The Clos de Tart buildings and vineyard rising directly behind the local village

A celebrated winery is acquired by one of the titans of the luxury industry. After a subtle transformation, Clos de Tart emerges with refreshed ancient buildings and upgraded winemaking. Darius Sanai visits François Pinault’s flagship estate in Burgundy. Photography by Martin Morrell

In the heart of the little village of Morey-Saint-Denis in eastern France, next to the old church and across the road from the boulangerie, is a very old, important-looking building with an archway entrance and an arched window set high in the facade, a cross-shaped window above. The village ends at this building, and beyond it are rows of vines, striped laterally across a hillside rising to a forest above.

The cross above the arched window, a reminder of the Cistercian nuns who ran the estate for centuries

This building is the winery of the Clos de Tart, a name close to the hearts of wine lovers, who for centuries have prized the Grand Cru Burgundy red wine made here in the vineyard behind. The vineyard itself is a monopole, an area owned by one single owner, itself a rarity in Burgundy, where patches of land are often split into strips for different owners.

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The Clos as we know it was founded in 1141 by winemaking Cistercian nuns, who ran it until the French Revolution in 1789. Their manual press, carved from wood like a giant olive press, is a highlight of any visit to Clos de Tart. The estate became even more celebrated in 2018, when it was bought by the Pinault family through its holding company, Artémis Domaines. Owners of Château Latour and Christie’s auction house, the Pinaults are also the second most powerful force in the luxury-goods group through a majority ownership of Kering, the group owning Gucci, Saint Laurent, Balenciaga and many other premium brands.

Views of the vineyard

Four years after the estate changed hands, I am sitting with Frédéric Engerer, CEO of Artémis Domaines and the man in charge of all the Pinault’s wine holdings, in an upstairs room in the winery, above a little courtyard, facing the vines. A refurbishment of the winery buildings has just been completed by Paris-based über interiors architect Bruno Moinard.

Details from the refurbishment by Bruno Moinard

The highlight of this gentle revitalisation is a tasting room on the upper floor of the main building, with windows looking out to the vines and trees beyond – a contrast to Burgundian lore that dictates that even the best wines are tasted in a damp, dark cellar with a view only of barrels.

Details at the estate

We are speaking ahead of a little concert planned at the winery that evening, featuring an octuor (octet) of musicians drawn from the Berlin Philharmonic and leading orchestras in France, an elegant celebration of the completion of the works. The Clos de Tart estate is another jewel in the crown of the Pinault family.

The refreshed cellar, photographed by Isabella Sheherazade Sanai

Quite aside from its holdings in luxury goods and art, its wine group now comprises one of the great estates of Bordeaux, in Château Latour; two Burgundy estates (Clos de Tart and Domaine d’Eugénie), the leading white-wine estate in the Rhône (Château Grillet) and a highly respected champagne house, Jacquesson. What next for Artémis Domaines, I ask?

The vat room containing the precious vats of Clos de Tart’s red Burgundy wine

After a raised eyebrow and a shrug, Engerer offers a little hint. “In Burgundy, we are so happy to be here in Clos de Tart, but we have only red wine with both Burgundy estates, so rebalancing the two colours a bit would be amazing. In the Rhône it is the other way around – only white…”

Views of the vineyard and the restored buildings at Clos de Tart

We should keep tuned for developments, it seems. Lovers of Clos de Tart should be in for a treat because the aim is to make one of Burgundy’s great wines – albeit one that doesn’t achieve the prices and desirability of its most famous labels, like La Tâche or a top Grand Cru Chambertin – even greater. But Engerer also wants to speak about the wine being made now.

Aspects of the revitalised tasting room and Old Press Room

Ever methodical, he first talks about the potential of the raw materials: the grapes grown in the 18.5-acre rectangle that is the Clos de Tart vineyard, just above us. At the foot of the slope, he says, “you have this reddish soil, it’s not very deep and there’s a lot of limestone underneath. And this makes the wines very delicate, very complex.

The tasting room and Old Press Room are a pinnacle of the estate’s elegantly simple renovation

There’s probably more complexity on the north side and a bit more structure on the south side. But even with those north/south differences, you move up the hill and the slope becomes much steeper at mid-point, and then you have deeper soil, and that’s where the sun heats the vines more and gives you a style that is richer, deeper, generally ripening a little bit earlier, with more muscle. And the muscle is even stronger when you go south than when you go north.”

Modernisation of the historic interiors by Bruno Moinard,

If that all sounds a little mind-boggling, it is, and Clos de Tart’s new guardians are in the process of working out just what potential they are sitting on. Engerer says a key development in the revived winery is the ability to make wines from small individual parcels of vines in the different positions in the vineyard, all the better to judge the balance of the final blend.

Viewpoints of the historic interiors, refurbished by Bruno Moinard

For the wine lover, the difference is in the tasting. Clos de Tart has always been a great Burgundy. But that evening, after the magical concert and as a sunny evening turned into a deep blue night, guests tasted some of the great vintages of the past, including 1990 and 2005.

A selection of vintages of Clos de Tart Grand Cru wines

We were also given a tasting of the first vintage made by Engerer’s team, headed by winemaker Alessandro Noli: the 2019. Just three years old, this should have been shy and immature compared to the past greats, but it just seemed like a more layered, more precise, more delineated and more delicious progression of the same elements.

Read more: A Tasting of the World’s Greatest Champagne Houses

Apparently, as the team understands the natural resources they have on their hands more with each year, things will only get better. In the meantime, we are more than happy to settle for a few cases of the 2019, ideally sipped over a rendition of Mendelssohn by eight talented musicians from the Octuor Éphémère, with the slopes of the Clos de Tart as a background.

Find out more: www.clos-de-tart.com 

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Alice Audouin at the Art of Change 21 office

The Paris-based polymath has spent nearly 20 years enabling an ecosystem in which art and environmental concerns meet in meaningful and magical ways. Alice Audouin tells LUX about supporting a new generation of artists who invite us to consider nature via work of intense imagination. Interview by Anne-Pierre d’Albis Ganem

LUX: How would you describe yourself?
Alice Audouin: I work in contemporary art and sustainability as a curator and consultant. I’m also chair and founder of the not-for-profit organisation, Art of Change 21, which supports emerging eco-conscious artists via exhibitions and prizes. We bring artists to each COP conference; for COP26 in Glasgow, 2021, John Gerrard created Flare, about the ocean burning.

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LUX: What are you up to as a curator?
AA: In September 2022, I curated an exhibition in Brussels at the Patinoire Royale Galerie Valérie Bach, connecting art and environmental issues, and a major show of Lucy + Jorge Orta, marking their 30-year anniversary. My last show was ‘Biocenosis 21’ in Marseille. We showed 14 global artists at the world’s biggest biodiversity meeting.

Views of ‘Novacène’, Lille, 2022

LUX: And there is the superbly titled ‘Novacène’.
AA: Novacene is a book by the late James Lovelock, the scientist who proposed the Gaia hypothesis, which was the first time scientists had said Earth is a kind of living creature. We were inspired by his predicted utopia of the Novacene, a new era of cooperation between nature and human, aided by technology. It follows the current geological era, the Anthropocene, during which human activity has changed the climate. We have created a group exhibition that runs till 2 October at the Gare Saint Sauveur, Lille. Our 20 artists include Julian Charrière, Otobong Nkanga and Zheng Bo. ‘Novacène’ looks at ideas in technology, interspecies relationships, energy and agriculture – a kind of new world I designed with my co-creator, Jean-Max Colard.

LUX: You also contributed to Art Paris 2022.
AA: I was invited to be a guest curator on art and the environment. It was a chance to show how, for the new generation of artists, the eco crisis is not just a theme but part of their world.

LUX: Was this momentum there when you began?
AA: I started my work in 2004 at UNESCO with ‘The Artist as a Stakeholder’, so I’ve been doing this work for 18 years. When I began I had 100 artists and it was difficult to find artists who considered global or environmental issues, but now I have 2,500 artists in my database. I was in a position to witness change, which I think came to the art market maybe five years ago.

Alice Audouin with curator Alfred Pacquement at the Art Paris Art Fair, 2022

LUX: What is the artist’s role in the eco crisis?
AA: I don’t like to say artists should have a role. Their role is to be artists. But many conceptual artists, or artists who deal with their epoch, will cross environmental issues. Of these, many like to bring awareness, even solutions. Lucy + Jorge Orta purified water in Venice, pushing the idea of art with pieces that propose solutions. When they sell a drawing about the Amazon, the collector receives a certificate of a kind of moral ownership of 1sq m of forest. So they consider biodiversity as well as buying a drawing.

LUX: The artists involve people.
AA: Helping us think about our era – how we consume, our relation with time, resources, values, geopolitics – is very big now. Noémie Goudal works with paleoclimatology and proposes we reconnect our short individual time on Earth with long geological time. That’s important, because her art is also one solution to our relationship with nature.

LUX: Should artists not use plastic?
AA: We will see a revolution in materials. Tomás Saraceno, Gary Hume and our patron Olafur Eliasson are finding solutions to making – and moving – art. In-situ production is growing, too. For ‘Novacène’, two artists in Asia with complex installations gave us guidelines and we made them by distance. But I want to add caveats: if we over-reduce the means of artists’ production we will just have dead wood from a forest. If you say concrete is bad let’s drop it, you lose works. So we are in a transition period, as we look for green alternatives.

