The old-school but high-tech Mercedes-Benz AMG GT 63

Mercedes-Benz’s performance division AMG has produced a new two seater high performance coupe that is back to the best of the past

In a taxi in a European city recently, I was party to a rather poignant scenario. We were stopped at the traffic lights, and two young local guys were in the lane alongside, in a VW Golf GTI, and iconic car for any aspiring car enthusiast.

They had plainly pimped it up to make it faster, with a loud exhaust and an engine that sounded screamier than the original. They were playing around, revving the engine, ready to screech off at the lights. My taxi was electric, a comfortable bland machine whose manufacturer I can’t recall. When the lights changed green, the young men alongside us screeched forward with a chirp of tyres and zing of engine and exhaust.

The Mercedes-Benz AMG GT 63 in action, crossing mountainous terrain

My taxi driver, with a hint of amusement, simply extended his foot in his electric family car we cruised severely passed them, their little sports car desperately sounding like it was trying to keep up as the taxi wafted down the road gaining pace rapidly but with seemingly no effort, and in silence.

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This made me ponder. That coming weekend, I was due to take delivery of an AMG GT 63, a petrol powered touring car several leagues above the little Golf GTI I had seen on my business trip. But still, however fast a car is, there is always an electric car, often a very bland booking one, that is much faster, simply because of the physics of electric propulsion.

‘There is something unashamedly old school about it [but] of course it has an excellent touchscreen information and entertainment system, all the latest safety gadgets, and a hi-fi system’

So what is the point of a V8 petrol powered grand touring car like the AMG GT, which once would have had its own performance as its starring factor?

Within minutes of getting behind the seat of the AMG I had a strong inkling of the answer.

But, let’s look at the car itself. Produced entirely by Mercedes-Benz’s high performance division, AMG, there is something unashamedly old school about it.

Of course it has an excellent touchscreen information and entertainment system, all the latest safety gadgets, and a hi-fi system that makes you think you are in the Vienna Opera House.

But anyone can do that in a car these days.

A front view of the GT 63

What’s the GT has, in container-loads, is character and soul. You sit low and deep alongside your passenger, with a couple of tiny seats behind you indicating that family values perhaps are not of the highest concern for the driver and passenger.

Stab the button, and the engine comes to life a bit like waking up an Italian mastiff (or should that be a German mastiff?). No silent gliding here.

The car rumbles along the road, sounding and feeling much more like one of those overpowered muscle car coops from a 1960s movie than anything from the 2020s. The steering feels organic and real, rather than like you are playing with a game console joystick, which is sadly what a lot of cars these days feel like.

Just like every other car sold today, the steering is electric – you are not actually, controlling a mechanism that turns the wheels, you are simply sending a signal to an electrical program – but AMG have done a superb job in making you think otherwise.

‘This is not the kind of car you get into, cruise down the road and then 20 minutes later look in astonishment at the speed and realise you were going much faster than you thought. It’s a car with a feeling of speed’

It gather speed in bursts with its muscular V8 engine, and most importantly lets you know it is doing so. This is not the kind of car you get into, cruise down the road and then 20 minutes later look in astonishment at the speed and realise you were going much faster than you thought. It’s a car with a feeling of speed.

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The same applies to the handling, which gives you all the sensations of cornering properly, including delightful feedback when turning in to a bend and, despite the car’s safety first four-wheel-drive, a real feeling that it could do one of those cop car swivels around the corner if you press the accelerate too hard at the wrong/right time. (It won’t, unless you turn all the safety systems off, for which you will need the skills of an advanced computer hacker.)

The AMG GT 63 is a contemporary sports car with the character of the great grand tourers of the past

It’s an interior full of sporting intent: nobody will get into the car alongside you and assume they are just in another set of wheels. It makes a statement, saying: This is my car I bought to drive, properly, while everyone else is wafting around in fear of speed limits and legislation.

If it feels a bit out of place in today’s roster of new cars, that’s because it has deliberately bucked a trend, perhaps more surprising coming from a manufacturer so devoted to electrification as it’s parent company Mercedes-Benz. There’s a soul in the company that invented the car, and it is manifesting itself in the AMG GT.

Does it have any drawbacks? Well, it’s a long, low car with it effectively only two seats, although you could perhaps sedate your children and stick them in the back. It does have a decent boot/trunk space, but of course it is not as convenient or easy as an electric taxi. That’s why exists, and you should buy one, although unlike ours, we would recommend a more poppy colour to make the exterior, which is slick but not exceptional, stand out more. Racing yellow or orange, perhaps. Or frog green. Do it while you can.

https://www.mercedes-benz.co.uk/

Bettina Bryant, owner of the iconic Napa Valley Bryant Estate

Bryant Estate is one of the original Napa Valley icons. Along with Screaming Eagle and Harlan, Bryant’s wines became revered by collectors and connoisseurs as Napa’s fame as a fine wine region spread worldwide in the 1990s. When Don Bryant, the estate’s pioneering founder, stepped aside his wife Bettina took over the reins. A former professional ballet dancer and art historian, Bettina is creating a new future for this legendary estate whose wines are available only to a fortunate few on a private list, weaving in a deep association with art and biodynamic culture. Here, Bettina Bryant and her winemaker KK Carothers speak with LUX Editor in Chief Darius Sanai while tasting a back catalogue of some of the revered Bryant wines

LUX: You are a team that works together and travels together. Bettina and KK, how did you meet and how did the chemistry develop?

Bettina Bryant: I am so grateful to have had the length of time that I’ve had to work with KK. She arrived in 2012 as a harvest intern, and was with us for four years, progressing from harvest intern to oenologist then assistant winemaker.

It was beautiful to watch her evolution, her quiet intelligence and thoughtfulness working with the wines. In 2016, she departed for a new opportunity. It was a sad day for both of us, but we both knew it was an important step in her growth. She went to work with a remarkable estate called ADAMVS, and gained a lot of wonderful knowledge around biodynamic viticulture.

When the opportunity arose to draw her back in as winemaker at Bryant, it was an effortless decision. KK and I have a transparent and honest communication, and she is always completely prepared. We are very aligned. It has been exciting to apply our awareness around where we want to evolve the estate, from both an ecological and artistic standpoint.

Bettina Bryant welcomes us into the estate

KK: I felt just right about coming back to Bryant after leaving for a couple of years because Bettina is an incredible leader. Just as I was coming up the stairs here, I asked Joe, with whom we work, “What’s one nice thing about Bettina?” and he responded, “she’s so generous”. And it’s true: generous with her time.

