods presided over the dining room from the floor and the
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Colon & Liberty: Luna de Miel Honeymoon. Catalogue of the Spanish Pavilion
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was decorated with meringue-like stalactites. The wall that separated the
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Miralda: El Internacional (1984-1986): New York's Archaeological Sandwich
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El Internacional was the first restaurant to introduce the tapas in the
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would sit in front of identical dishes with different tastes, or the
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and other soda cans) like relics or fossils, and a window where the
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Catalogue of the exhibition Miralda De gustibus non disputandum
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melting pot of design, architecture, art, fashion and cuisine.
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The tour continued through the 4 theme rooms. First was the
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that had cans of beverages encrusted into the sidewalk (
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Facade of El Internacional Tapas Bar & Restaurant
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restaurant serving German food, located at 217 West
282:was an aquarium from which visitors could see the
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600:"Crown jewel of a restaurant closes in Tribeca"
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642:Teddy's Restaurant 1970s New York Commercial
659:El Internacional Tapas Bar & Restaurant
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476:. For years the image of the crown of the
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566:, New York Magazine, November 12, 1984
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547:Sampling the Zesty Catalan Cuisine
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598:Albert Amateau (2004-01-09).
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301:Other objects such as the
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661:at Wikimedia Commons
575:Maria Lluïsa Borràs.
240:Turquoise Dining Room
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191:Turquoise Dining Room
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470:Architectural Record
399:Jean Michel Basquiat
311:Black World Expresso
212:Terraza Sol y Sombra
682:40.7191°N 74.0062°W
678: /
482:Saturday Night Live
439:John F. Kennedy Jr.
385:in Midtown and the
364:Saturday Night Live
355:The Original Rapper
351:Miami Vice Shooting
229:Columbus Trophy Bar
130:from 1985 to 1992.
564:The Tapa Dance Kid
551:The New York Times
472:, Metropolis, and
454:The New York Times
307:Matador Candelabra
303:Lobster Dream Lamp
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128:Upper New York Bay
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687:40.7191; -74.0062
657:Media related to
553:, August 18, 1982
545:Craig Claiborne.
489:Honeymoon Project
478:Statue of Liberty
466:The Face magazine
462:The Village Voice
458:New York Magazine
343:Statue of Liberty
339:Crowning Ceremony
124:Statue of Liberty
122:in Barcelona and
116:Honeymoon Project
41:Crowning Ceremony
16:(Redirected from
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608:. Retrieved
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435:Diane Keaton
423:Keith Haring
395:Sara Montiel
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447:Frank Zappa
443:David Lynch
431:Grace Jones
415:Umberto Eco
411:David Byrne
403:Pina Bausch
391:Andy Warhol
268:Marina Room
201:The carpet
176:Description
700:Categories
673:74°00′22″W
670:40°43′09″N
610:2016-03-06
532:, Madrid.
495:References
220:Video Menu
84:mass media
383:Palladium
276:Turquoise
216:Coca-Cola
112:Barcelona
108:Catalonia
60:Manhattan
515:20 April
361:and the
359:Lou Reed
317:and the
181:Interior
153:Broadway
134:Location
120:Columbus
82:and the
706:Tribeca
647:YouTube
284:Mermaid
155:where
126:in the
90:History
56:Tribeca
630:(2017)
536:, 2010
445:, and
376:Legacy
367:Show.
349:, the
325:Events
313:, the
309:, the
305:, the
296:Yemoja
292:Brazil
262:, and
110:, and
102:, the
76:design
288:Bahia
162:Mafia
100:Spain
517:2019
278:and
189:The
142:The
39:The
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72:art
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