Views of ‘Novacène’, Lille, 2022

LUX: Tell us about biomimicry.
AA: It’s the idea nature provides and inspires. New art materials, such as mycelium mushrooms and algae, come from biomimicry. Chloé Jeanne, a laureate of the 2021 art prize I did with Ruinart, creates eco materials that are a kind of living creature. It involves the idea of care that, again, a collector continues. Eco design further explores how to create not only from the living but with the living. Tomás Saraceno’s Hybrid Web sculptures, for example, are co-created with spiders; Olafur Eliasson talks of interconnection. Many artists’ utopia now is not to work alone and compete, but to be together to create and cooperate.

Read more: Artist Precious Okoyomon on Nature & Creativity 

LUX: When did your interest begin?
AA: I was far from nature as a child, and I studied art history and interned at a gallery. But then I studied environmental economics, after which I was hired by a bank for a sustainability project. They talked of stakeholders, and I thought why don’t you talk of artists as such? I knew climate change was huge and I believed it would manifest in contemporary art. And it did.

Find out more: artofchange21.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Perrier-Jouët Belle Epoque 2013

Champagne house Perrier-Jouët teamed up with the Rosewood Crillon and legendary chef Pierre Gagnaire in Paris for a series of evenings to remember on its 120th anniversary. You could almost smell the scent of the engraved wildflowers on the art nouveau bottles, says Samantha Welsh

In a world where luxury brands are digging up whatever tenuous historical links they can find to burnish their heritage, it was both reviving and exhilarating to be at the 120th anniversary of something very tangible. In 1902, botanist and artist Emile Gallé decorated a magnum of Perrier-Jouët champagne with a spray of Japanese anemones, to symbolise the stylish, floral freshness of the wine inside.

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The anemones became both the calling card of the champagne house, and a lasting symbol of the art nouveau influence on the flourishing Paris of the Belle Epoque, the first decade of the 20th century, when art and culture and gastronomy flourished in the French capital. In due course, Perrier-Jouët created its prestige cuvée – its luxury champagne – carrying the Belle Epoque name and the anemone engraving, and the rest is history, particularly for lovers of its poetic, natural, and complex yet subtle style.

Nature is at the heart of the champagne house’s narrative

Now, 120 years after Gallé first created his design, Paris is once again flourishing as a centre of arts, catalysed in part by London’s exit from the European single market. And nature is once again at the centre of the luxury narrative, as the value of natural capital and the importance of nature-based initiatives become increasingly apparent in an era of climate change.

Meanwhile, two things haven’t changed: Paris is still the world’s centre of gastronomy, and the Crillon, now the Rosewood Hotel Le Crillon and run by the sophisticated, Hong Kong based luxury hotel group headed by aesthete and entrepreneur Sonia Cheng, is still its most spectacular address.

Pierre Gagnaire and Boris Campanella

So it was apposite that we – champagne connoisseurs, art collectors, thought leaders and media – gathered together at the Rosewood Le Crillon to celebrate the 120th anniversary last week. At a dinner cooked jointly by Gagnaire and Rosewood Le Crillon chef Boris Campanella, we started by selecting our own, personal, Belle Epoque era glass from an array of beautiful vintage glassware arranged on a table. We then bespoked the engraving on our own personalised bottle of Belle Epoque, from a choice of anemones, petals, butterflies and bees. In terms of the celebration of biodiversity, Perrier-Jouët was exactly 120 years ahead of time. (It also owns the largest private collection of Art Nouveau furniture and collectibles in Europe.)

Celebrating the 120th Anniversary of Perrier-Jouët

The maison is very current as well, as the artist it collaborates with this year, Garrance Vallée, has created works showing the diversity and importance of nature, “Planted Air”, exhibited at a nomadic exhibition in Paris this month.

Read more: Thought leadership at the Cliveden Festival

None of this would have mattered had the champagne itself not been of the highest quality. But it was sublime, and the only challenge was – which do you prefer? As a standalone, one could only admire the purity, freshness, and breadth of the 2012 Blanc de Blancs Belle Epoque. But as a collaboration, when you have Gagnaire and Campanella in the kitchen, the pairing of the 2012 Belle Epoque Rose with dessert was, well, art.

Find out more: perrier-jouet.com

Entrepreneurs, historians, politicians and cultural leaders came together at the annual Cliveden Literary Festival, a weekend event that nourishes and inspires the mind, and the importance of informed perspectives

Literary festivals are proliferating: in the UK alone, there are more than 350 annually, one for each day of the year. But quantity does not mean quality; serious writers need to spend time on their books, not attending endless panel discussions. Last weekend our sister publication, the Oxford Review of Books, took part (courtesy of the hosts) in the Cliveden Literary Festival, the most bijou and sophisticated of British book events.

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Set in an imposing country house which historically played host to some of the world’s leading literary and society figures, Cliveden is as much a thought-leadership event as a literary one. Panellists and speakers included Michael Gove, the peripatetic British politician who is demonised by many opposed to Brexit, but who is also one of the most effective and thoughtful government figures of the past decades.

Michael Gove

The historian Andrew Roberts, now Lord Roberts, spoke about his new biography of Lord Northcliffe, the man who gave us the Daily Mail; visionary Oxford history professor Peter Frankopan was as compelling as ever; Brian Cox spoke about Succession (did we detect a little respect for his character, media tycoon Logan Roy, from the masterly leftwing Shakespearean actor?); entrepreneur Luke Johnson was scathing about governments and business; and Yana Peel, former Serpentine gallery director and now Chanel art suprema, extrapolated on contemporary art. Other topics included Ukraine, China and India (together), and the continuing significance of ancient Rome, on which author Robert Harris was compelling.

Merve Emre, Sebastian Barry, Ben Okri and Susie Boyt

Thought leaders should not all think alike, and the sessions were enlivened by disagreement: Johnson challenging Gove over government policy (a clear win for Johnson in terms of commercial logic, but Gove has been a world-class debater for four decades, so we will call it a draw); and an unidentified audience member challenging the always-erudite Frankopan on a point he made about Elon Musk.

Edward Enniful

The audience at Cliveden is as high-powered as the panellists, and while we can’t identify the questioner, he looked as though he ran numerous corporations through his private equity fund, and enjoyed a good yacht in the summer. For those amazed at the temerity of a mortal challenging the Oxford University Professor of Global History, it turns out both of them were right: Frankopan had correctly quoted a decision announced the previous day by Musk, but the audience member was more up to date, as Musk had reversed his decision that morning.

Brian Cox

At the end of each day, rows of chauffeur-driven cars lined up at the grand driveway of Cliveden to whisk audience members home, while panellists and some guests stayed at the grand country house, amid its parkland. There is no filler at the Cliveden literary festival, no second-raters, no random poetry recitals, no childrens’ entertainers. The founders are graduates from Oxford and Cambridge, an author and a historian, and their intellectual focus is evident.

Read more: Audemars Piguet Contemporary’s Paris Debut

Perhaps a little more consideration could have been given to the hottest topic in thought leadership today, enterprises that are attempting to change the world for good (or “profit with purpose”). And it is all a little friends and family, a little cliquey – in one session, all three panellists, the moderator, the audience member asking a question and this writer observing from the back, were all contemporaries at Oxford. But that is where the power and influence lies, and they come to Cliveden.

Wesley Kerr, Tina Brown, Robert Hardman and Camilla Tominey

In a world where this is too much information and too little thought, Cliveden is a thoughtful curation of the right kind of information, from the people who create it. There is nothing else quite like it, and for maximum enlightenment we recommend booking early for this boutique festival in its idyllic setting next year – and we have told the organisers that they need to do more festivals, perhaps in Paris and New York.

Darius Sanai

Find out more: clivedenliteraryfestival.org

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet

Samantha Welsh enjoyed a preview of Audemars Piguet Contemporary’s first superscale commission in Paris, ahead of the new Paris+ art fair this week

For the last decade, the world’s oldest family-owned watch manufacturer has been projecting its legacy and engaging with new audiences through art patronage. Plus ça change, you might say. But in true Audemars Piguet fashion, ‘To break the rules you first have to master them’ and the curators select challenging artists who provoke discourse, promote engagement, assemble an ecosystem. Lending support from inception through development to exhibition, APC nonetheless confers on its artists full rights of ownership to their work and this artistic licence produces ground-breaking art.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

In Andreas Angelidakis, APC turned to an LA-trained architect-turned-artist of Norwegian-Greek heritage who is gay and takes a playful approach to excavating shifting perspectives and societal dichotomies.

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In an artful curation of artist with venue, APC opted for Espace Niemeyer, former HQ of the French Communist Party and oeuvre of futurist architect, Oscar Niemeyer. Venue and exhibition are a conceit, Angelidakis’ installation being a reimagined Temple of Zeus of artefacts nestled matryoshka-doll fashion inside Niemeyer’s structure, itself a UFO-like 11 metre high dome, accessed via an excavated trench to basement level.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

All this is a metaphor for the visitor’s immersive deep-dive into the personal memories, experiences, mythologies of the artist. Angelidakis points to the subversion of truth through rumour, encouraging us to discern propaganda, celebrate diversity, embrace change.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

The visitor regresses, childlike, into kaleidoscopically spotlit multi-worlds of ‘let’s pretend’, learning through play by interacting with outsize art-devices. A quasi story-time on the book-chair, a lesson in apocryphal urban myth (or is it reality) conveyed through the story of the stylite and the column, roomsets of soft-play ruins, a fairground mirror revealing us as others see us, and windows onto VR.

Read more: PAD returns to Berkeley Square

Emerging, blinking, back onto an ordinary Paris street, APC shows us that like mechanical watches, art tells you about more than what you see. Both need emotional intelligence and experimentation to be successful.