Bettina is very empowering. She believes in people. I’m perpetually inspired by her open mindedness and setting bigger goals for everybody here. She really brings out the best in everybody.

Read more: Maryam Eisler interviews Pamela Willoughby

LUX: Bryant is not just about wine; there’s a whole global cultural sphere here.

BB: I just wanted to reference briefly, again, that wonderful Rick Rubin quote about the creative act, that ‘it is not about your specific output, it is about your relationship to the world’.

Darius, I believe this quote refers to your suggestion that Bryant is contextualized within a global sphere. My big revelation, having been a performing artist, interacting with an audience, traveling extensively and progressing through life, is recognizing how truly interconnected we are.

The 2016 Bryant Family Vineyard

My arrival at the estate in 2007 was a profound experience. Arriving at the property, whose wines I had tasted only sparingly, drove home just how majestic this site is. The vineyard has the shape of an amphitheater, one with a direct view over Lake Hennessey. We literally have a platform, and it is important that what we say and do is of the highest integrity.

This revelation made me analyze every aspect of what we do, from tending the vineyard, enhancing the team culture, to packaging – the thoughtfulness behind that and the responsibility of how we communicate with our audience. This has been one of the biggest honours of my life, and I take it very, very seriously.

Read more: The Future of Philanthropy with UBS

LUX: Your wines and your art collaborations seem quite holistic – all part of one ecosystem.

BB: For me art and wine are inextricable. For the label project, it is a very personal expression but absolutely inspired by the artists I work with. People may not realize the number of hours that I spend thinking about a label. The design is deeply considered, and great attention is made to what is actually being communicated. For the 2021 Bettina collaboration with the artist Elliott Puckette, each label was letter pressed and hand applied.

The interlinked relationship between art and wine on the estate

LUX: Let’s move on to the tasting. Why did you choose these specific wines?

BB: I wanted to select something from the first decade, the 90s, which was a very historic decade for Napa Valley. There were maybe 50 or 60 wineries in existence in the Valley. Today we are 10-times this. My husband Don arrived in the late 80s, and very serendipitously acquired the first parcel on Pritchard Hill, but not with the intention to farm.

He then acquired the 13.2-acre vineyard parcel, which I understand now was highly coveted by one of our neighbors. Don had a great intuition and worked at a very rapid pace. The first vintage of Bryant was 1992. Helen Turley was the winemaker with us for a decade, and the ‘96 vintage sits squarely in the middle of her time. I think this is an absolutely exquisite wine.

It has a quiet elegance when compared to the ’97. The ‘97 was the wine that really put us on the map when Robert Parker awarded it 100 points (the ‘96 was a 99-point wine in a moment when many wine professionals feel scores actually meant something). I don’t pull these wines out very often.

‘The ‘96 was a 99-point wine in a moment when many wine professionals feel scores actually meant something’ – Bettina Bryant

LUX: We are now tasting a wine which is 28 years old. When your wine ages, how does it change? Does it transform? Does it develop gently?

BB: I think this wine is a testament to Napa Valley. This was followed by a decade in the early 2000s when a lot of producers were really pushing high octane wines. Bryant has generally maintained a more restrained approach. I feel this is just a gorgeous example of a Napa wine that has finesse and elegance on par with Europe.

KK: I agree. You open up the bottle, pull out the cork, and the ’96 is so expressive. It still has a youthful edge to it, but is also elegant and seamless and complex. It is a precious bottle, we don’t get to try it often, but it is a testament to this vineyard and what was happening in that era with the legendary Helen Turley.

Read more: An Interview with Marian Goodman Gallery 

LUX: Napa has been making wines for a shorter time than Bordeaux. Is this a longevity legend in the making? In 50- or 100-years’ time, will people find a bottle of this and open it like a 1945 Mouton-Rothschild?

BB: I would like to think so.

KK: Yes, based on the way the line is tracking now. It’s got decades and decades to go, and even the younger vintages are trending that way.

LUX: We are now trying the 2006. Did the Bryant Estate ever go down the route of making super-powerful wines?

The art of winemaking at the Bryant Estate

BB: 2006 is considered a vintage that tested growers and winemakers. Heavy winter rains led to some summer flooding, but Spring and Summer were warm with good fruit set. There are a few Bryant wines that probably exude a bit of that thinking, but I feel that we tend to be more restrained than others in our peer group.

KK: The proof is in the pudding when trying this wine. It’s not at all concentrated or hot or elevated or overly muscular. It’s simply there. You can recognise that it is balanced.

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BB: I love the delicacy here. I think it has a really feminine quality, and yet the aromatics are so revealing. Persistent.

I just wish we had more bottles. Don considered success as selling out. So, it is a privilege to be able to taste this with you today. I arrived at the estate in 2007 when this wine was being evolved. I find this wine is in a really good place right now. I showed it last year at a charity dinner in Nashville, Tennessee, and it was the wine of the night.

KK: I get the sense that it has a lot of legs. The tannin is still prevalent and still quite structured. I can see this having a long life and continuing to deliver for decades.

‘There’s a wind that comes off the Pacific Ocean, through the Petaluma Gap in the afternoon, kind of skips off the lake and pulls down the diversity of soil resistance on the site’ – KK

LUX: What is the style of Bryant? What makes Bryant Estate, Bryant Estate?

KK: There are infinite factors that go into it. At its core, it’s about the site, good ground, and the way that it’s farmed. We’re above Lake Hennessey, which is unusual. It’s rare to be in Napa and have a maritime influence. There’s a wind that comes off the Pacific Ocean, through the Petaluma Gap in the afternoon, kind of skips off the lake and pulls down the diversity of soil resistance on the site.

Read more: Cristal evening with Louis Roederer’s Frédéric Rouzaud

LUX: People think of Napa as being hot in summer, but it’s a lot more complicated than that with the ocean fog and breezes.

BB: We are above the fog line. We get fog in the morning, which arrives overnight to keep temperatures cooler. It’s a Mediterranean climate, not a continental climate, so that’s important for retaining acidity in the grapes. Otherwise, the grapes can lose that precious acid, which you can’t really get back if degraded because of too much heat, especially at nighttime. We do have this diurnal shift where it can be 20, 30,40, degree changes in the temperature from nighttime to the morning. Yes, there are certainly many climatic factors, soil types, and differences throughout Napa that make each place very unique.