Find out more: www.audemarspiguet.com/adreas-angelidakis 

Studio detail with glitter tondo. Photo by Maryam Eisler

LUX’s Chief Contributing Editor, Maryam Eisler, visits Peter Dayton to photograph and interview the East Hampton-based artist at his studio. Here, Dayton speaks about the intention and ideas behind his artworks as well his relationship with Peter Marino and Chanel

Maryam Eisler: What lies behind the eye candy, the glitz and the glitter?

Peter Dayton: I feel like I’ve reached a kind of pinnacle where it’s just about incredible celebration. And, it’s interesting to me because I don’t always want to make work that looks really good. And somehow this glitter thing, which really shouldn’t have worked, is in fact working. By taking everything out of the picture including figuration, I feel like I’ve really got something that has a lot of meaning.

Right Blue Wave, 2022. Left Magic Carpet Ride, 2022. Photo by Maryam Eisler

ME: What’s even more interesting is that you are not staying shy of beauty, something we don’t see much of in the art world these days.

PD: We’re in a new art world. And, you know, to me, beauty is the law. I do it intrinsically. It just happens. I’ve always been a little left of centre because of that, and it just isn’t on the surface. It’s deep. Peter Marino saw immediately that I had a gift for this ‘beauty thing’ and he just took me under his wing. That’s how and why my association with Chanel has been so great.

The Rockets, 2016-2018. Photo by Maryam Eisler

ME: Has the act of ‘glittering away’ all day every day scared you in any way?

PD: It’s a little scary. Yes, because I’ve been spending the past 12 months just doing glitter and, you know, there are bills to pay. But I do feel like there may be a super happy ending to all this. Or, better yet, a happy beginning!

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ME: I was taken by your choice of words and thought association; you said ‘It’s time for celebration!’ This is a positive outlook, also rare these days.

PD: Well, the negative is so real right now, but let’s face it, this isn’t like the bubonic plague. You know, I don’t want to intentionally make people happy, but I do want to give them a chance to choose happiness. So, I make these paintings. The time feels right for it.

Studio wall detail, Too Many Planets, 2022. Photo by Maryam Eisler

ME: I’m also interested in the idea of space and place. I know you’ve been coming out to the East End [of Long Island] since 1975 and started living and working here full time in 1988. Have things evolved a lot since then?

PD: Yes, there’s been a lot of evolution out here. On a personal level I got married and started a family. And East Hampton as a town has certainly evolved – it used to be dead in the winter. As an artist it was total evolution. I’d been studying art since I was 12 and then ditched art to play punk rock. I basically reinvented myself as an artist out here after living in Paris for couple of years making music.

Portrait of the artist. Photo by Maryam Eisler

I also happen to love de Kooning, and I love Pollock; I love the idea of all that is anchored here- even before I was aware of all this, when my mother moved here all those years ago and when I started coming here from Boston where I was studying at The Museum School. I always thought, ‘my Lord, this place is beautiful.’ And then I understood the special light that’s out here. I think De Kooning called it ‘double light’. It relates to when the sun reflects off the water, back up into the sky! I don’t harp on it, but, you know, it is very important.

Noland, 2014

ME: In your work, I see surfboards. I see flowers. Where do they coincide?

PD: Good question! The flowers started because I had been doing music professionally for ten years, and then I burnt out completely. I went to Paris for six months to find myself and I stayed for three years. And it was fabulous. And I did find myself. ‘Myself’ was somebody who wanted to grow old in his studio, making pretty pictures – but pretty serious pictures too.

Too Many Planets, detail 2022. Photo by Maryam Eisler

The ‘flower’ phase started because I thought to myself, I missed the eighties. It happened by chance. There was a construction site behind my mother’s house. I saw a big dumpster. I went to the dumpster and I looked in. There were hundreds of House and Gardens from the 50s, and I thought, ‘Oh, wouldn’t that be so weird if I made flower collages out of old magazines and seed catalogues’? In a way it was this kind of totally ‘immature-ish’ thing you know, the kind of craft that grandma would do at the kitchen table. So I made one. And that’s when I first showed that work with Paul Morris in 1994 in Chelsea when the area was just starting. There was a really big splash about the work and it went really well. That’s also when and where I met Bob Colacello and where Peter Marino came in. Bob was so supportive right away. The show was more successful than I could have imagined.

Camellias for Chanel, 2005. Photo by Maryam Eisler

ME: Historically, with the collages, there was a process of appropriation of others’ images which when rearranged, became your own. With these new glitter paintings, however, it’s your own hand at play.

PD: The cut-up method borrows. Taking pictures from a source that you shouldn’t be taking them from and turning it into something – in my case, into something that was weirdly beautiful.

Surfboards by Barnett Newman, #4 New Generation

ME: And if it’s good enough for Chanel, it should be good enough for most! Tell me about your relationship with Chanel over the years.

PD: It’s been great. Peter [Marino] was collecting my work early on and doing things with private clients and for himself, too. He’s been supportive all the way. It must have been at least 12 years ago that he contacted me and said, ‘I want you to do the interior of the elevator for the 57th Street Chanel store’. And I’m saying,’ sure, I’ll do that’. So I made a map card of all these small Camelia collages. I showed that to him and that’s how he designed it. And then I did one in Beverly Hills. And I think that one is still going. I also did one for the Peter Marino Foundation recently, which is amazing as it’s permanent.

Studio detail, Northwest Coast Surfboards, and glitter paintings. Photo by Maryam Eisler

ME: It seems like you are highly influenced by the lifestyle of this area, in particular anything that has to do with surfing. You then associate your ‘surfboards’ with known art world figures. Please tell us more about this.

PD: I feel like all the artists from the early 50s all the way to pop art were acting with a lot of swagger and they were just doing these minimal paintings that were so challenging. And I have always equated them with surfers, those who go out there by themselves and ride these giant waves. So, I just put the two together. What they did was like a sport. And very physical. And there’s also the American cultural idea of surfing. I’m not a ‘surfer’ but I am a water person. I boogie board and belly board and all that stuff. There’s also that idea of great freedom in the water.

Portrait with glitter paintings. Photo by Maryam Eisler

ME: And it all started with Barnett Newman?

PD: Yes, when I saw his painting in the Met, ‘Concord’. There are two pieces of actual tape, which I think he left in the painting. But if he didn’t, he taped it off and pulled it off. I forget. And I said, ‘Oh, my God, that’s the stringer on a surfboard’. Because every surfboard in the centre has a piece of wood running through it for stability so it doesn’t snap in half easily; and I just found that fascinating. So, I went ahead and made one exact copy of the painting, kind of green, and put his name on it. And I remember Robert Rosenblum was alive then. And he said, ‘Boy, these are really odd, Peter. I kind of see what you’re doing, but I’ve never seen this before’. And I thought to myself, ‘Well it must be cool!’

Surfboards by Barnett Newman, custom made decal, 2008

ME: Who are your other icons?

PD: Gene Davis. Which is the striped one, he did multi-coloured geometric stripes on canvas. I’ve also done Ken Nolan and Frank Stella. In all cases, I’ve done a facsimile of their works and superimposed their names into the actual surf decal. Dewey Weber is placed in the same script as Barnett Newman. So when a surfer sees that detail, he goes, ‘Oh my God, Dewey, Who’s Barnett Newman?’ Because I also equate the artists in their large studios in Soho all by themselves, smoking cigarettes, staring at these giant paintings with guys in California, making surfboards in their garages; they’re all kind of doing the same thing. Even though one is super high culture and the other is not, they’re kind of the same thing.

Surfboards by Gene Davis, 2007, collection Carl Bernstein

ME: But that’s what Warhol did- marry high and low culture so seamlessly.

PD: They come together. They always do.

Read more: An Interview With KAWS

ME: You were once part of this band called ‘La Peste’ out of Boston. Music is a different form of expression, but it’s still part of your own language, your identity…two complementary worlds, would you agree?

PD: Yes, I still have the guitar to prove it! And there’s great new interest in my band, maybe even a double album coming out next year on a label in Brooklyn. It’s really exciting. It’s been 45 years …

Studio Wall. guitar with glitter. Photo by Maryam Eisler

ME: Talk to me about your relationship with Peter Marino. He’s been a patron of your work.

PD: Peter’s a genius and it’s a privilege making work for his projects. He’s incredibly knowledgeable about absolutely everything that has to do with art, architecture, music – a total renaissance man. I’ve never met anyone who knows that much and can articulate it in front of you at any given moment. He’s a patron to a number of artists and his support has been so important to me. Working with him is great because he gives me great freedom to do what I want to do and that’s all an artist could ask for.

Studio work table with glitter and brush. Photo by Maryam Eisler

ME: A final comment from me: I could practice yoga in front of your paintings and just wonder with my eyes. Such serenity!

PD: Thank you. I think the glitter is here to stay, for the world to enjoy. Even though the refraction of light is so busy, there’s a certain calmness to it all. That’s probably what you feel. So I invite you to sit back, relax and lose yourself in it all day!

Find out more: peteredayton.com

Whose Sari Now, 2007, by Charles Pachter

On the 75th anniversary of the end of British rule in India, LUX’s Maya Asha McDonald speaks to Durjoy Rahman, Bangladeshi philanthropist, art collector and founder of the Durjoy Bangladesh Foundation, about the legacy of colonialism and Bengali art

At midnight on 15 August 1947, British India ceased to exist. As the British Empire receded into the history books, the vast land was divided into two dominions largely along religious lines: Hindu-dominated India and Muslim-dominated Pakistan. Marred by large-scale violence and mass migration, the controversial division of the subcontinent would be known as the partition.

With 2022 marking 75 years since the end of British rule, it is a time for reflection for many in these countries, not just about politics and history, but about the art and culture of the region, traditions that stretch back millennia but are now in the same vortex of globalisation as others on the creative planet. Durjoy Rahman founded the Durjoy Bangladesh Foundation (DBF), a non-profit organisation, in 2018, with a mission to support and promote art from South Asia and beyond in a critical, international- art context. There is, he believes, a vantage point from which we can examine the past, understand the present and envision the future.

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Speaking with me amid his art collection, in Dhaka, Bangladesh, Rahman says it is important to acknowledge the weight of the moment. “This is a big year for the Indian subcontinent: it’s 75 years since partition. 1947 may sound long ago, but my parents and many others retain vivid memories of that time,” he says. A seismic event, partition saw the migration of 14 million people and laid the groundwork for a second postwar revision of the subcontinent’s political cartography some years later: the creation of Rahman’s native Bangladesh, from what had been East Pakistan.

Durjoy Rahman, founder of the Durjoy Bangladesh Foundation, whose mission is to support and promote South Asian artists in a global context

“It is important to consider that Bangladesh was born in 1971, much later than India and Pakistan,” says Rahman. “Since we were established further along in the historical timeline, Bangladesh is behind in development compared to the subcontinent’s other countries. But our rich heritage and culture, originating in Bengal, has helped us reclaim our reputation.” The historic region of Bengal, to which Rahman refers, covers present-day East Bengal in Bangladesh and the Indian state of West Bengal.

The Dhaka-based entrepreneur turned cultural activist is playing a vital role in rebuilding his country’s national voice, working diligently to elevate his homeland’s artistic titans and emerging talents. In establishing the Durjoy Bangladesh Foundation, Rahman also committed to furthering decolonisation. By incorporating his country’s name within the foundation’s title, in place of his surname, Rahman shares the DBF’s accomplishments with Bangladesh. In fact, ‘Durjoy Bangladesh’ means ‘Invincible Bangladesh’.

A cardinal tenet of the DBF’s mandate is to preserve the canon of Bangladeshi artists who flourished throughout the 20th century. “I have consciously collected works by artists who shaped the practice of modern art in Bengal,” says Rahman, whose foundation has created the first online personal-collection resource on Bengal Masters. “Murtaja Baseer, Mohammad Kibria and Safiuddin Ahmed are among those names. They have all sadly passed, but held great artistic influence before and after partition. Today, their work continues to inspire.”

A Child’s Boat for Aylan and Ghalib, 2015, by Zarina

And so to the art collection. Pleased to share his Bengali treasures, Rahman directs my attention to Murtaja Baseer’s 1967 work, The Wall, from his series of the same name. Depicting a brick wall in the Dhaka Central Jail, the painting references the harsh realities of life in the 1960s under the dictatorship of Ayub Khan, the general who had seized the presidency in Pakistan (including East Pakistan, later Bangladesh). Composed of precise lines and balanced colours, this influential work of abstract realism is also broadly interpreted as a critical commentary on society at large.

Next, Rahman shows me two pieces by Mohammad Kibria and Safiuddin Ahmed, both created in 1980. At a glance, it is clear that Kibria and Ahmed share Baseer’s desire to visualise history. Ahmed’s copper engraving, aptly named The Cry, is a witness to the volatile period, including partition, that the artist lived through. Similarly, Kibria’s painting, Memorial, functions as precisely that, a visceral ode to the many souls lost during Bangladesh’s bloody Liberation War of 1971. In recent years, Kibria’s emotionally charged netherworlds have realised prices far above estimates at Christie’s auctions. It would seem Rahman has prophetic instincts.

Executed with a Bacon-esque flair and featuring baroque-like figures, Rahman’s masterwork by Bangladeshi artist Shahabuddin Ahmed, Untitled, 1975, is instantly one of my favourites in the collection. “His style may be slightly more European,” says Rahman, “but his subject matter is always something close to home.” With its dynamic composition, the scene emanates a kaleidoscope of emotions. Ahmed’s cosmic dancers at once invite the viewer to come closer, while alluding to the turbulence surrounding the 1975 Bangladesh coup d’état.

Herself, 1983, by Andy Warhol

To a large extent, Ahmed’s seminal work epitomises what Rahman believes art ought to be at its highest ideal. “Art should address the common man. It should not be completely detached from our daily life and society; if it is, then art won’t survive,” he expounds decisively. “That being said, creativity should be exercised with tolerance. Artists should look outside themselves and respect all peoples, regardless of race, religion or region.” Unsurprisingly, Rahman’s collection reflects his artistic philosophy.

Consequential and bewitching, Rahman’s modern works by South Asian artists offer a powerful visual chronology of the Indian subcontinent. I stare at them in awe. To my right, Nandalal Bose immortalises the struggle against British colonial rule in India with his 1936 portrait of a freedom fighter, Untitled (Khan Abdul Ghaffar Khan). Further down, Sayed Haider Raza sharply illustrates the Bangladesh Liberation War, with partition as its antecedent, in a lithograph, Untitled (Bangladesh), created around 1971. And hanging above where Rahman stands, Atul Dodiya takes on the mantle of decolonisation by reversing the Western gaze, in his 1999 diptych, German Measles: Kiefer’s Cell. And that is only to examine three artworks out of hundreds.

From the ‘Soaked Dream’ series, 2013 ongoing,
by Firoz Mahmud

Rahman has a special place in his collection for those artists of South Asian origin who left the subcontinent and settled in the West. “The legacy of partition is fundamentally linked with the concept and experience of displacement,” he explains. “This concept applies to diaspora artists, too, such as Rasheed Araeen and Zarina Hashmi, known professionally as Zarina.” Araeen is a celebrated Karachi-born conceptual artist living in London, and the late Zarina was a trailblazing Indian-American minimalist active in New York City. Both artists are in the permanent collections of Tate Modern and The Metropolitan Museum of Art.

German Measles: Kiefer’s Cell (diptych), 1999, by Atul Dodiya

Another prominent artist from the South Asian diaspora community for whom Rahman is a patron is the rising star Firoz Mahmud. Originally hailing from Khulna, Bangladesh, Mahmud lived in Japan and now lives and works in New York City. “The DBF is always engaging with projects that deal with the topics of migration and displacement,” says Rahman. “Mahmud is an expert at tackling these issues in his multidisciplinary exhibitions.”

Noakhali, November 1946, 2017, by Atul Dodiya

Indeed, Mahmud’s ongoing series, ‘Soaked Dream’, begun in 2013, which features displaced minorities including the Rohingya people, has received critical acclaim and was nominated for the 2019 COAL Prize at the Centre Pompidou, Paris. The harrowing yet hopeful photo-sculpture series depicts migrant families envisioning their dreams through green sci-fi glasses, crafted with found objects from shelters and symbolising each family’s resilience and commitment to making a better life. It was photographed in Bangladesh, which has accepted more than 900,000 Rohingya refugees. Rahman says the series helps bring awareness to an issue that has largely faded from the West’s consciousness.

Untitled, 2015, by Rasheed Araeen

Several works in the collection address both Eastern and Western canons. One such piece is Atul Dodiya’s monumental 2017 collage, Noakhali, November 1946, which was shown at Art Basel 2018. As part of his series ‘Painted Photographs/Paintings Photographed’, Dodiya juxtaposes Europe’s first half of the 20th century against the same period in British India. “A dramatic shift took place, particularly in France, with artists such as Henri Matisse, Pablo Picasso and Marcel Duchamp,” Dodiya wrote of the work. “During this period, India was fighting for freedom, which resulted in Independence from British rule and ended with Gandhi’s assassination.” Feeling almost inconsequential in its presence, I would suggest that this is Rahman’s most significant artwork.

Portraits by Matt Holyoak

As a cosmopolitan figure, the DBF founder’s collection also contains works from the Western canon that often wink at the Global South. These include enviable acquisitions, such as Charles Pachter’s witty 2007 painting, Whose Sari Now, and Andy Warhol’s iconic 1983 screenprint of Ingrid Bergman, Herself. Both Pachter and Warhol famously travelled to India, voyages that would inform Pachter’s subject matter and influence Warhol’s affinity for using vibrant swathes of colour in his work.

Untitled (Khan Abdul Ghaffar Khan), 1936, by Nandalal Bose

Unexpected links arise, too. Even Ingrid Bergman has a connection to the subcontinent through her one-time husband, Italian film director Roberto Rossellini. Rossellini rather publicly left the Casablanca star in 1957 and eloped with Bengali screenwriter Sonali Dasgupta, to whom he remained married until his death in 1977. Clearly, Rahman’s collection is saturated with buzzworthy creations, rich in historical and cultural intrigue.

Untitled (Bangladesh), c 1971, by Sayed Haider Raza

Tearing my gaze from a brightly coloured Bergman, our conversation flows away from Rahman as collector to his ever-expanding identity as an international change agent. With the continued reverberations of the partition top of mind, the philanthropist draws a straight line between the largest mass migration in human history and the DBF’s mandate.

Read more: Shezad Dawood: Out Of The Blue

As a fledgling foundation itself, Rahman believes the DBF can empathise with the South Asian struggle of trying to gain purchase on the global stage. To help others avoid the similar exclusionary effects of colonialism and partition, he says, “many DBF initiatives work to help individual South Asian artists claim recognition outside the Global South. Part of that process means taking up space, both physically and metaphorically.”