The landscape of the Bryant Estate property

LUX: Do you have a benchmark?

BB: Well, for Don, the benchmark was 1982 Chateau Latour. For him, that was a definitive wine.

LUX: And all the grapes for your flagship wine are picked from one site?

BB: Yes, this was something that Don identified early on. He was studying Robert Parker reviews, and he realized that Bryant was the only wine in that particular echelon that was 100% Cabernet Sauvignon from one site. So, I do think that is a differentiating factor in why this wine is quite distinctive.

The site is very undulating, but this wine has always been 100% Cabernet Sauvignon. To achieve this requires a lot of attention. You can’t just offset an edge by adding a little bit of Merlot or create a little bit of lift with some Petit Verdot. This is pure Cabernet Sauvignon. The fact that the site is so undulating really shapes the dynamic aspect of this wine.

The palate of the Bryant Estate Carbernet Sauvignon: layers of vibrant cassis, black cherry, and black currant interplay with savoury infusions of graphite, sage, tapenade, and tobacco

LUX: Your production, by the standards of the celebrated Bordeaux estates, is small. You could sell everything you make many times over. Do you want your stories to resonate with a broader world of wine connoisseurs?

BB: Entering this space as an art historian – one very focused on artist stories and craft – explains how I have approached Bryant and the opportunity to preserve the story. Extended from this, I have been developing an import entity whose intent is to shed light on other producers whose values resonate with what we are doing at Bryant. There are so many important stories that deserve to be preserved. Are these producers in the right relationship to the land, to the craft?

LUX: Let’s move on to the third decade of the Bryant estate – the 2018 vintage. KK, you made this wine. Is speaking about wine like speaking about a child?

KK: Yes, in a lot of ways it is like a child. I love doing it. It’s not easy. I feel we must dispel this notion that it’s so romantic. It’s a lot of work, effort, thought, and movement. Winemaking is not an easy endeavor.

Winemaking is ‘really about being in tune with nature’

When I arrived back in 2018, it was a great harvest. It’s been a while since I’ve tried the ‘18. It’s really enjoyable to have this opportunity to taste it, especially in this lineup. I find there is a mineral freshness to this wine, accompanied by a fresh fruit profile with integrated, even, and coating tannins. In 2018, we picked the vineyard over 60 different times, and fermented in an assortment of vessels – barrels, puncheons, concrete and stainless tanks – and aged the wine in 225 L, 300 L, and 500 L oak formats. It’s really the epitome of us being in tune.

The interconnectedness of everything. We are in tune with every step, with every vine. It’s really just part of a full integration with life.

BB: I would also say it’s about being fully present.

KK: You can’t do this as a consultant or while not being present. When you’re here and walking and smelling and tasting and cleaning, washing barrels, you can tell: this one smells a little strange, I won’t keep this barrel for next year. The fact that we’re small and pay meticulous attention to detail is just part of that presence and being in tune and connected.

The season’s first growth in the Napa Valley

Getting back to art and winemaking: there is a scientific base. But the more I go along, it’s really about using your gut and intuition – just being in the moment and doing what you have to do, when you have to do it.

LUX: Why did you make the Bettina a blended wine?

BB: Don was aware that Bryant, within the echelon of cult Napa wines, stood apart as a single varietal wine. As previously mentioned, he was very passionate about 1982 Chateau Latour, and became interested in the idea of making a Bordeaux-inspired wine.

We were initially looking at potential vineyards for acquisition, but then received an offer in 2009 for some exceptional fruit. This coincided with the year that we were married.

Don surprised me by naming the wine after me. It was actually a wedding gift. There is so much beauty within that gesture, and it has been a wonderful exploration of how to coax these other varietals and create a wine that is complimentary to the estate wine.

The 2014 Bettina

KK: 2017 was a dramatic year: we were hit with the first fires midstream, and it was enormously challenging. We were about 80% picked at that point. But it was a very foreign experience. I think this vintage points to perseverance. Those who didn’t panic delivered exceptional wines.

LUX: How would you describe this wine to somebody who’s tasting it as a contrast to the flagship?

BB: It’s interesting. From the outset, people often refer to Bryant Family Vineyard as the more feminine wine in our canon, and the Bettina more masculine. The wine has a lot of presence. I think it’s a very voluptuous wine. It’s not shy.

KK: The inclusion of other varietals, Cab Franc, the Merlot, the Petit Verdot, in addition to the Cab and co-fermenting those in the tank so the skins of the one varietal are in contact with the juice of another, builds a certain complexity.

The composition of The Bettina Proprietary red wine

BB: Let’s move on to the ‘19 Bettina, which is a pivotal point in its evolutionary journey. In this vintage, we did a little bit of stem inclusion, just to give the wine a bit of floral character, as well as integrate a bit of the Bryant Family Vineyard cabernet. It was very symbolic, literally bringing this wine in house. This wine has a presence of mind that I think is really balanced.

LUX: Bettina, you are an art historian. There is a depth to your art collaborations for the labels.

BB: Art has always been an inextricable part of who I am. From an early age, I was immersed in looking at art. My parents were always bringing me to museums. I was introduced to music early on, and then I danced, eventually professionally. I always had an awareness of how intertwined things were, and view things through an artistic lens. The hand, the gesture in making the wine, was really evident to me, and I wanted to carry that forward into the external expression of the bottle and how it would be received.

‘I love the idea of having this word on the table, and subliminally impacting the dinner conversation’ – Bettina Bryant

I understood that the Bettina wine was the sandbox where I could be playful, and inaugurated an artist series with the tenth vintage, the 2019. With the 2019 Bettina, I selected a really wonderful and well-known artist named Ed Ruscha, who does a lot of work with text-based images. He had gifted me a drawing featuring the word ‘NOW’ in connection with another project I was working on in New York. I love the idea of having this word on the table, and subliminally impacting the dinner conversation.   

Read more: Mercedes-Benz AMG GT 63 review

LUX: You spend a lot of time with art, being with not just artists, but art itself. It’s a very important part of your life. How does that inform the Bettina wine, the estate, and your relationship with KK? 

BB: I have had the wonderful opportunity to dabble in different modalities, whether it was dance or music, and I know how that elevates my daily life. There’s an amazing quote by Gerhard Richter in which he says, ‘art is the greatest form of hope’. I find that I’m an optimist by nature. I’m just always wanting to inspire, wanting to elevate, wanting to connect, to help with problem solving. When I left my dance career and headed into my academic career, I was working with a dance program in the public school system in New York.  It was very moving to see young, often underprivileged, children be invited to dance for the first time.  Movement became a very joyful experience. It illuminated for me that art has the ability to be a catalyst for positive change.  