Find out more: durjoybangladesh.org

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Missing Home, Adolf Tega in collaboration with Qaqambile Bead Studio

Whilst you most likely have heard 1-54 is celebrating its 10th year in London at its flagship event at Somerset House, LUX casts an eye at one of their more surprising partnerships…Nando’s!

Founded in 2013, by Touria El Glaoui, 1-54 is the leading international art fair that focuses on contemporary art from Africa and its diaspora, with it name deriving from the 54 countries that make up the African continent. This year’s fair will host 50 international exhibitors across 21 countries, its largest number of countries to date. They will present over 130 artists working across an array of mediums from painting and sculpture to mixed media and installation.

Women’s Conversation by Nkoali Nawa

For the last three years, 1-54 has partnered with, Christie’s, highlighting the renowned auction house’s dedication to showcasing contemporary African art to its global client base. But even more astonishing is 1-54’s other significant partner. Nando’s.

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The fast-casual chicken shop chain is one of the greatest supporters of Southern African artists and their families by providing career development opportunities and exposure. Nando’s art programme have given over 350 artists a platform to further their careers, partly by hanging their works in 1200 restaurants across 24 coutnries.

Maideyi by Adolf Tega

Adolf Tega. Image by Retha Ferguson

“This opportunity is the pay-off for hard work and patience. It is a full circle moment for me; I recall so well receiving continuous feedback from Tamlin [Spier Arts Trust chief curator] to not be stubborn about my beliefs and preferences, to take my time to produce quality work and to find my own voice. Here I am now, seeing how far I have come and excited to be selected to present my work in London at 1-54. Thank you Nando’s and Spier Arts Trust for enabling my time to shine, it’s a very proud moment,” Says Adolf Tega.

A Celebration by Nkoali Nawa

Read more: PAD returns to Berkeley Square

Nkoali Nawa. Image by Retha Ferguson

Another artist on display who has become part of the Nando’s collection is Nkoali Nawa, who said “Nando’s and Spier Arts Trust are giving me a fantastic opportunity to expand my career and introduce my work to the international art market. It is so exciting that I will be able  to talk about my work, in person, on this platform with its incredible visitor base. It is the next step I needed as an artist, to grow.”

1-54 Contemporary African Art Fair is on at Somerset House, London, from Thursday 13th-Sunday 16th October 2022

Find out more:

www.1-54.com

www.nandos.co.uk/explore/art

Barrha Bar by Yann Le Coadic. Image courtesy of Pouenat

After two years online, PAD returns to its home in Mayfair, and with it brings its eternal reverence to craft and tradition, as well as new faces to the artistic hub – heritage and innovation await

From the 10-16th October, the 14th edition of PAD London, sister to PAD Paris residing annually in the Jardin des Tuileries, returns with its celebration of 20th century and contemporary design, with “a roster of world-class interior decorators and designers”, as the various disciplines of art and design meet again.

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Grounded by the history of its founder, Patrick Perrin, a fourth generation antique dealer, the art and design fair coalesce modernist tradition and contemporary works, as 67 galleries bring designers from across 27 countries, with visitors able to walk amongst cachet mid century Italian cabinets and historic names such as Portaluppi, Scandinavian textile compositions, works from Poland to Portugal, only to gloss over the worldly exhibits awaiting. The booths will be sites of collaboration, “sparking a conversation between past and present”, as stated by Perrin, with exhibitors placing retro-futuristic and contemporary metal work alongside Brazilian modernist design; natural, sculptural forms rubbing shoulders with American furniture.

‘Jackson Pollock’ Screen Room Divider by Dino Gavina & Kazuhide Takahama. Image courtesy of Portuondo London

“With their distinct approach to collecting, PAD London and PAD Paris epitomise how artistic genres across time and periods interact to reveal astonishing combinations and create the most individual and striking interiors.” says Perrin, “Over the past decades, the two PAD fairs have become a byword for connoisseurship, exquisite taste and curatorial flair, showcasing the very best in modern and contemporary design and decorative arts from the world’s leading galleries.”

Chaise Maurice Armchairs by David Nicolas. Image courtesy of Nilufar, Amendolagine and Barracchia

The week will show returning masters such as Joy de Rohan, a reminder of the unique platform PAD London provides French artistry, and 18 first time exhibitors, such as London’s own Francis Sultana and Beirut based Galerie Gabriel and Guillaume.

Read more: The Special Relationship of Sassan Behnam-Bakhtiar and Ali Jassim

The most established and emerging of  new voices across art and design are being exhibited, as age old techniques are adopted by young maestros. Equally a beacon of innovation, the fair promises many designers focusing on sustainable practice, with responsibly sourced materials and repurposed waste, reflecting upon materiality as a result.

Aqua Fossil Chandelier by Amarist Studio. Image courtesy of Priveekollektie

The artful world of jewellery will be presented by a triad of female gallerists, as women dominate across other mediums too, as PAD continues to deliver unending variety rooted by a deep care for craftsmanship.

PAD London will be taking place from the 10th to 16th October.

Find out more: www.padesignart.com
For tickets: tickets.padesignart.com

Portrait of artist Shezad Dawood at the sea’s edge in East Sussex

Shezad Dawood is seven years into ‘Leviathan’, a mammoth multidisciplinary project centred around our changing oceans. Maisie Skidmore visits the artist in his Hackney Wick studio to learn more about this monumental undertaking

Shezad Dawood is not one to back down from a big idea. “When I first called the project ‘Leviathan’, my partner asked, ‘Are you sure you want to do that?’” the artist says.

It was 2015, and London-based Dawood had begun to draw connections between the perilous journeys migrants were making across the Mediterranean, dominating the news at the time, and the environmental changes taking place under that same sea’s surface. He started speaking to environmentalists, oceanographers, political scientists, neurologists and trauma specialists, bringing together elements of their research on climate change, marine ecosystems, migration and mental health into the beginnings of what would become ‘Leviathan’ – a 10-part film cycle that also encompasses virtual-reality works, paintings, sculptures, textile pieces, talks and symposia featuring scientists and other thinkers. Inaugurated at the Venice Biennale in 2017, seven years on, ‘Leviathan’, the title taken from Thomas Hobbes’ 1651 work and the biblical sea monster of the same name, continues to gather momentum.

Disposable Mementoes (Dolphins), 2018

As an artist who is drawn to examine huge systems – language, history and legend being a few – the ocean had an irresistible draw for Dawood. “I make the slightly glib comment that calling this planet ‘Earth’ is a mistake, because it’s predominantly water,” he explains. “All life originates in water. Our human bodies are largely composed of it. We’re missing an important trick in thinking about who we are and where we come from.” With so many years in research, ‘Leviathan’ is still growing. “There is a universe of material.”

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Some of the pieces become universes in and of themselves. Take The Terrarium, the 2020 virtual-reality experience mapped out by evolutionary geneticists and marine biologists. It allows participants to step 300 years into a speculative future of the Baltic Sea, which runs from an eroded Kent coastline to the peninsula of Tallinn, on an Earth that is 90 per cent water. This “sci-fi, operatic” world sees the participant become a hybrid cephalopod released from a laboratory to the open seas to explore their surroundings. The immersive soundtrack, Shifter, by British composer Graham Fitkin, explores shifting baseline syndrome (the theory that each generation unconsciously shifts its expectation of what defines a healthy ecosystem). The Terrarium shows both the breadth of Dawood’s vision and the attention to detail in its execution.

Coral Alchemy II (Porites Columnaris), 2022

Other works seek to make visible the effects of climate change that are shrouded by the depths of oceans, bringing the present- day underwater world to ground level. ‘Coral Alchemy’ is a series of giant coral sculptures created for the exhibition Desert X AlUla 2022 in Saudi Arabia, where they were placed in a canyon that, some 10 million years ago, would have been the delta of what became the Red Sea. The colour of the sculptures changes to simulate the impact of rising temperatures on coral, transforming from carbon black in the morning, through their natural colour range, before bleaching fully in the midday sun. “People have become much more aware of coral reefs in terms of biodiversity,” Dawood explains, “but one thing that could be better communicated is their role as a membrane. Coral reefs act as a protective barrier in extreme weather events, such as tsunamis. They are nature’s barrier. If we keep seeing the same drop-off in reef ecosystems, coastal erosion will accelerate, and extreme weather events will have a much greater impact on coastal communities.”

Portraits by Jonathan Glynn-Smith

Other works focus on the intersection of climate change, migration and trauma. ‘Labanof Cycle’ is a series of large-scale textile works created in collaboration with Labanof (the Laboratory of Anthropology and Forensic Odontology) at the University of Milan, whose team recovers and documents lost possessions – even human remains – of migrants attempting the Lampedusa crossing from North Africa to Sicily. Dawood’s images, painted and screen- printed onto textiles, feature images of cigarette packets, Spider-Man gloves, batteries and tiny bags of earth taken from homelands. In immortalising what is lost at sea from boats that have capsized or sunk, Labanof creates a record of lives lost. It is a programme designed to serve both grieving families and legal and humanitarian protocol.

Disposable Mementoes (Crayfish), 2018

The subject matter is alarming. Yet, from enormous tactile images and immersive VR experiences, to the ghostly iridescent sheen of coral sculptures, Dawood’s work remains wondrous, enticing, empathetic. He is quick to mention the many scientists and thinkers who have contributed to it, sharing time and research to help him understand their specialisms.

Coral Alchemy I (Dipsastraea Speciosa), 2022

As well as communicating these issues of our time, Dawood has become determined to “close the virtuous cycle”. This is done, in part, through sharing information. “There is a web platform for ‘Leviathan’, and I have invited scientific informers to write short, accessible papers for it, bringing the science back to the forefront,” he explains. “We’re also upping the ambition.”