‘When Ed presented the abstract artwork that encases this bottle, he said it reminded him of falling grapes’ – Bettina Bryant

LUX: And finally, we have the 2021 Chardonnay.

BB: I always wished, whenever I would present wines at tastings and dinners, that we had our own white. KK and I decided to do an in-depth blind tasting of Chardonnays from around the world, and we landed on the same one at the conclusion of the tasting: a 2013 Chevalier-Montrachet. The fact that we were so aligned in our thinking and taste profile felt like a sign from the universe.

The 2021 Bryant Sonoma Mountain Chardonnay

KK: Bettina and I both love white burgundy. It has been a journey to find white wine around this area as it’s warm here and we don’t want to go so far to acquire white grapes. We believe in the importance of localism and not trying to drive six hours to pick up fruit, instead keeping it as close to Bryant as possible.

That required a lot of steps, a lot of walking vineyards and finding different sources for good ground. I homed in on Sonoma Mountain, which is just about an hour from here, near Glen Ellen, where Jack London settled. This vineyard is right on the north base of Sonoma Mountain, an extinct volcano and an area that was once covered by the Pacific Ocean.

The mountainous terrain of the Napa Valley

An AVA established in 1985, Sonoma Mountain is a relatively remote and rugged area speckled with Redwood trees, vast ranches and unpaved, one-way roads. The well-draining soils on the vineyard block are a combination of white tufa and basalt, often found on mountains and foothills (the names of the series are called Toomes, Guenoc, Goulding and Red Hill). Thanks to its orientation, the block receives a warming morning sun to dry out the dawn dew but is soon shaded from the higher heat of the afternoon sun, another important characteristic to growing white grapes in sunny California.

The wine is flinty and mineral driven, crisp and with length, and marked by effortless beauty. Upon this alignment of choice, we finally felt ready to create a Bryant Chardonnay.

bryant.estate

Soichiro Fukutake, joint owner of Benesse Art Site Naoshima with his son Hideaki Fukutake

The owners of Benesse Art Site Naoshima, Soichiro and Hideaki Fukutake, are revitalizing the Seto Inland Sea islands, Japan’s first National Park. Father and son speak with LUX Leaders & Philanthropists Editor, Samantha Welsh, about conservation, community and the regenerative role for contemporary art.

LUX:  What was the catalyst for the Naoshima Island art destination?

Soichiro Fukutake:  In 1986, after the sudden death of my father, Tetsuhiko Fukutake, I returned to Okayama from Tokyo and took over a project my father had conceived with the then mayor of Naoshima to build a campsite for children. This led me to visit Naoshima many times, and through interaction with the islanders and my hobby of cruising around the islands of the Seto Inland Sea, I rediscovered not only the natural beauty of the Seto Inland Sea, but also its history, culture, and people. Many of these islands retain the original landscape of the region and its communities have an intrinsic Japanese way of thinking. However, while the islands of the Seto Inland Sea were recognized as Japan’s first national park, they were burdened with the negative legacy of modernization and postwar rapid economic growth. This has caused pain in the hearts of the people who live with the nature of the islands.

I felt my sense of values change 180 degrees when I became involved with the islands of the Seto Inland Sea in this way. Excessive modernization means excessive urbanization, and this is full of stimulation and excitement but also tension. By experiencing the original landscape of the Setouchi, I realized that on a planet with limited resources, we should shift our mindset away from modern’s societies’ destruction and creation to ‘using what exists to create what is to be’.

By exhibiting contemporary art with a message critical of modern society in a place where the original landscape of Japan still remains, I thought I could transmit this idea to the world and at the same time change this damaged region.  Over the past 30 years, we have been involved in a variety of endeavours, including a hotel integrated with an art museum, the creation of site-specific works, and Art House Projects.

Hideaki Fukutake, co-owner of Benesse Art Site Naoshima

LUX:  How is regeneration through your multiple art museums having a socio-economic impact on the Seto Inland Sea islands?

SF:  The idea of establishing an art museum on each island (Naoshima, Teshima, and Inujima) was to place an art museum on each damaged island as reference for their future development. It would serve as a place of focus, like a church that acts as a centripetal force in Western societies. I created the art museum as a place to unite the hearts of the islanders, who were otherwise scattered.

In 2010, I started the Setouchi Triennale, which attracts around 1 million visitors each time.

For the 2019 Setouchi Triennale, it is recorded that about 1.2 million people visited Setouchi. Of course, this impacted economically, but I am not doing art activities for the economic effect. As I continued these activities, I gradually felt that many young people visited Naoshima and that the elderly people of the island became more energetic as they interacted with the local community and the islanders. In addition, the islanders took the initiative to start guesthouses and cafes, and so on. We believe that the social impact is not only the economic effect, but also the revitalization of the island as art activities take root in the island life.

Naoshima New Museum of Art, © ⒸTadao Ando Architect & Associates. A new museum set in Japan’s first National Park

LUX:  Why do you collect art, at a personal level?

SF:  Most of our works are held through Benesse Holdings, Inc. or Fukutake Foundation. Selections are made primarily by me. The intention is to entrust artists to send a message to the world strongly cautioning against excessive modernization, therefore, many of the works in the Benesse Art Site Naoshima (BASN) collection are highly message-oriented. We believe that by exhibiting these works within buildings designed by Tadao Ando, an architect from Osaka, in the islands of the beautiful Seto Inland Sea rather than in a museum in Tokyo, we are ideally placed to amplify the messages of these artworks. This approach aims to address the excessive modernization and urbanization that have damaged these islands. Through my 37 years of activity since 1987, I have come to realize that contemporary art, more than any philosophy, literature, or other form of art, has the greatest power to energize local people and deliver messages to the world.

Hideaki Fukutake:  The criteria and motivations for selecting art to be exhibited on Naoshima and in the Setouchi area are completely different from those for selecting art for personal collection. I personally do not have a significant art collection. I simply acquire art that is suitable for the spaces where they will be displayed, such as my home or office.  In my personal spaces, where I spend a lot of time, it is important to me that the art is visually pleasing. However, my sensibilities evolve as I age and the circumstances of the time change, so I try to acquire and display artwork that I find beautiful at the time. I am interested in understanding and objectively observing how my perception of what is beautiful changes over time

Setouchi Triennale by Shintaro Miyawaki

LUX:  Is it important for you to remain an independent foundation?