Read more: An Interview With KAWS

In collaboration with Professor Madeleine van Oppen at the Australian Institute of Marine Science (AIMS), Dawood is in the process of creating two grants, to be awarded annually to individuals working in coral research.

Leviathan, 2017. All artworks are part of Dawood’s ongoing ‘Leviathan’ project

It is both a chance to pay it forwards, he says, and an exercise in interdisciplinary collaboration. “I believe, increasingly, in an idea of convergence. How do we find ways to coexist, and take the broadest number of people along with us, into a more constructive set of notions of the future? How do we start having those conversations? We need new, fresh ways to think about how people can come together.” He smiles. “I’m an optimist, in spite of it all.”

Shezad Dawood is the official artist for the Deutsche Bank Wealth Management Lounge at Frieze London

Find out more: shezaddawood.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Jeppe Hein before a speech-bubble message and chalk panel, elements of the artist’s multimedia, interactive project for Ruinart Carte Blanche 2022, ‘Right Here, Right Now’

When Danish artist Jeppe Hein was given the coveted Carte Blanche commission by champagne house Ruinart, he was determined to create something quite different, by taking art-fair visitors back to nature and making an appeal to the senses. Candice Tucker reports

We are lying on the ground surrounded by by trees, breathing slowly, ever more slowly. The silence and peace is palpable. Stress ebbs away, nature flows through us. There is a gentle waft of incense and the sounds of the countryside.

It is a comforting, uplifting experience, probably about as far from the hubbub and glamour of an art fair as conceivable. And that is just what the Danish artist Jeppe Hein had in mind, when he took us on an excursion as part of his Ruinart Carte Blanche commission.

The artist experiencing the Ruinart estate through the senses, part of the responsive idea of his Carte Blanche work

Carte Blanche is Ruinart’s annual series, begun in 2017, in which leading global artists are given, well, carte blanche, to create what they like (well, almost – there are some limits, we imagine), as a tribute to the historic champagne house. The artists’ resulting work, in this case Hein’s ‘Right Here, Right Now’, and a rolling associated art programme (of which we were part in this moment) then travel the globe to be showcased at the world’s greatest art fairs, including Frieze in London and New York, Art Week Tokyo and Art Basel Miami.

A chalk face drawn on another panel

At this point, as part of his project, Hein was taking us, an assembled group of the world’s art media, back to nature. We were at the Royal Pavilion at the Bois de Boulogne in Paris, a peaceful setting in a huge park on the edge of one of the world’s great metropolises.

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In that moment, he succeeded, and again, as the nature vibe continued over a meditative lunch in the Pavilion (vegetarian because, of course, the artist wanted us to commune with the world of plants and trees). By extension, the concept of sustainability continued with it.

The artist at the exhibition

Nature, and a return to it, is a common theme in both Hein’s life and his often playful experiential art. He was raised on a biodynamic farm in Denmark, and his art has long explored the space between the natural world and what we make of it and from it. He famously declared burnout in 2009 and said he was going to slow down and reconnect with nature. He now lives by the Grunewald forest, a kind of equivalent to the Bois de Boulogne on the edge of Berlin.

visitors contribute to the artwork with chalk drawings

Champagne, meanwhile, is a product of nature, but one that also needs the careful craftsmanship of humans. Unlike wine, it could not occur naturally, as it needs a painstaking second fermentation process in the bottle to become what it is. Ruinart is a champagne beloved of the world’s art collectors. On any collector’s yacht, you are likely to be served its Blanc de Blancs, an ethereal, delicate yet richly seamed creation made of Chardonnay grapes. At a soirée, you will likely be drinking Ruinart Rosé, with its undercurrent of summer berries and autumn woodlands from the combination of Chardonnay and Pinot Noir grapes.

Jeppe Hein makes his own mark on a chalk panel

Hein’s ‘Right Here, Right Now’ considers peace, the senses and interactivity in response to the world of Ruinart. At the Palais de Tokyo in Paris, 10 minutes from our lunch, installations included a column with a hole. Put your hand in and a raisin comes out: you must eat the raisin following specific instructions to ensure you appreciate each of your senses. In another column hole, there is a spray of perfume. There are also installations on a wall on which you can draw faces in chalk, so your own marks become part of the artwork – chalk makes up the underlying soil of much of the Champagne region, and is intimately associated with Ruinart. Further artworks feature speech bubbles that carry messages of mindfulness. There is an appeal to all five senses and all four elements.

a speech-bubble message invites consideration of sensorial responses

The gastronomic side is equally important for Hein. And, we imagine, for Ruinart, as there can be few better accompaniments to very pure cuisine of the highest level than the highest quality champagne, with its clean direction and precision. Five leading chefs are creating a “gastronomic dialogue” with Hein as part of this “nomadic artistic adventure”, travelling during 2022 from Paris to London to Miami, and points in-between. “We invite people to experience Ruinart champagne, the chefs’ food and my art, at a totally new level,” says Hein.

The artist considers the scents of plant life on the Ruinart estate. Opposite page: work from previous Ruinart Carte Blanche projects

What does the artist himself think about what he is creating? “I was very inspired to go to Champagne and see so much creativity, precision and inspiration. There was a link to my own studio, to how I get an idea, or work around an idea and try to make models and express it and, in the end, it comes out. I fell in love with the champagne cellars – they have 11km of them. We walked along them, there was a yellow light and it was eight degrees or something. If you touch the walls they are wet. All these physical experiences got me totally engaged into trying to bring that feel to the art fair, to the experience of people there.”

Read more: An Interview With KAWS

‘Right Here, Right Now’ is, he says, “about the moment of being here. When you take the chalk in the interactive installations and start to draw, you are in the moment, not thinking too much. I’m trying a few things with the sense of smell, which goes straight to the brain and can reflect on something you smelt when you were five. Smell is always activating old memories, which I think is beautiful. When you’re working with all the senses, you can activate a lot of feelings. In my work, I’m not trying to be in your head, I’m trying to bring you into your body.”

It is a quite different experience to the usual art-fair hubbub; one perfectly enjoyed over a creamy, delicate glass of Ruinart Blanc de Blancs.

Past Masters

Since 2017, leading contemporary artists have responded to Ruinart via the champagne house’s annual Carte Blanche initiative. Here is a glimpse of some of the works

Lui Bolin, 2018
In ‘Reveal the Invisible’, the Chinese artist created eight almost hidden works that considered the quiet tasks undertaken by workers to create Ruinart champagne.

David Shrigley, 2020-21
Across 42 artworks, in ‘Unconventional Bubbles’ the British artist provoked witty debate about nature and raised awareness of the environmental challenges that motivate Ruinart

Vik Muniz, 2019
In ‘Shared Roots’, the Brazilian artist made a series of pieces using Chardonnay vines and other raw materials that form part of Ruinart’s transformative work

Find out more: ruinart.com/carte-blanche

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Sassan Behnam-Bakhtiar and Ali Jassim

One is an artist and the other a financier, but in coming together to create a charitable foundation, Sassan Behnam-Bakhtiar and patron, Ali Jassim have also found themselves blurring boundaries and creating art together, discovers Mark C. O’Flaherty

The relationship between artist and patron is one that has formed part of the bedrock of creative endeavours for centuries. The links between the Medici and Michelangelo defined Renaissance Italy with a complexity and intimacy far more than any of Brunelleschi’s domed architectural gestures, or the fictitious romance of Romeo and Juliet. Masterpieces simply flowed from the marriage of painter and family. Similarly, Peggy Guggenheim freed up Jackson Pollock to create his grand abstract-expressionist canvases through a $150-a-month contract between 1943 and 1947, from Mural, the piece he created for her Manhattan townhouse, to his first major drip-technique masterpiece, Full Fathom Five. Right now, artist Sassan Behnam-Bakhtiar and financial advisor, philanthropist and entrepreneur Ali Jassim are exploring what an artist and patron can achieve in the 21st century. Both men have Iranian heritage (Jassim’s on his mother’s side), with Behnam-Bakhtiar based in France and Jassim in Puerto Rico.

‘Garden of the Soul’ At Dusk, 2020

When I speak to Behnam-Bakhtiar, it is via Zoom and he is in bed, functioning at half speed
after contracting Covid from his wife and child. “It’s okay, it’s just boring,” he says, sitting up to talk enthusiastically about what he was working on before the virus landed, and what comes next. Much of that will involve his relationship with his patron and now partner in philanthropy, Jassim, as they establish the Jassim Bakhtiar Foundation in Monaco, to help children in Iran, Iraq, Afghanistan and the region. “We are doing our first fundraiser next year, in the south of France,” says the artist. “We want to have a huge impact. The language of arts and culture can create momentum and bring on the right people together for a cause, but this isn’t just about donating a few thousand dollars, we are looking at tens of millions.”

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The pair met around 10 years ago, at an exhibition in London. “We immediately knew we shared many of the same attributes, purely as human beings,” says Behnam-Bakhtiar. “Of course, we both have an Iranian heritage, but we found that we share core values. He was an art collector, and we talked a lot about my theories and philosophy, and he wanted to know where I wanted to go with my work. Then as he spends some time in Cap Ferrat, near where I am, we started talking more about Iran and the orphans of the conflict, and we decided to look at creating a foundation. But our relationship is about more than that. I believe we share experiences from past lives. We talk for about four hours on the phone every day. He likes to come and get his hands dirty in the studio, too, and the dynamic goes both ways: I’ve also become an advisor to him in his business endeavours.”

From the ‘Garden of the Soul’ series, At Midnight, by Sassan Behnam-Bakhtiar

Jassim is a fascinating character, who has worked extensively with high-profile figures in the business world of the Middle-East and Europe. “When I first met Sassan, I felt an inexplicable connection. Then, over the years, as I found myself growing emotionally and spiritually, I began to understand it was a connection beyond explanation, beyond science and mathematics. It is a feeling that spans many lifetimes,” he says. “I believe the greatest teacher we have in our life is our own soul. Sassan and I both believe this, and we often take time aside to connect and meditate multiple times a week. I would love to live in a world one day where I feel I’ve had a positive impact and where respect is present across the world throughout races and religions, most importantly for Mother Earth. Difference is what we want to portray on the canvas through the art we are creating, but the goal is unity.”

From the ‘Garden of the Soul’ series, Love Always Prevails (detail), 2020, by Sassan Behnam-Bakhtiar

Behnam-Bakhtiar has spent years exploring meditative practices as part of his work, grounding himself with Kundalini principles and, as he says, “focusing on my chakras and accessing dormant power”. He describes a William Blake-style revelatory moment of seeing bright colours after getting deeply into meditation, which fed through to how he creates his work. Many of his canvases have a romantic Monet-like quality to the florals, but also look like pixelated glitches on a monitor. Behnam- Bakhtiar tells me his peinture raclée technique is linked directly to his meditation: “When you strip layers of yourself away, you go inside yourself. I wanted to shut off external layers so I could feed the frequency of my soul. That promoted health and wellbeing and had a profound impact on me. So that’s what I started to do with my painting. I began to scrape off layers. And that physical process takes about six months, even for a relatively small painting. I play with the paint. The consistency of it is crucial. I need to wait after I’ve applied it so that it dries to a certain degree, at which point I can scrape it off to get the texture I am seeking. It is a technique that was born through meditation.”

Sassan Behnam-Bakhtiar at the unveiling of ‘The Journey’, 2022, presented by Ali Jassim

As well as exploring meditative practices and laying the groundwork for their foundation (the HQ of which will also house Jassim’s impressive art collection, putting Behnam- Bakhtiar canvases alongside work by Renoir, Damien Hirst, Andy Warhol and Richard Prince), the pair have been working on a collection of paintings entitled ‘The Journey’. Although the imagery has the same abstract beauty for which Behnam-Bakhtiar is renowned, it is also some of the most political and personal he has done in years, with skulls and crowns manifesting themselves in the mixture of oils, acrylics and crushed stone.

From the ‘Garden of the Soul’ series, At Sunrise, by Sassan Behnam-Bakhtiar

Years ago, Behnam-Bakhtiar worked in the medium of photo collage, and the subject matter was overt. Born in Paris in 1984, he grew up in post-revolution Iran against the backdrop of the Iran-Iraq war. One way of dealing with his traumatic experiences, which included imprisonment and life-threatening episodes, was to address the politics of Iran through imagery in works such as the 2016 series ‘This Way’, which features My Favorite Kinda Soldier is This Way and Tehran is This Way – the latter incorporating a collage of a figure with a gas mask and a dress of Iranian carpet pattern. Subsequently, as he practised meditation, it came to feature in his methodology, and his work became more visually romantic.

From the ‘Garden of the Soul’ series, At Peace, by Sassan Behnam-Bakhtiar

In everything Behnam-Bakhtiar does, there is the resonance of his trauma in Iran. War and its impact on the human psyche are common and essential themes in contemporary art. In 2022, one of the most talked-about installations at the Venice Biennale was Anselm Kiefer’s work that took over the vast walls of the Sala dello Scrutinio in the Doge’s Palace. The series of paintings, entitled ‘Questi scritti, quando verranno bruciati, daranno finalmente un po’ di luce (‘These writings, when burned, will finally cast a little light’)’ created a devastating immersive tableau incorporating blasted landscapes and remnants of clothing. With war raging in Ukraine, it felt apposite, but almost intolerably graphic and moving. I ask Behnam- Bakhtiar why his reaction to trauma is to create beautiful imagery, rather than aggressive pieces.

Trees of Paradise, 2019, by Sassan Behnam-Bakhtiar

“That’s probably the best question anyone’s asked me,” he says. “It’s been a very important value in my work. And I’ve had the privilege of being in group shows with Kiefer. My life has been filled with traumatic experiences. Back in the day, I would sit with some of my idols, who were older Iranian artists and friends of mine, and ask why we always had to paint sad things. And I knew the answer, of course – the art world wants us to show women in a hijab and show the sufferings of our people. The collages I used to do, that was when I had lost the plot. I had an exhibition in London and showed that work; it was about the children who were part of the war. Then I created another series, ‘The Real Me’, which was around the time we were all portrayed as bearded terrorists. I wanted to show that, despite the Islamic revolution, we lived like anyone else. I’d had enough of seeing sad work. Even if I start from a dark piece, it always ends up being beautiful. You can see the hurt, but I also want you to see the transformation in it, to bring hope and strength and love.”

‘Extremis’, Setareh Gallery, 2019

When Behnam-Bakhtiar talks about his patron “getting his hands dirty”, he means literally. Jassim has been working with him in the studio and, while he is operating under the artist’s direction, he has been physically making his mark on the canvas. The physical connection to the work is important for both of them. “What we are doing with the foundation together is so important,” says Behnam-Bakhtiar. “And this is a unique dynamic, for an established artist to work with someone who isn’t a painter. But I want him to have visual input. And I will credit those pieces to both of us.”

Read more: Domaine Clarence Dillon: L’Art de Vivre

With the duo also developing NFTs as part of their output, as well as building the Jassim Bakhtiar Foundation together, the potential for what began as a straightforward patron-and-artist scenario is limitless. The High Renaissance brought us Michelangelo’s Sistine Chapel, created with as many as 13 assistants and the infinite resources of the Vatican. With every advance in technology, and a will to use art for much more than religious decoration, Sassan Behnam-Bakhtiar and Ali Jassim could create unimaginable wonders.

Find out more: sassanbehnambakhtiar.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Château Quintus, so named as the “fifth child” of the Domaine Clarence Dillon family group

From Bordeaux to Paris and back again, Domaine Clarence Dillon, under the stewardship of HRH Prince Robert of Luxembourg, is delivering two of those most signature luxuries of French life, haute cuisine and Haut-Brion – and more besides, discovers Anna Tyzack

At Le Clarence, just off the Champs-Élysée, in the golden triangle of Paris, the staff are used to seeing familiar faces: not only the actors and politicians who dine there, but the guests who keep coming back. One distinguished French couple returns two or three times a week to enjoy haute cuisine and traditional service à la française in château- like surroundings; afterwards, they head back to their apartment to dance. So successful is head chef Christophe Pelé in recreating the French art de vivre, that Le Clarence, which opened in 2015, won two Michelin stars in one year, and in 2022 was honoured as the second finest restaurant in France, with a global ranking of 28th, in the World’s 50 Best Restaurants list.

The group’s Le Clarence, which has won two Michelin stars and is ranked 28th in the World’s 50 Best Restaurants list

Le Clarence echoes the tastes and spirit of its founder, HRH Prince Robert of Luxembourg, whose great-grandfather, Clarence Dillon, a Harvard-educated banker and Francophile, revived the fortunes of Château Haut-Brion, a Grand Cru on Bordeaux’s Left Bank, in 1935. The group also includes Château La Mission Haut-Brion, bought by Prince Robert’s mother, Joan Dillon, Duchess of Mouchy, in 1983.

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Prince Robert is devoted to his family legacy and became group president in 2008. Like his ancestors, the prince knows that the best way to preserve it is to innovate. Hence his decision in 2011 to expand the repertoire by acquiring a property now known as Château Quintus (meaning fifth in Latin, as the group’s fifth child), a Right Bank wine estate in the UNESCO World Heritage Site of St-Émilion, and in 2015 to bring the spirit of Domaine Clarence Dillon to a 19th-century townhouse, Le Clarence, in what could be described as the Mayfair of Paris. According to his devoted staff, the prince is not a man who likes to sit still and is permanently seeking new ways to capitalise on the company’s past to build its future.

HRH Prince Robert of Luxembourg, the fourth-generation scion of the Dillon family to look after its winemaking legacy

The building was in a sorry state when the prince first stepped inside. Built in 1884 as an hôtel particulier (grand residence), it had been an ophthalmologist’s for many years and was in need of major renovation. Yet the prince could see it was the perfect private mansion to house the passions of Clarence Dillon – fine wine and gastronomy – in Paris. Over the next five years, he meticulously restored the courtyard, marble staircase and exquisite formal rooms. He designed the interiors by researching and imagining how each room would have looked in the past, sourcing 18th- and 19th-century furniture, paintings and carpets from auctions around the world. When builders discovered a vaulted wine cellar beneath the building, the prince resolved to open a fine-wine boutique, La Cave du Château, in the style of the grandest cellars of Bordeaux and Champagne, stocking Haut-Brion (which had been enjoyed by Samuel Pepys and Thomas Jefferson), along with other fine wines, spirits and secret vintages.

Seasonal, creative haute cuisine at Le Clarence

The prince knew, however, that it was people who would bring Le Clarence to life – in particular a head chef to recreate the ethos of Domaine Clarence Dillon in Paris. He was determined to find a chef with their own ideas, style and expertise who would bring a blast of modernity to this historic house. After many months of searching, Prince Robert came across Christophe Pelé through word of mouth; Pelé had worked at some of the best restaurants in France before shocking the gastronomy world in 2012 by closing his two-star restaurant, La Bigarrade, to focus on learning more of his art. Prince Robert invited Pelé to cook for him at Haut-Brion, where, along with creating a world-class gastronomy and wine library, he has installed a kitchen fit for Michelin star- winning chefs. First thing in the morning Pelé headed off to the local market, then spent the day creating a menu that combined ingredients from earth and sea; Prince Robert was so impressed by Pelé’s ingenuity and creativity that he invited him to collaborate right away.