SF:  Of course. As I mentioned earlier, because artists’ narratives can include criticism of the government, I believe it is better for public entities to stay outside the conversation.  Private individuals and companies should not only be proactively profit-making but should also invest more in art, which underpins the cultural infrastructure of modern society. I believe that culture is what enriches the soul. With this purpose, at the Fukutake Foundation, I advocate a new concept of management called “public interest capitalism”. When a corporation establishes a foundation for cultural or community development, the foundation becomes the major shareholder of the corporation and the founding family, and the corporation and the foundation work together in cultural activities, thereby ensuring soundness for both parties.　The funds will be not donated but returned to the foundation in the form of dividends on an ongoing basis. In this context, it is only corporations that create wealth. I believe that corporations are the ones who should invest more in culture and art. In this sense, it should be an independent foundation.  I believe we must strive for the economy to become the servant of culture, for culture to come first and for the economy to support it.

HF:  I believe our independence is extremely important.  I feel a degree of separation from society is necessary in order to present unique perspectives and values to the world.  The world moves quickly, and the ability to share information and values is incredibly strong, so we would like to keep the Foundation as independent as possible, as a contrast to an increasingly homogenized society.  It is appropriate that the Foundation’s activities are conducted on islands surrounded by the sea, which moderates the interaction and disconnection with society.  This is probably our unique strength.

Photography of the Seto Inland Sea Islands by Osamu Nakamura

LUX:  How can you inspire Japanese collectors to buy art from emerging Japanese artists?

SF:  I believe the government and the national authorities need to provide more support to young artists. In Japan, there was an exhibition called DOMANI that ran for 25 years until 2023, aimed to nurture young artists, but unfortunately it was cancelled. I am concerned that young artists in Japan may not receive adequate nurturing. Japan is a country where the government shows limited interest in culture, which I find very problematic. Culture plays a crucial role in shaping regional and national identities, which economic development alone cannot achieve. It is unfortunate that such thinking is largely absent in Japan today. Conversely, I believe it is crucial for companies like ours to actively support art and culture.

HF:  While I don’t personally think Japanese collectors should have to support emerging Japanese artists in particular, it is clear that artists will need to develop skills beyond pure creation. These would include communication and branding. In today’s world, they have more opportunities than ever before to connect directly with collectors and society globally.  It might be better to let these processes develop naturally, allowing powerful, down-to-earth, and passionate artists and collectors to emerge organically.

Atrium of Naoshima New Museum of Art Ⓒ Tadao Ando Architect & Associates

LUX:  What was the vision for the international art festival?

SF:  Like the activities of Benesse Art Site Naoshima, together with Fram Kitagawa who is director of the Setouchi Triennale, this festival has continued to use contemporary art as a means to raise issues about modern society. We have been working to let visitors know through the activities of the Triennale that it is in rural areas that true wealth and true happiness can exist, which cannot be measured by economic indicators.

With keywords such as “Restoration of the Sea” and “Smiles of the Elderly,” we have worked to generate interaction and learning among people, to promote cooperation between artists and collaborators from outside the island with the local people, and to convey the power of the region and create pride among the people of the island through their participation in these activities.

We would be more than happy for you to experience the Triennale and this richness.

‘We have been working to let visitors know through the activities of the Triennale that it is in rural areas that true wealth and true happiness can exist’: Smiles of the Elderly by Hideaki Hamada

LUX:  Please share the concept for the Sixth Setouchi Triennale in 2025.

SF:  The Setouchi Triennale will be held for the sixth time in 2025, following the inception in 2010. Despite consistently focusing on the theme of “Restoration of the Sea,” we plan to reevaluate our approach for the upcoming edition. We will also have several islands as new venues, along with areas such as Higashi-Kagawa, Sanuki City, and Utazu Town.

The foundation of the Setouchi Triennale is to celebrate the natural and geographical characteristics of the Setouchi area, while asking critical questions about modern society. As the festival has evolved into one of the world’s premier art events, our focus now more than ever is on highlighting local life essentials, the magnificent sea and landscapes, and traditional livelihoods, instilling a sense of pride in residents. We aim to demonstrate to visitors the profound sensory and physical experience that the Setouchi Triennale offers, in contrast with sensory overload of urban landscapes. We are preparing to immerse visitors in the unique world of the Setouchi region where the sight of the sky or sea can evoke deep emotions of joy or melancholy.  Alongside our existing venues, we will introduce a new venue on the Kagawa Prefecture coastline. This expansion will showcase the historical significance of the Seto Inland Sea, a hub of maritime trade and cultural exchange since ancient times, and attract a diverse range of visitors to our exhibitions.

In 2025, we are dedicated to solidifying our role as a pivotal art hub in Asia, by planning artworks that reflect Japan’s connections with other Asian countries. We are opening a new museum, the Naoshima New Museum of Art in the spring of 2025. The exhibition will feature 11 artists from Asian regions. We hope that this will be an opportunity to showcase the wonders of the Seto Inland Sea to the world through art even more than before. Additionally, we envisage hosting exhibitions featuring works by prominent Japanese artists concurrently at eight museums across three neighbouring prefectures. This coincides with the timing of the Osaka Expo, promising to attract numerous art and nature enthusiasts to the islands.

LUX:  What will be Setouchi Triennale’s legacy?

SF:  The Setouchi Triennale stands as a unique art festival in the world, uniting multiple regions across a wide area. It’s an unprecedented initiative where art takes on the role of revitalizing depopulated and damaged islands, rather than just serving as a focal point. I hope to showcase to people worldwide the transformative power that art holds.

The Naoshima New Museum of Art

Marian Goodman Gallery’s new Tribeca headquarters, where their inaugural exhibition Your Patience is Appreciated will take place from October 26th to December 14th

After 40 years on 57th Street, the historic New York institution Marian Goodman Gallery has announced their move to a headquarters in new art-centre Tribeca, a space of almost double the size. Cleo Scott speaks with Partners Philipp Kaiser and Rose Lord about the importance of the artist, the changing tides of the New York art world, and continuing founder Marian Goodman’s legacy as one of the most respected on the global contemporary art stage

LUX: How have your individual backgrounds influenced your approach to curating and running the Marian Goodman Gallery? What has been your overall vision for the Gallery?

Rose Lord: I’ve worked at the Gallery for 22 years, which is incredible. I’ve spent a lot of time with Marian over the years, and learned so much from her. Her way of looking at the world and dealing with artists and collectors has been very formative. I think that the five Partners of the Gallery, the directors, and the people working in all three galleries in New York, Los Angeles, and Paris share the same vision. We’re trying to create a forum to show exemplary artists, but also create a kind of platform for discussion with the artists and share their ideas that can impact the world, impact society.

Philipp Kaiser: Yes, absolutely. That’s the reason why I wouldn’t have considered another gallery to join. I was in the museum world before my time at the Gallery and worked in institutions in three different countries. Marian has respect towards the institutional mission, and never wanted to compete with it. I feel the Gallery itself is an institution.

Marian Goodman with her five partners, from left to right: Rose Lord, Leslie Nolan, Philipp Kaiser, Marian Goodman, Junette Teng, and Emily-Jane Kirwan

LUX: You are two of the five Partners of the Gallery, established by Marian Goodman to ensure continuity. How does the launch of the Tribeca flagship provide continuity for the Gallery’s legacy?

PK: We set up this structure of five Partners to establish a structure for stability and the next chapter for the Gallery. Marian brought together such a special group of artists, and we want to move the Gallery into the future.

RL: When Marian opened the Gallery on 57th Street it was one of the centres of the art world, but these centres have shifted over the last 43 years. You could say to Chelsea, but then also to Tribeca. It was big decision for us to move from midtown, but it was informed by wanting to be part of a community again, wanting to be surrounded by other artist-centric galleries. I think one of the things that we learned from Marian is to keep a gallery relevant, you must keep moving with the times. And we’re doing that: we’re moving to Tribeca, we opened a gallery in LA last year, we’ve been taking on new artists. A gallery cannot remain static. It must be a living organism that plugs into the discussions that are going on around it.

Installation for Marian Goodman’s inaugural show Your Patience is Appreciated in the new Tribeca space, featuring work from Julie Mehretu, Gabriel Orozco, and Nairy Baghramian

LUX: Are there any elements of this development that will break from the tradition of Marian Goodman?

PK: Absolutely not. The Tribeca space is a commitment to have our headquarters in New York. There’s always the temptation to grow and have more galleries, but Marian has never done that. She always was thoughtful about growth and maintaining the rigor of the Gallery, and we have been continuing this vision.

LUX: Marian Goodman currently represents 47 artists. A strength of the Gallery is that it is very selective with the artists that you choose to represent. With the expansion of your headquarters in New York, are you also hoping to expand your representation, and if so, how will you balance this expansion with your selective roster?

RL: The first thing to say is we want to keep with the tradition, but we want to find a way to build on that tradition and into the future. We have already added quite a lot of artists over the last two years, such as Daniel Boyd, Delcy Morelos, Andrea Fraser, and Tavares Strachan. We try to be very careful and not just add artists left and right. We want to be in dialogue with them.

Unghia e foglie di alloro by Giuseppe Penone, a work made of glass and laurel leaves that will feature in the Gallery’s inaugural exhibition

PK: Exactly, but these days it’s a bit of a different situation. You have to be faster, because many of the big galleries are much more speculative than they were 10 years ago. But I believe there is a real integrity in our artists, who really dive into conceptualism and social concerns. This runs through the program, and that’s also why the different generations within our program highly respect each other.

RL: That’s been the challenge of the opening show to weave together this kind of history, this narrative, and different generations, the different types of work.

LUX: Your inaugural exhibition ‘Your Patience Is Appreciated: An Inaugural Show’ features some 75 works across media. How did you select the artists and works featured at the Tribeca launch? Are there any broad themes or messages you hope to convey through the selection of these works?

PK: Well, we wanted to include all of the artists that we represent. Everybody at the Gallery was involved in the creation of the exhibition, which brings together both historical and new pieces. For me, curatorially, it was kind of a challenging puzzle to create a narrative over three different floors. How do you summarise a group of distinct artists? How do you put them under one roof? How do you create a meaningful exhibition about what you’ve been doing for the last 47 years, that also looks to the future?

Pierre Huyghe’s timekeeper piece, titled Timekeeper Drill Core (MGG 57th St), carries a piece of the 57th street Gallery to the Tribeca headquarters

RL: We have these two ‘Timekeeper’ pieces that Pierre Huyghe made for our Gallery. It’s kind of like the rings of a tree; he scours through the different layers of paint in the Gallery walls from our former 57th street location. The Gallery at 57th Street was frequently painted black and white, and some artists asked for specifically coloured walls for their exhibitions. So the work by Pierre is literally a visual history of the 57th Street Gallery – you see these different colours and layers of the Gallery’s history.

PK: What I’ve tried to establish is a cross-generational conversation between the artists. There’s kind of a Duchampian thread that runs through the building, themes, and artists. You see, for example, Pierre’s rings on the ground floor, and then on the second floor, there’s a wall drawing by Giuseppe Penone. There’s a piece of paper with his fingerprints, and then he made all these lines around the fingerprints bigger and bigger and bigger until it’s like, over three-meter diameter. So, Pierre’s and Giuseppe’s pieces are in conversation; they form the same type of pattern and become reflections on identity and time. And I think that’s why we chose the title Your Patience is Appreciated. It addresses expectations of change, and reflects the duration of what we’re doing, and that we’re in this for the long run.

Installation of the third floor of the exhibition, featuring wallpaper and work by Annette Messager, Richard Deacon, and Tony Cragg

LUX: What are your aspirations for the Gallery beyond this launch? Are there future projects or collaborations in the pipeline?

PK: The first show in the new year will be a two-person show. The new Tribeca space has these two gallery floors that enable us to have interesting conversations between different artists. It will be a conversation between An-My Lê, who came as a refugee from Vietnam to the United States, and Boris Mikhailov, a Ukrainian photographer who hasn’t really been properly shown in the US. We feel this is going to be a show that resonates following the election, and the time we’re living in.

We’re also excited to announce an exhibition of Tavares Strachan’s work in March 2025, and following that, a show of Pierre Huyghe’s work in May 2025. Pierre hasn’t had a gallery show for a very, very long time, and some of these works will be premiered in the US. We’ve been wanting to program a show with Pierre in the Gallery for a long time, but he’s just had too many museum shows and big projects. And now, finally, May 2025.

https://www.mariangoodman.com/

The hotel, in harmony with its forested location

Tucked above the village of Sils, the Waldhaus hotel offers a blend of natural beauty and 20th-century design. A LUX editor reflects on their retreat, where the surrounding forest and timeless atmosphere offers a sanctuary for artists and wanderers alike

Waldhaus literally means “forest house” in German and, if you walk out of the grand doors of the Waldhaus hotel perched on a rock above the tiny village of Sils, turn left along the path leading through an ancient larch and pine forest and disappear along the mountain slope, you could walk for days without ever emerging from the canopy of the forest above and the humus of the ground below. It is a near-infinite ecosystem of fungi and plants that work in one with the trees, insects and animals to keep this great Alpine forest alive.

A framed view from the Rock Room

You could, in theory, walk for thousands of kilometres circumnavigating the Alps and never emerge from the forest. But that would be a shame, as the Waldhaus, which opened in 1908, is itself just so delicious.

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Unlike some grand Swiss hotels, this is a creative and authentic tribute to 20th-century design, its interior architecture genuinely and lovingly created by generations of owners.

A game of tennis, Waldhaus Sils-Style

It is made to be at one with the forest and many of its picture windows look not over and out of the woods, but inside them, framing them like a Jasper Goodall photograph. The Waldhaus is where writers and artists, including some of the most celebrated in the German-speaking world, have come for generations to relax and be inspired.

It is a hotel as imagined by a poet, the service just formal enough but never oppressive, the food never showy but perfectly made from local ingredients, including a nightly bouillon – always made with a different stock – that is a demonstration of how clear soup is a tonic for the soul.

A space where 20th-century design meets timeless creativity

The hotel, which has 140 rooms and suites, is neither a summer nor a winter resort: it is a place to disappear to and be inspired, whatever the season, and if you wish to vanish up the beautiful hidden valleys of the Engadine above on a summertime walk, or spend the day in winter sports in some of the celebrated mountainsides of adjacent St Moritz, you can.

Read more: A palatial stay at St Regis Hotel, Venice

This is a place for artists – visual, musical, literary – first and foremost. It would never be so gauche as to proclaim that it is so; it just is.

waldhaus-sils.ch

The Marchese Lamberto di Frescobaldi with LUX Editor-in-Chief Darius Sanai

Italy’s greatest wine, and now a cult collectible, Masseto is the wine every wealthy collector wants to add to their cellar. But is it as good as its stellar reputation? At a rare tasting hosted by the Marchese di Frescobaldi in London, Darius Sanai sought the answer

Wine is often cited alongside art and classic cars as a collectible, but there are some fundamental differences between the worlds great wines and its great artworks and motors.

The most notable is its ephemerality.

You can collect and enjoy a Fontana artwork for decades; likewise, you can jump into your Ferrari F50 and tear around the back roads of Tuscany any time you like.

But to enjoy a wine, you must also destroy it, or at least consume it. A tasting of great and rare wines is a more special occasion even than visiting an art collection or driving the rarest classic in the world: these are the first and last time these particular bottles will ever be tasted.

A harvest of the Masseto vineyard

That came to mind as I arrived for a pretty special tasting across 10 vintages of Masseto, which has, in just 25 years – an instant in fine wine terms – established itself as Italy’s greatest, or at least certainly most celebrated, red wine.

The price of Masseto has increased exponentially over the last few years, as wealthy collectors and consumers around the world fight for it, while production remains as limited as it ever was.

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The Marchese Lamberto di Frescobaldi, scion of the ancient Florentine family, who hosted the tasting, even told us that family members were restricted to buying – not being given – three bottles a year each. And what, someone asked, if they had children, would they also get three bottles each? “No, “he replied, “your children are your problem“.

The Marchese is a lucid and entertaining host, his dry humour manifesting itself at unexpected moments so; for example, on tasting one of the rarest wines, he commented that he was going to spit it, as professionals do, into the spitoon provided, but then decided to “spit backwards”.

The futuristic construction of the entrance to the Masseto winery

Masseto comes from a very interesting vineyard location, a little plateau very close to the coast in Tuscany, so near that you can see and feel the sea from some of the vineyards. To the other side are the endless forests of the Massa Marittima, beyond which is Tuscany’s more arid interior and other famous wine areas such as Montalcino. Although the climate has become warmer in recent years, sea breezes and summer rains allow Masseto to have that unique combination of richness and freshness, combined with all its other elements.

But what makes a truly great wine, and does it really deserve to join the pantheon of global legends, such as Château Latour and Domaine de la Romanée Conti?

The Masseto plot is unique; a hill of almost 7 hectares with blue clay soil, with some layers of clay rock-hard and forming solid boulders.

Assessment from critics is one element, and so is the ability to age. We won’t know about the latter definitively for a few decades at least – the first vintages appeared in the late 1980s– but we tasted vintages back to the 1990s , on this elegant occasion, the first for several years given by the house. And the wines were, overwhelmingly, magnificent, and also showed a remarkable variety between vintages and ability to develop character and complexity over the years.

Masseto is a delicious wine – something that cannot always be said of the worlds great wines, some of which are rather austere – but it is also a magnificently sophisticated one, combining qualities rarely found together in a bottle – if ever. It has a character and profile all of its own. For those reason it certainly ranks among the very greatest.

A Masseto vintage from 2005, one of the many featured in this evening of tastings

Tasting notes by Darius Sanai

Masseto 2021
Like sitting on the highest spire of the Duomo in Milan and looking at Monte Rosa and the Alps, deep in snow, in the distance

Masseto 2016
This wine is being on a Riva, on a still June day on Lake Garda, and hearing the bells of the little church at Bardolino ringing out across the water: it has warmth, freshness and soul

Masseto 2015
Have you ever arrived at La Scala in Milan, in your tuxedo or couture gown, in a Blu Chiaro Metalizzato Ferrari 575 (manual gearbox version), swept up the red carpet and sat in a box to hear Placido Domingo perform Tosca? The Masseto 2015 is that whole experience, in a bottle; but don’t experience it for another five years

Masseto 2013
The delicacy of a Murano glass combined with the richness of palette of its hand-painted colouring

Masseto 2009
Lunch on a July day on the terrace at the Splendido in Portofino. It’s a rich wine, from a hot year, but somehow still has life and complexity, no heaviness

A view of the Masseto cellar, which stores the range of vintages tasted by Darius Sanai

Masseto 2006
Isabella Rossellini in Blue Velvet. Mysterious, difficult, then seductive and transfixing

Masseto 2005
“Tradition is the soft landing of our fears” – Lamberto Frescobaldi. This quote intrigued me so much that I forgot to make any notes about this vintage. Lamberto was speaking about how wine estates need to adapt and change.

Read more: Cristal evening with Louis Roederer’s Frédéric Rouzaud

Masseto 1999
At 25 years old, this wine is Walter Santeso, playing Paparazzo, in La Dolce Vita. A classic, that’s all

Masseto 1996
If a great wine is one that keeps evolving with age, this is a true great. On blind tasting I would have had it down as a Cheval Blanc, such is its power and delicatesse, and ability to keep evolving, and its perfume

Masseto 1995
Sophie Loren in Two Women, with a kind of unbridled joy of sophistication

masseto.com

‘Geller’, 2024, on display at Bernard Frize’s upcoming exhibition at the LA branch of Marian Goodman Gallery.

Bernard Frize is an artist who lets the materials decide for him. A French painter who has been developing his uniquely industrial practice over the past 45 years, leading gallery Marian Goodman announced their representation of him in 2024. Ahead of his inaugural solo exhibition at Marian Goodman’s Los Angeles space, Cleo Scott asks him about process, materiality, and the role of the artist

LUX: Your works are centred around the process of creation. Can you take me through your process of creation of ‘Tama’, which will be on display in your upcoming exhibition at Marian Goodman in LA?

Bernard Frize: I’ve always liked the fact that my paintings are multicoloured, in other words that I don’t choose the colours and mix them. These paintings are very simple: large brushstrokes crossing the canvas vertically; there is an overload of paint on both edges because there is no beginning or end – could I say that the edges are in their raw state? In fact, I paint in both directions and I stop the brushstrokes before the end of the canvas. The latency, the veil which covers what has not yet explanation, but shows its potential, this is what I wish to call in these paintings.

Bernard Frize photographed before his work

LUX: Your works ‘Tama’, ‘Kario’, and ‘Voni’ appear to have been made using the same process of creation. What is the relationship between your works, focusing on process and materiality?

BF: I’m always fascinated by the dissolution of the image into its materiality or by the creation of images from their raw components.

It reminds me of the birth of Aphrodite on the shore of Paphos and I like to imagine how to describe a picture, her body emerging from the waves, which could also be interpreted as a plunge into the sea. There is always this temporal ambiguity in the image, between diving and emerging, doing and undoing; each gesture stopped at a moment in its course could have been something different if we had thought of other options. The paint is wet and then dries.

I went to Paphos a long time ago and stared at the beautiful sea; now, the place of Aphrodite’s birth has become a waterpark.

When doing a painting, either there is no goal, no objective, or there are means and processes for doing something. There is no idea without its material inscription. I like processes to embody ways of thinking. There is always a sequence of operations necessary for the organisation of a painting; I like this organisation and its possibility to be the motif of a painting, because after all, the subject of a painting is what makes it exist, not only what it represents, but also how it is represented. The word itself, representation tells us that it is presented two times.

Bernard Frize’s ‘Voni’, which will be on display at his upcoming exhibition at the LA branch at Marian Goodman Gallery.

LUX: You have said ‘the method has disappeared under the conditions of its realisation’ in your work. Does this create a tension between your experience of creation and the viewer’s experience of its realisation?

BF: I will always feel and understand my painting in a different way than a viewer. A painting is not showing a recipe. Its description will, I hope, never exhaust what is in it. Why can we stay long minutes in front a painting in a museum, come back, and find again pleasure to see it? Isn’t it incredible that a canvas could provoke feelings and thoughts? Do we ever think about the painter? We mostly think about ourselves, how we receive the painting and decipher how the elements we look at are stimulating thoughts and feelings.

I always had some warmth enveloping me and a feeling of completeness from my visit in a museum. I am not receptive to all the paintings but looking at those which move me – and this is often changing – give me a feeling of wealth, of exhaustion. I hope my work can do the same; a work of art does not talk, does not say anything and will never be replaced by sentences. We read explanations on plates in the museums, do they satisfy our feelings?

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They give, at most, a context for the painting, and most people read them but do not look at the paintings more than the time it takes to read. The viewer and I have different goals; my work is to be as clear as possible to offer satisfying and intellectual pleasure which lasts and could be renewed.

Frize’s acrylic and resin painting ‘Irfan’, 2024, as part of Frize’s inaugural solo show.

LUX: How does the space of the Marian Goodman gallery in LA interact with your works?

BF: I have no idea! I only know the beautiful cardboard model that the French branch of Marian Goodman Gallery offered me. I printed the reproduction of my paintings and hang them into the model. I know that when I will see the real space, I will have another experience and I will hang the paintings.

LUX: Why have you chosen to be represented by Marian Goodman?

BF: I had the chance to meet Philip Kaiser a long time ago when he was working in the Kunsthalle Basel and always appreciated his curatorial vision. I was thrilled when he proposed me to join the gallery; I suppose everyone in the art world pays respect for the achievement of Marian Goodman’s gallery and for the exhibitions of the artists it is working with. There was, for me, no doubt that being represented by the gallery would be a great opportunity.

In ‘Yudzon’, the transparency of the layers reveal ‘the creation of images from their raw components’.

LUX: Are there any values – aesthetic or philosophical – that you share with the gallery?

BF: A gallery is a business; painting is a business too. I’ve spent many years, if not the majority of my adult life, without earning much from painting. I believe one continues to do what one likes not for the money but because one is driven. At one point, I had the chance to work with galleries who helped me to live from my work and found ways to distribute my work.  There are many good artists at Marian Goodman Gallery who seem difficult to sell. I suppose it is a balance between the artists who sell well and those who don’t very much. The quality of their work is not a question. The aesthetic or philosophical qualities of these artists are not meeting market value, but aesthetic or intellectual ones. Meanwhile, the gallery respect them and decided to support them. Most galleries today would not do this, or would not afford it.

Read more: LUX curates for Richard Mille

I suppose running a gallery is an intellectual journey with companions you admire and you want to give them time to develop. In reverse, many galleries would not exist without the support of artists.

In my understanding, Marian Gallery is “old-fashioned” like one would say there is tradition in quality; there is a deep belief that good art is not always meeting the request of the market and it is important to give time to the time when the art is the main preoccupation.

Bernard Frize will be exhibiting his work at Marian Goodman, Los Angeles, from November 16th.