Le Clarence has earned two Michelin stars since its opening in 2017

By 2017, Pelé had earned Le Clarence two Michelin stars, adding the ranking of 28th best restaurant in the world in 2022. There is no formal menu: each artful dish is inspired by a classic recipe and prepared uniquely for each guest to express terroirs, cultures and seasons, and served with a number of smaller dishes to complement the flavours. Pelé, a horse rider and nature lover, devotes a huge amount of time to cultivating relationships with his favourite farmers and producers.

Head chef Christophe Pelé, who prizes classic service à la française alongside his modern cuisine

He is adamant that if his guests are to taste the seasons, he has to be great friends with his fishermen, farmers and suppliers. For example, Pelé works with family company France Ikejime for the freshest fish, while the organic sourdough is from local Parisian bakery Ten Belles. But while his cooking is unashamedly modern, Pelé’s presentation and service is resolutely traditional. “Some say that the art of service à la française is outdated, but what we offer is as relevant now as it always was: the extraordinary luxury of taking your time,” Pelé maintains.

Le Clarence has achieved the rank of second finest restaurant in France

A little over 600km away from Paris on Bordeaux’s Right Bank, the staff at Château Quintus are also aware of the significance of time and deep-rooted relationships. In 2013, the prince expanded this newly named estate, where some of the vines, planted to Merlot, Cabernet Franc and Malbec, date back 100 years, with an average age of 30 years. In 2021, he added another venerable château. Along with Jean-Philippe Delmas and Jean- Philippe Masclef, Haut-Brion’s most senior winemakers, the prince has adopted the same vine-by-vine, plot-by-plot approach used at Château Haut-Brion and La Mission Haut- Brion. “At Haut-Brion there are centuries of knowledge; here we’re starting afresh but we have the fundamentals,” explains Delmas, who is the third generation of his family to be in charge of producing Château Haut-Brion wines. “Château Quintus is deeply rooted in the heritage of St-Émilion, one of the oldest vineyards in the world. Now we’re applying principles from our other properties to get the very best from this ancient terroir.”

Château Quintus vineyards, lined with trees and wildflowers to nurture the terroir and promote biodiversity

The prince set out his intention for Quintus to become the new star of St-Émilion when he commissioned a huge sculpture of a dragon to tower over an estate promontory. The outlook of Le Dragon de Quintus is nothing short of intimidating, as surrounding vineyards belong to the Grand Cru estates of Château Ausone, Château Angélus and Château Le Dome, as well as Château Berliquet and Château Canon, whose owners, Alain and Gérard Wertheimer, own Chanel. Yet the first vintages of Château Quintus have received critical acclaim. At a blind tasting with 28 top wine tasters in spring 2022 in London, three of the Quintus vintages were scored in the top 15 of 48 peer wines, with the 2016 Quintus ranking fourth. Of four perfect scores, three went to Quintus. It seems Prince Robert’s ingenuity is paying off. “The aim at Quintus is to make elegant wine in the spirit of Haut-Brion with typicity of St Émilion’s Right Bank,” explains Mariette Veyssière, manager of Quintus, who previously worked at both Haut-Brion and Pétrus, and whose father and grandfather are both cellar masters in St-Émilion. “The fact that there are 42 acres of vines on three orientations surrounded by oaks and acacia gives us a huge palette when it comes to the blending process.”

A first vintage of Château Quintus, 2011, with an antique Haut-Brion bottle found in a pirate’s cache

As a fourth-generation wine producer, Prince Robert is well aware that, to make the best wine, you need to nurture the terroir – not just for the next vintage but for the coming decades. “‘Terroir’ is a big word in France; it means more than just ground – it’s the whole ecosystem,” says Veyssière. “We are very gentle with it; not just with each vine but the whole terrain; we have to try to envisage what it will be like in 10 and 20 years time.” At Quintus, 800 types of auxiliary fauna with more than 80 species of wildflower have been recorded, as well as a profusion of bats, bees, insects and birds. Each year, parts of the vineyard are replanted, hedgerows are relaid and more trees and wildflowers are planted. No insecticides are used, and any ploughing is done with care to avoid soil erosion. “In order to have the best grapes, the vines have to suffer a little; at the top of the limestone slope where it is rocky there is a natural limitation to how much they can thrive, but where the soil is more sandy and fertile, we grow grass to prevent the vines from growing too vigorously,” Veyssière explains.

Read more: Prince Robert de Luxembourg on wine, gastronomy & storytelling

Harvest at Château Quintus is a painstaking three-week process with each plot (74 per cent Merlot, 24.3 per cent Cabernet Franc and 1.7 per cent Malbec) harvested by hand. “We’re gradually learning the soul of the plots and the grapes,” Veyssière continues. Once the grapes are off the vine, they’re sorted in terms of quality using a gravity sorting system: the best flow down into tanks: steel and concrete for Merlot and Malbec, oak for Cabernet Franc. Then, in November, an expert panel, including the technical teams from Haut-Brion and La Mission Haut-Brion, decide on the blending of Château Quintus and the second wine, Le Dragon de Quintus. Only afterwards will it be put into barrels. “We decide on the blend first to ensure the oak is not masking the berries’ potential,” says Veyssière. “We use a ratio of 35 per cent new oak, 65 per cent old, as the newer the barrels, the oakier the taste of the wine.”

A view of Château Quintus looking towards the spire of St-Émilion church

For Prince Robert, who in 2018 joined Primum Familiae Vini, an association of the world’s most historic and celebrated wine-producing families, Château Quintus is a cherished fifth child, not only as it expands Domaine Clarence Dillon into St-Émilion but because it fulfils the wishes of his great-grandfather. Clarence Dillon had great affection for the ancient vineyards around St-Émilion, yet he never succeeded in buying a château there. Nine decades later, the Quintus estate, like Le Clarence, is a nod both to the past and the future of Domaine Clarence Dillon. “When Prince Robert is here, he likes to walk slowly through the vines and oak copses, taking it all in,” says Veyssière. “There’s no better place to catch up with his team than walking through the terroir with the butterflies and bees and the church spire of St-Émilion in the distance.”

Prince Robert on creating a new legacy

HRH Prince Robert of Luxembourg has been expanding the family business since taking over at the helm of Domaine Clarence Dillon, owner of Château Haut-Brion and other prestigious estates, in 2008. He speaks to Darius Sanai about the past, present and future.

On creating wine and gastronomic experiences
Wine is an experience. It has always been valuable only because it is something we share,
a shared experience. The fine-dining restaurant in Paris, Le Clarence, is part of that: we are bringing people into the heart of the world we have created. The style of the place is a reflection of the style of our Bordeaux château which I saw born around me when my mother redesigned and decorated it back in the early 1970s. I wanted to recreate that atmosphere in Paris. The cooking is totally different because it is hypermodern and the chef is innovative yet respectful of the ingredients. His cooking, to me, is close in style to the wines of Haut-Brion because it is subtle and elegant. It’s a composition. He treats all the contents of the plate in the same manner that our oenologues would the composition of the wine. You have a little bit of everything, but not too much of anything. It is a real art.

The group’s Le Clarence restaurant, with wine boutique La Cave du Château, elegantly housed in a renovated 19th-century Paris hôtel particulier

On building a new carbon-neutral winery at Château Haut-Brion in Bordeaux
The mandate I gave to the architects emphasised that it is not about a cult of personality, about the architect or about ego – whether that is the winemaker, the owner or the architect. We have an extraordinary story here, and we have to really put the focus on that and share it. It can’t be heavy-handed. The design element should not be too important, either. As much as I like Disney and am a big fan, we can’t recreate that kind of experience at Château Haut-Brion. It is like our wine and food: it has to be very subtle.

The carbon-neutral project was born 10 years ago, so we have been working on this with the architects. The technology we are using has improved significantly over that time, so we are going to be in better shape than we anticipated when we started, whether it is the geothermal energy we are using or solar cells. It is important for all of us and the planet, but especially important when you have a long-term vision of a family company that we represent. We are farmers, and our most important asset is our soil and our planet – without that we are nothing, so we have to look after it. I think that is why we see a lot of positive messaging coming out of this space. We are physically using our soil to build our buildings because the construction is going to be significantly made of rammed earth, so we are extracting our soil and we will have that reflected in the walls of our chai building. It is an exciting message, and we will literally be able to see quite gravelly soils within the actual walls. Some of it will be more traditional construction, but much of it will be rammed earth.

On creating a new St-Émilion first-growth wine, Château Quintus, on land that was previously three older properties
Creating a new name and brand ultimately means the promise of quality to the consumer. The reason for creating a new name is that we are not trying to make a better version of what was there before. We are making a totally different, better wine than all those estates. The selection process of the grapes for the wine is so drastically different compared to what was done beforehand. It is a totally different way of making this Right Bank wine. We are adopting the same kind of principles that we have at the Left Bank at Château Haut-Brion and Château La Mission Haut-Brion. It is daunting, but, ultimately, it is very exciting.

While the reconstruction of Château Haut-Brion continues, visitors can experience the group’s wines and hospitality at its new Pavillon Catelan, Bordeaux

Find out more:
domaineclarencedillon.com
le-clarence.paris
chateau-quintus.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX