‘Vesuvius in Eruption’ (1817–20) by JMW Turner

The Watercolour World is an ambitious online project to digitise the world’s watercolours and rescue this all-too-often overlooked but artistically and historically significant medium from being forgotten. It is creating a wealth of riches for all of us, says Michael Brooks

Fred Hohler describes the idea as “blindingly obvious” in hindsight. Having spearheaded the creation of a digital record of the United Kingdom’s oil paintings, the former diplomat soon realised his Public Catalogue Foundation had left an ‘orphan’ collection of watercolours in dark drawers, cabinets and basements across the world.

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Now, though, these paintings are emerging, blinking, into the light. The Watercolour World is a rapidly growing website that hosts digital reproductions of watercolours from around the world. Even in these early days – the site’s official launch was in January 2019 – it has become an engrossing collection. Whether you are captivated by an 1840 view of Kings Cross as a rubbish dump – the ‘Great Dustheap’ – or sailors chasing a slave ship near Zanzibar in 1876, a seemingly inexhaustible supply of riches is coming into view. “I have a new favourite about four times a day,” Hohler admits.

Watercolour is often passed over as an unimportant medium, despite the fact that Ruskin, Gainsborough, Turner and Constable all used it at various times. “The lower status of watercolour was owing to the fact that it had been invented relatively recently, had not been used by the Old Masters, and was widely used by amateurs for documentary purposes,” says Sir Charles Saumarez Smith, senior director of Blain Southern gallery, and former chief executive of the Royal Academy of Arts.

‘Untitled’ [Section of the tomb of Psammuthis in Thebes, discovered and opened by Belzoni in 1818] (1817–20) by Giovanni Belzoni or Alessandro Ricci

At Woolwich Military Academy and elsewhere, officers studied drawing and were taught how to survey a landscape and draw coasts and harbours so that the knowledge of newly gained territories could be spread amongst the military. The watercolourist Paul Sandby was among those who did the training, and the courses were clearly popular, with many accomplished amateur painters emerging from the military academies. As a result, military, government and private collections are awash with watercolour landscapes from across the world, all painted with an attention to detail.

‘The Great Dust- Heap, next to Battle Bridge and the Smallpox Hospital’ (1837) by E. H. Dixon

Many of them, however, have not seen the light of day for decades, if not centuries. “Watercolour as a medium is naturally more susceptible to the effects of heat and light,” says the charity’s chief executive Andra Fitzherbert. “As a result, they tend to be hidden away in dark places or kept in albums where they’re rarely pulled out and enjoyed.”

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And that’s where The Watercolour World project comes in. Launched with the patronage of the Prince of Wales and the Duchess of Cornwall, and realised through support from the Marandi Foundation, The Watercolour World aims to collate hundreds of thousands of watercolour paintings, many of which have never been available to the public until now.

‘Untitled’ [eruption of Mount Vesuvius, 1760–61] (1776) by Pietro Fabris

‘Woodland Scene with a Peasant, a Horse, and a Cart’ (c. 1760) by Thomas Gainsborough

Just as exciting is the scientific potential of the project. Many watercolours offer a view of a world that no longer exists and are a means by which conservationists, ocean scientists, coastal engineers and geologists can reach back into the past, make sense of the present, and perhaps safeguard the future.

There is strong precedent for this. In the 1860s, the government moved the Gunditjmara, the Aboriginal people of the area, off Tower Hill, an extinct volcano in Victoria, Australia. They proceeded to clear the land’s thick vegetation for grazing. Only in the 1960s was there a move to restore the area. Fortunately, the watercolourist Eugene von Guérard had made a painting of the virgin land in 1855, a painting so detailed that the authorities could identify more than 20 species of plant to use in the restoration project.

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The vast and growing catalogue of paintings in The Watercolour World means that similar restorations might be possible in other areas. Some of the paintings are already in use in a project to catalogue changes in the British coastline over the past 250 years. Geologist and coastal engineer Robin McInnes is in the closing stages of The State of the British Coast Study, which was commissioned by The Crown Estate, the European Commission and Historic England. Using a range of sources, including paintings in The Watercolour World, McInnes has been able to discern where and when beaches have eroded, cliff lines have changed and engineering projects have made an impact on the shoreline. The results of the study will be used to aid conservation and ecological efforts. “They’ve been feeding me coastal images, many from private collections that have never been seen before. I’ve been able to use some in my study,” McInnes says. Some are from less highbrow sources, too. “Postcard companies employed some prolific watercolour artists to paint the coast.”

‘The Encampment in Hyde Park’ (1781) by Paul Sandby

Another environmental application will be in surveys of glaciers. Watercolours have a strong history here. The first known depiction of a glacier, made in 1601, was Abraham Jäger’s painting of the Rofener Glacier in Austria. By the middle of the 19th century, artists were painting faithful renditions of scenes at the heads of glaciers. John Brett’s Glacier of Rosenlaui, for instance, shows the position of the glacier in 1856, as well as a detailed portrait of the erratics, the boulders at its head that had been carried by the ice. The Watercolour World’s collection includes renditions of glaciers by Horace Bénédict de Saussure, the precision of which give a marker for recent glacier retreat. “Climate change is on almost everybody’s mind right now, but in the 19th century artists and scientists were working together documenting glaciers,” says Barbara Matilsky, who curated last year’s ‘Vanishing Ice’ exhibition at the Weisman Art Museum in Minneapolis. Many of the show’s 47 artworks, dating from 1860 to 2017, showed evidence of climate change.

‘Bat’s Hole’ (no date) by Henry Joseph Moule

Using The Watercolour World as a scientific resource is a “fabulous idea”, Matilsky says. She points out that artists and scientists have long worked together to document the natural environment. In the 19th century, for instance, geologists at the Museum of Natural History in Paris commissioned artists to paint glaciers. “They wanted to show students what they look like so they could intuit from these works the processes that formed the glaciers,” Matilsky says. “Scientists were very much aware that artists were important in communicating scientific concepts.”

At the other end of Earth’s temperature scale, The Watercolour World includes dozens of paintings of volcanoes. The 1776 eruption of Vesuvius is particularly well represented, because the British diplomat Sir William Hamilton commissioned the artist Pietro Fabris to paint 54 illustrations of the volcano for his scientific studies of its geology.

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Fitzherbert is keen to point out that The Watercolour World will be of relevance to everyone, not just to scientists and culture professionals. All of the images have searchable location and keyword information, allowing people to explore their family history and their local area’s past. “We want to make it personal so that people can navigate through a map and find local places of interest and find family homes or where they were brought up,” she says. “People can use these paintings to reflect on their own lives.”

The Watercolour World operates a small team, equipped with a Fujitsu ScanSnap scanner, to perform the digitisation. In addition, a group of volunteers tag and categorise the images, adding their locations and all relevant data about the artist’s intentions. Only then are they uploaded onto the site.

The project has yielded unexpected gains. One is that, in some ways, the website offers something even better than a gallery viewing. The scanners provide a depth of colour and an ability to zoom in that just aren’t available in a static display. What’s more, observing the paintings on screens means they are, effectively, backlit. “You see it in an entirely different way,” Hohler says. “It’s given a brilliance to these images that you don’t otherwise get.”

Though the collection is already clocking in at 83,000 images, a queue is forming. “The wonderful thing is, as soon as you launch a project like this, it belongs to everybody,” Hohler says. Many institutions and organisations have offered their digitised collections. The Watercolour World is even receiving offers to scan private collections that have never been made public, let alone digitised. “We’ve been overwhelmed by people’s positivity and encouragement,” Fitzherbert says.

Find out more: watercolourworld.org

This article was originally published in the Summer 19 Issue

Mary Katrantzou (second from left) backstage at the 2018 Victoria’s Secret Fashion Show in New York

With a decade of successful collections behind her and a penchant for outside-the-box collaborations, Mary Katrantzou is a designer not only bursting with creativity but also with the business acumen to go truly global, as Carolyn Asome discovers

Don’t underestimate the agility required to keep up with Mary Katrantzou’s boundless curiosity, the ever-inventive ways she pushes herself out of her comfort zone, the rat-a-tat-tat of her myriad collaborations (more of which later) and fundamentally, her desire to never sit still.

Does Katrantzou, who for the past decade has wowed us with her own strand of quirky maximalism, breathtaking decoration techniques and architectural shapes, ever worry that her body may struggle to keep up with her mind? The Greek-born fashion designer (and veritable power house), who read architecture at the Rhode Island School of Design before studying for a BA in Textile Design at London’s Central Saint Martins, howls with laughter at this. “It’s true, I’ve turned 36… it probably doesn’t.”

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Few designers are able to confront the obstacles of growing their own business. Fewer still are able to articulate them quite as clearly as Katrantzou can – although one senses that she has always relished the challenge. Her voice lights up: “Growing your business is the ultimate in creativity. It forces you to have an understanding of the business of fashion. I don’t think you can have a company without that interest or without the ambition to be involved.”

In an increasingly volatile retail climate, what are the challenges she faces? “There are several, but one of them is having a voice that really stands out against the noise. There are lots of heritage brands with a rotation of designers at the helm. You need to really know what you stand for. I challenge myself to do that each year. You might think you have an idea of who your woman is, but it isn’t always as easy as you think it is. I am not designing for a romantic warrior…” she laughs. “Sure, she is bold and daring and she uses fashion as a tool of expression. What I design has an element of uplift, but it also has links to art and design – that is very much part of it, too.”

A look from Mary Katrantzou’s AW19 collection

The conundrum of dealing with an ever- whizzier hamster wheel of production also looms large. Thankfully, Katrantzou explains this is far less of a taboo subject than it was in the past. “Three years ago, no one wanted to talk about it and you almost closed your eyes and hoped for the best, but now other designers talk and you realise we are all in the same boat. Because obviously it is going to affect your creativity.”

Her solution? “While we have four drops annually, there are only two thematic collections a year so that means we have longer to talk about something, but we still have the newness.” Another challenge she mulls over is how to move outside ready-to-wear and use her design talent in other areas. Given that Katrantzou trained as an architect, she enjoys the challenge of looking at things from different perspectives and the creativity that comes with designing in different realms.

“We’ve tried to shift the brands in both directions: at one end offering shows at a demi- couture level and building on our customer relationships so that they can buy from us as made-to-measure or bespoke, but also, to do collaborations with much bigger global brands which allows us to reach a far wider audience.”

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Katrantzou enjoys the fact that collaborations force her to think in a completely different way. “It’s an entirely different end use of a product. You can be democratic in a way that as an independent brand you just can’t be, because you can’t reach those price points or your minimums and production runs are so different. The modern brand of today needs to be reaching out to all different price points and different tiers. You are communicating with your customer but offering her a very comprehensive way of being able to buy your brand. We are doing a tenth of what we can do as we are still largely a ready-to-wear brand, but we’ve created jewellery with Swarovski, and done a small homeware range with a friend, Brigitta Spinocchia Freund. We’re also doing a ballet at Sadler’s Wells with Russell Maliphant and music by Vangelis, which is obviously so different from what you get when creating the costumes for the Victoria’s Secret show.”

The designer’s interesting collaborations – ones which challenge the well-trodden formula of designer/highstreet unions – are what caught the eye of Chinese investor Wendy Yu, the 28-year-old who has earned herself the reputation as China’s unofficial fashion ambassador.

Mary Katrantzou with Wendy Yu 2017

Two years ago, Katrantzou took investment from Yu. “I’d noticed and loved Mary’s capacity and talent to expand into different product categories along with her infectious energy and drive,” says Yu. “She’s built a brand with a strong and unique identity. I can see the potential of Mary Katrantzou homeware and beauty… I think the Chinese consumer would really buy into the brand at this lifestyle level too.”

Yu was one of three who came in on a ‘family and friends’ round of investment. For Katrantzou, the idea was also to look at what investors could offer aside from the financial support. “Wendy has been helpful with expanding in China. She is someone who understands how to help build a brand between east and west, between fashion and the arts.” Katrantzou has also learnt that in order to create awareness in China, it takes much more than just visiting once a year. It’s visiting regularly and initiating activations that really engages.”

Despite following a wholesale model, Katrantzou finds that clients come to her, season after season. “It’s rare these days to have a really loyal client. I don’t know what it is about the brand that elicits that loyalty but whatever it is, I don’t take it lightly.” This modesty is typical of Katrantzou. Such is her talent that she has clients who own so many of her clothes, they might easily stage a retrospective of her collections. It is telling that one of her most devoted fans is also one of the biggest collectors of Phoebe Philo’s collections at Celine – “our aesthetics couldn’t be more opposite” – and yet, there is something about the power of Katrantzou’s craft, the detailing and point of view that elicits such fandom.

Katrantzou and friends at London Fashion Week, 2016

Last September, Katrantzou celebrated her tenth anniversary, filling Camden’s Roundhouse with a collection all about collecting and collectables. Instead of a ‘best of ’ tribute to the preceding decade, she riffed on philately and entomology. One gown resembled a Fabergé egg gleaming with crystals, while a bustier dress revealed an array of coloured stone rings within a jewellery box.

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Her most recent collection was based on the elements – earth, air, fire and water – and how they exist within us. “I wanted to explore the fire – when you have that energy and passion; or air when you feel that sense of being light and free. And it was interesting to distil all of that into a collection as it was so abstract and unlike my previous collection, which was more literal and very object driven.”

A look from Mary Katrantzou’s AW19 collection

For water and air, Katrantzou explored silhouettes that were weightless, either in organza or tiers of ruffles, which “bounced in a cloudy way, or else we used feathers”, experimenting with materials and techniques that haven’t been explored before.

Today, there are 25 people in Katrantzou’s London studio and her label is sold in 50 countries. “Our strongest markets are in the US, the UK, southern Europe, the Middle East and now China,” she says. “You know you appeal to a certain type of woman, and while I’m not saying an archetypal woman, they do have something in common. And we don’t have to be big in the Nordic countries if we are not selling there.”

Increasingly, Katrantzou is thinking about how she fits into the world around her: what she stands for and how that extends to bigger topics. “Luxury for me is knowing you are not harming your environment, knowing that the pieces you create will last in someone’s wardrobe for ever. I find it interesting that clients increasingly come to me and say they want to spend x amount on this one dress rather than buy 20. There’s a return to craftsmanship, pieces that are made by hand. With demi-couture, you are supporting a more analogue approach to fashion. It isn’t a big percentage in terms of how many commissions we get, but it is a sizeable part of the business… and it’s growing.”

Find out more at: marykatrantzou.com

This article was originally published in the Summer 19 Issue.

‘Atelier’ (2014). Thomas Demand.

German photographer Thomas Demand has become celebrated for his compelling, sometimes shocking, abstract recreations of the everyday. He talks to Anna Wallace-Thompson about the homogenization of our worlds, finding power in the banal, and Saddam Hussein’s kitchen.

Thomas Demand

There’s a particular moment of calm – let’s call it suspended time – when things have settled down while still retaining the memory of the movement that filled them a split second before. Think of the moment when that last dust mote finally settled after drifting down a shaft of light, or the ghostly echoes of the last flutter of a piece of paper as it relaxes into place. Or when you don’t know if the door just slammed shut or is about to burst open. Or sensing the presence of people only through their absence. That’s the moment German photographer Thomas Demand is interested in.

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In fact, at first glance, Demand’s photographs appear simply to be snaps of ordinary places, unremarkable for their sameness, from half-empty supermarket shelves to a bath awaiting its occupant. (This is something that struck him about modern urban spaces, particularly when he first arrived in the US.) Yet, these seemingly humble snaps of everyday situations have earned him a place in the collections of international institutions such as the Guggenheim and MoMA. At auction, his works have sold for more than $100,000 at Christie’s, and he was included in the sale of Mario Testino’s personal collection at Sotheby’s, alongside luminaries such as Wolfgang Tillmans, Richard Prince and Cindy Sherman.

‘Hanami’ (2014). Thomas Demand

So what is it about these seemingly everyday snaps that has everybody so hooked? Well, further examination reveals each portrait to be a meticulously built paper recreation. Yes, paper. Working in often quite large dimensions, Demand reconstructs the most complex real- life scenarios out of the humblest of materials. They are perfect – or rather, perfectly imperfect, for at the heart of Demand’s work is an interest in the world as a filtered rendering – that is, the paradox of examining past moments through the lens of the present – and even then, through a canny reconstruction of that original moment. “Perfection and beauty are very often seen as interchangeable,” says Demand. “However, if something is too perfect, then it becomes sterile.” And so, working from found photographs of banal scenes (be they supermarket aisles, hotel rooms or office interiors), Demand meticulously reconstructs these tableaux out of paper – warts and all. It is these sculptural paper sets – often quite large in scale – that he then photographs, imbuing the finished image with such an uncanny realism that the eye is often fooled into believing it is looking at the ‘real deal’.

‘Folders’ (2017)

“What I have been doing over the years is replacing the time frame of the [original] photograph with another time frame, which is no less a point in time,” explains Demand when we speak. “The original scenario in the media photograph may no longer be there to look at – although it may be from an event that is still in our short or long-term memory, depending on when it was taken. What I suppose you can see in my work is a paradox of time standing still that is both my own fragile paper construction (complete with all the little imperfections and details of ‘reality’) as much as it is a memory of the moment captured in the original photograph.” The sense of transience in Demand’s work is further compounded by the fact that he often discards the sculpture itself (and, in fact, originally began photographing them purely for the purposes of documentation).

‘Rainbow’ (2018)

In person, Demand is more tidy professor than wild-child artist, his neatly trimmed hair and beard perfectly in sync with his nifty vest and jacket. Get him talking, however, and you can almost hear the thoughts galloping inside his head. When he gets going, he talks a mile a minute, as if the thoughts inside him were moving faster than his ability to articulate them. They tumble out almost in a stream of consciousness, except just when you think he might be going off on a tangent, like a master conductor, Demand deftly brings all the threads together, eloquently and precisely articulating his point.His powers of observation, too, are key to the vision behind the work. Growing up in Munich in the 1960s and 70s, it was when Demand visited the GDR that he first began to pay attention to the power of mass production (or, in the case of the GDR, the lack thereof), and Warhol’s Brillo boxes, for example, remain a key influence: “I grew up in Munich, which is in West Germany, which had plenty of everything.”

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As a young artist, travels and study followed – Düsseldorf, Paris, and Goldsmiths in London – as well as the US (he is now based in both LA and Berlin). During this time he began to notice what he refers to as global “homogenization” – a hospital ward in one part of the world looks very much like it does anywhere else, for example, and, with our mass-produced products – be they Nike trainers or even the Tupperware found in Saddam Hussein’s kitchen – we are more united than we think. “When they found Saddam, and showed the photographs, there were so many remarkably recognisable objects,” says Demand. “In one way, it’s the devil’s lair, but in another, it’s possible to see it in parts as your own kitchen. Maybe it’s a little dirtier, but he had the same objects as you and me.” The resulting work – Küche/Kitchen (2004) – could truly be a picture of a kitchen anywhere. “It’s funny how far objects circulate worldwide: you look at photographs of upheavals in Africa and people are wearing the T-shirts of a local bank in Texas, or plastic sandals made in China and marketed in California can end up in Ethiopia. I am fascinated by how the everyday links us to other cultures, from the pervasive blue computer screens that illuminate of office buildings out of hours, or the industrial slickness of an airport.”

‘Küche/ Kitchen’ (2004)

‘Daily #16’ (2011)

As well as the tableaux of media images that he is known for, Demand has experimented with more intimate scenes familiar to social media. The ongoing ‘Dailies’ series begun in 2008 features an ashtray, a plastic cup shoved into a chain link fence, or even a leaf about to fall through a sewer grate. “I was looking at doing something shorter and easier,” he says. “We all have cell phones in our pockets, and the images being circulated are now private photos – subjective little notes that might not make the news, but are still a form of communication and a culture in itself.”

Read more: In conversation with Icelandic artist Olafur Eliasson

These ‘smaller’ works also offer a welcome break from larger and more ambitious set- ups. “In a good year I can make five works, but in a bad one just one,” sighs Demand. “Also, working occasionally with a team of 30 people means that if you’re two months into a particular set up, it’s too late to stop, so you keep going until it works, there’s no way around it.” For example, the work Lichtung/ Clearing Demand created for the 2003 edition of the Venice Biennale took months to get just right due to it being displayed en plein air, and therefore needed to be in some harmony with its verdant surroundings, the challenge being that the Venetian foliage kept changing with the seasons while the image was being built.

‘Daily #15’ (2011)

They leave things open – can you imagine how they might they be reused for something else?” This is particularly evident in pieces such as Rainbow (2018), part of ‘Model Studies’, in which abstract circular shapes in a range of yellows, oranges and reds hint at the full potential of the building they might perhaps one day have been, yet also present themselves as abstract colourscapes.

Most recently, Demand has had a major monograph published. The Complete Papers presents a survey of his work over three decades, and proved to be both a challenge as well as something of an eye opener, as he was able to see an evolution in his work that he had never noticed before. “I thought I was pretty organised, but it turns out there were so many pieces I’d forgotten about – and now that the book is out, there are so many more pieces I realise I would still need to add,” he laughs. “I can see that my work, since the beginning, has been moving slowly towards abstraction, though photography and abstraction can be a bit of a bad marriage in that photography, by its very nature, is figurative.” So what’s the endgame? “If my work were to become too abstract then it would all become a pointless exercise. To be something, the image has to stay on the very edge of nearly becoming something.”

Find out more: thomasdemand.info

This article was originally published in the Summer 19 Issue.

‘Big Bang Fountain’ (2014) by Olafur Eliasson

The Icelandic artist Olafur Eliasson famously brought the sun to Tate Modern. He is now returning for a major retrospective this summer. He talks art, cuisine, and slumber with Christopher Kanal

Olafur Eliasson

“I am incredibly happy about the whole thing,” Olafur Eliasson explains of the major retrospective of his work at Tate Modern in London that opens in July 2019. With ‘Olafur Eliasson: In real life’, the revered Danish- Icelandic artist returns to Tate 16 years after his ground-breaking The Weather Project famously filled the gallery’s Turbine Hall with the illusion of a sunset that was as eerie as it was sublime. Hazy memories of basking in the dazzling surreal sunlight mask the fact that The Weather Project has been one of the most critically acclaimed art installations so far this century and was experienced by over two million people.

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“We were lucky to warm up with the iceberg project,” Eliasson says with a gentle laugh. In December 2018 Eliasson staged a feat that could have come straight out of an Icelandic saga, but which had a very contemporary and urgent environmental message. The Scandinavian artist hauled centuries-old icebergs from Greenland to the banks of the river Thames to demonstrate the effects of climate change. Twenty-four icebergs, originally from the Nuup Kangerlua fjord in south-western Greenland, and weighing up to six tonnes each, were placed in a circle outside Tate Modern and another six were put on display in the City of London as part of Ice Watch, a collaboration with award-winning Greenlandic geologist Minik Rosing. People gawped at, touched and even tasted the ice. “I’ve been studying behavioural psychology, and looking into the consequences of experience,” says the artist. “What does it mean to experience something? Does it change you or not change you?” When Ice Watch London debuted, Eliasson and Rosing pointed out the sobering statistic that 10,000 blocks of ice such as these are falling from the ice sheet every single second.

‘Beauty’ (1993) at the Moderna Museet, Stockholm, 2015

‘Ice Watch’ (2018) by Eliasson and Minik Rosing, outside Tate Modern, London

Of course, Eliasson is not just celebrated for The Weather Project and icebergs. His varied works span not just temporary public art projects such as The New York City Waterfalls (2008) and large civic projects, such as the design of the façade of the Harpa concert hall and conference centre in Reykjavík (2013), but also small art projects and social enterprise endeavours. For Glacial Currents (2018) Eliasson created a group of watercolours produced using ancient glacial ice fished from the sea off Greenland. The ice was placed atop thin washes of colour on paper. As the ice gradually melted it displaced the pigment to produce extraordinary shades.

The studio’s Little Sun project, meanwhile, provides clean, affordable solar energy and light through a simply designed LED solar-powered lamp. “It brought me back to being a student,” he says of envisaging the design. “This is of course the greatest thing that you are not in fact getting older but you are getting younger.” The Little Sun lamp, which was launched in 2012, produces up to five hours of bright light. Over half a million lamps have been distributed to off-grid communities in 10 African countries.

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The prolific 52-year-old artist is also an avowed foodie. So much so, that his Berlin studio has a professional kitchen run by his younger sister Victoria Eliasdottir. “This experimental kitchen is very much part of the life of the studio where dining together and sharing ideas has become enormously important for us,” he says. “The food in the studio is more family style where we put the pots on the table and we eat out of them,” he says, adding, “It’s not French service.” In late summer 2018, the siblings opened Studio Olafur Eliasson (SOE) Kitchen 101, a temporary restaurant/gallery by Reykjavík’s harbour and it became a hugely popular hangout. “Really great food always has a frictional element because it reminds you of all the not-so-great food you have eaten,” Eliasson says. “Good food is always on a trajectory and a journey. A great cook shapes a taste just as an artist shapes a sculpture. In that way great cooking is a very sensual, alchemic activity.”

Façade of Harpa Reykjavík Concert Hall and Conference Centre (2005–11)

Eliasson’s studio is in a former brewery and chocolate factory in Prenzlauer Berg in Berlin, an area that was once part of the city’s Soviet Sector during the days of the German Democratic Republic and a haunt of intellectuals, artists and East Germany’s gay community. Eliasson splits his time between Berlin and Copenhagen, where his art historian wife, Marianne Krogh Jensen lives with the two children they adopted from Ethiopia. The huge four-storey studio is home to a collective of around 80 artists, architects, engineers, developers and researchers. Each floor is a distinct hive of creative activity. Eliasson is certainly not the first artist to run a collective. Andy Warhol’s Factory in New York springs to mind, but Eliasson and his studio work very much as a collaborative team – he likes to call it ‘The Lab’. He is, however, no ringmaster: “I have always insisted on an open and transparent studio. There is no mystical, magical authenticity idea in keeping me as a kind of mythical figure.”

One of Eliasson’s most celebrated designs involved a collaboration with Copenhagen- based architectural firm Henning Larsen and Icelandic studio Batteríið Architects. Inspired by basalt crystals found in the geology of the dramatic Icelandic landscape, Eliasson’s glass façade design for the Harpa concert hall in Reykjavík scattered reflections of the surrounding harbour, the fluid sky above and the looming Mount Esja across the bay. By night Harpa is a glittering spectacle of light. The building is in a constant flux of visual metamorphosis, which constantly alters perceptions. No one minute is the same. “The object is not necessarily the most interesting part about art, says Eliasson. “It is what the object does to me when I look at it or engage in it that is actually interesting. You are somehow provoked into a more negotiating role because you think, ‘What am I looking at?’ Then you are also more likely to enquire, ‘Well, what does looking actually mean and why am I seeing things the way I see it?’”

‘Waterfall’ (2016) at the Palace of Versailles

Eliasson was born in Copenhagen but returned often to Iceland after his parents separated when he was eight. His father was a cook on fishing boats as well as an artist, his mother a seamstress. Growing up in Scandinavia, the varying light, storm winds, bible-black winter nights, crystalline ice and vibrant norðurljós (northern lights) all infused Eliasson’s imagination. During the long summer holidays of his youth, Eliasson returned to Iceland to spend time with his parents and grandparents. The Icelandic landscape has been a lasting source of inspiration to him, particularly in its unique power to challenge how as an artist you interpret place and space through its beautiful yet unfamiliar and primal character. Eliasson tells me he likes to sit in his Reykjavík studio for inspiration because of the extraordinary quality of light in Iceland due to the island’s high latitude. As a boy he recalls that during the oil crisis of the 1970s, the Icelandic government used to switch the power off at 8pm to save energy, announcing the blackout by ringing the church bells. Eliasson fondly remembers the long, haunting twilights of dense colours and long shadows that were the only source of light.

‘Umschreibung’ (2004) at KPMG Deutsche Treuhand-Gesellschaft, Munich

At 15 Eliasson had his first solo show, of landscape drawings in Denmark. “My father was an artist who influenced me and both my mother and him were more focused on me feeling successful with what I did,” he reflects. “When I did crazy doodles, they would say, ‘This is a great drawing’ instead of ‘This is not a house’. My father would say, ‘Why don’t you just fill in the blanks and it may end up being a dog or cat?’ I realise now that this was not so bad because it gave me the confidence that something abstract actually had the potential of becoming meaningful. This is something I have carried throughout my life.” After studying at the Royal Danish Academy of Fine Arts, Eliasson moved to New York and worked for the Canadian minimalist artist Christian Eckart in Brooklyn. In the mid 1990s, he moved to Berlin, then a new cultural frontier following the fall of the Wall.

Read more: 6 Questions with renowned British art collector Frank Cohen

During the financial crisis Eliasson had an idea that he could save the Icelandic economy by buying all the grey sheep running around the country. Grey sheep are less popular than black or white sheep with farmers as they are harder to spot in the autumn, when they are rounded up and brought down from high mountain pastures where the grey sheep are indistinguishable from the rocks and the ground. “As an idea, a grey sheep is indecisive, it is a making-your-mind-up-as-you-go kind of sheep,” he says, with a bit of mischief. Eliasson’s plan was to farm these sheep in the harsher northern fjords where they would graze on wild berries and grasses. “The southern sheep are generally grass-fed sheep fattened up like turkeys in Kentucky,” he points out. “The texture of the wilder sheep meat is a lot darker, like deer.” Eliasson reveals he envisaged making his own version of Icelandic blóðmör blood sausage but with a North African twist, adding dates, onions, raisins and truffle oil. “People thought I was insane,” he says. “I guess Icelanders are not so much into North African food considering the history of the Tyrkjaránið pirate raids by the Barbary corsairs on the Vestmannaeyjar [a small archipelago off the south coast of Iceland] in 1627. I realised that I had probably contributed to the financial crisis rather than saved it but I tell you this sausage was amazing!”

‘The Weather Project’ (2003) at Tate Modern, London.

Amongst the sketches, models and large collection of vintage light bulbs in Eliasson’s studio there is an archery target. For inspiration, the artist will often pick up a bow and shoot an arrow into it. A lucky bulls-eye indicates a ‘yes’. It reveals Eliasson’s particular approach to his work. “I love supporting the people around me who I believe in and trust,” he says. “I learn so much from them, so it is a nice exchange. It’s a great luxury to be working with chefs, scientists or politicians. As long as I don’t start to cook or make science. I get stressed when I boil an egg.”

Answering the call

“This is a kind of profession you end up in,” says 29-year-old Victoría Elíasdóttir, who Condé Nast Traveller hailed in 2016 as one of the ‘10 Young Chefs to Watch’. “I kind of did,” she adds but then adds, “No, I kind of didn’t.”

Born in Denmark but raised in Iceland from infancy, Elíasdóttir grew up with food. After travelling around South America in 2007, she returned to Iceland and went to college. “Society said that being a chef was bad for your body, it’s not family friendly, you drink a lot and do drugs,” she says. “I tried graphic design and psychology. I started all these things but I always ended up talking about food, talking to my classmates and teachers about what I cooked yesterday, what I was going to cook tomorrow. In the end one of my classmates said ‘Why don’t you just give in?’”

‘Your Spiral View’ (2002), installation view at Fondation Beyeler, Basel

Elíasdóttir went to chef school in Reykjavík and initially found it tough: “My initial experience of being a chef was not very encouraging. On the other hand, I have always been drawn to things that kick up the adrenaline in a way.” After graduation she worked as head chef in a small summer hotel in southern Iceland, an idyllic place by a lake filled with wild trout and which grew its own tomatoes and cucumbers. There followed a stint at Chez Panisse in California under the eyes of culinary visionary Alice Waters before ending up in Berlin and helping run her big brother’s studio kitchen.

In 2015 she opened Dottír, a temporary restaurant in Berlin’s Mitte that occupied a building that had been a Stasi surveillance centre. It was a hit, with inventive dishes such as beet-infused salmon served raw and North Sea cod with Jerusalem artichoke cake, creamy sauce and trout roe. “Beetroot has been something that has been with me from as early as I can remember,” Elíasdóttir enthuses. “When I was child my mother used to serve it to me on a piece of rye bread with liver paté.” She also has a fondness for lakkrís (liquorice) and uses it when she can.

Elíasdóttir also caters for high-end corporate events. She recently created a seven-course vegetarian menu for Mercedes-Benz. “Everyone was a bit sceptical but afterwards I had comments from these big men, used to lobster and meat dishes, saying, ‘I don’t feel like I missed anything!’”

Avoiding the tired New Nordic cuisine label, the heart of her cooking is avowedly rooted in Scandinavian gastronomy. Think simple fresh seafood, herbs and regional, seasonal produce. “We have great farmers here in Iceland,” explains Elíasdóttir.

Sci-fi by design

Acclaimed French director Claire Denis’s new film, the sci-fi drama High Life, boasts a spaceship designed by Olafur Eliasson. Denis, best known for her widely praised films including the existential Foreign Legion drama Beau Travail (1999) and avant-garde vampire story Trouble Every Day (2001), has made her first English language film also her first foray into science-fiction.

High Life stars Juliette Binoche and focuses on a group of miscreant astronauts on a mission to reach a black hole in search of an alternate energy source. Eliasson’s involvement is his first work for a feature film but his second collaboration with Denis – together they made short film Contact in 2014 that explored themes of black holes and abstraction. Denis and Eliasson’s mutual fascination for these phenomena is evident in High Life, a story that Denis has been nurturing for 15 years. High Life opens in spring 2019.

‘Olafur Eliasson: In real life’ is at Tate Modern, London from 11 July 2019 to 5 January 2020. For more information visit: tate.org.uk and olafureliasson.net

This article was originally published in the Summer 19 Issue.

The Bwindi Impenetrable Forest National Park, Uganda

Expeditions to the remote and barely explored corners of the planet are not for everybody, but with the help of luxury travel company Abercrombie & Kent, destinations previously considered inaccessible to the tourist are now, at a price, within reach. From the altitude of Everest’s Base Camp to the depths of the Danakil Depression, their Inspiring Expeditions will bring out your inner adventurer. James Parry meets A&K founder Geoffrey Kent to find out where on earth they are going next

Abercrombie & Kent’s founder and CEO Geoffrey Kent knows a thing or two about adventure travel. Born while his parents were on safari in Northern Rhodesia (now Zambia), he grew up “running wild on the family farm” in Kenya and remembers once asking his father, Colonel John Kent of the King’s African Rifles, where they were next going on holiday. “Somewhere we can’t drink the water,” came the laconic reply. No surprises then, that at the age of 16, Kent set off solo from Kenya on an overland trip to South Africa. “Travel is in my genes,” he admits, “and I can’t imagine not wanting to get out there and explore new places.”

Through Abercrombie & Kent (A&K), Kent has pioneered luxury adventure travel and has been instrumental in developing the much newer concept of ‘thrillionaire travel’, tailored for adventurous ultra-high net-worth individuals. Using private charter jets and other exclusive modes of transport from helicopters and snow mobiles to hot-air balloons and luxury yachts, A&K’s Inspiring Expeditions offer the super- rich unprecedented access to destinations that most people have never even heard of. Kent leads each expedition himself. “By utilising our ground-breaking network and contacts within the highest echelons of government – from tourism ministers and presidents to prime ministers and kings – we are able to make these adventures a reality,” he explains.

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The Inspiring Expeditions are bespoke, one-off trips of a lifetime. They take place worldwide and, while ranging widely in terms of what they offer, are united by core common elements – a sense of exclusivity and privileged access, plus the highest standards of everything. Even in the remotest locations, no effort is spared to cater for the whims of the most particular of guests, with everything from a Michelin-starred chef to a deluxe espresso machine flown in if required. The objective is to provide all the ingredients for a luxuriously thrilling experience.

But Kent sees such expeditions as providing more than a simple adrenalin rush in comfort. “Visiting remote destinations on itineraries designed for the individuals involved can help prompt an inner exploration of the traveller’s true self,” he explains. And those travellers are clearly relishing the experiences on offer. “We are still basking in the afterglow of another splendid adventure,” enthused one recently returned client. “We so enjoyed the varieties of destinations, food and culture, and as always, the team was sensational – competent, knowledgeable, patient and loads of fun.”

Exploring an ice tunnel in the Antarctic

Geoffrey Kent of Abercrombie & Kent at the South Pole

Meanwhile, the expeditions can pay dividends for local people, too. Back in the mid- 1980s, shortly after the creation of Abercrombie & Kent Philanthropy (AKP), set up to help positively impact the communities where A&K guests travel, Kent met with General Museveni of Uganda, who later became president of the country. Their conversation focused on how best to protect the country’s endangered mountain gorillas and benefit the local Batwa people with whom the great apes shared their forest home. As a direct result, A&K established the first luxury camp in the Bwindi Impenetrable Forest.

More than 30 years later, the camp is still there and AKP has also established a community hospital, a 112-bed facility providing care for 40,000 patients annually, a nursing school to train health-care providers, and a bicycle enterprise to help empower local women. “I’m exceedingly proud of what we have achieved there,” says Kent.

The view from the Abuna Yemata Guh church in northern Ethiopia

All the itineraries feature destinations chosen for being on the “road less travelled”, and which explore facets of a country or culture that may not be apparent or accessible. An upcoming expedition to Ethiopia will see A&K guests led well away from the usual tourist trail to unique places like the Omo Valley, celebrated among anthropologists as the home of a fascinating spectrum of tribal communities, some of which have little exposure to outsiders, or to the rock- hewn cliff-top churches such as Abuna Yemata Guh near Hawzen in the north of the country.

Read more: In conversation with the founder of Rallye des Princesses Richard Mille, the women’s only classic car race

Also in the north of the country is the salt- encrusted Danakil Depression, at 125 metres below sea level one of the lowest – and hottest – points on the planet. The intrepid explorer Wilfred Thesiger passed this way in 1930 and today’s travellers can contemplate a scene barely changed from his day. The Danakil is also known as the ‘Cradle of Mankind’, where the remains of 3.2-million-year-old Lucy, the oldest known hominid fossil, were discovered in 1974. Her skeleton is now in the National Museum of Ethiopia in Addis Ababa, and the thrillionaires will be given exclusive access to see it.

Base Camp on Mount Everest

Insights into the local culture are an important component of the expeditions and never more so than in a country like Bhutan, the ‘Land of the Thunder Dragon’ and visited on a previous expedition by Kent and his guests. The Himalayan kingdom was virtually closed to outsiders until relatively recently, and maintains a proud Buddhist culture as well as the many architectural masterpieces. Ancient and ornate dzongs, or fortress-monasteries, festooned with prayer flags and often perched in precipitous locations, dot the landscape.

Bhutan is unique in having a Gross National Happiness index, set up by the country’s king in 1972 as being more important than the conventional Gross National Product. A&K clients were able to attend a private meeting with government delegates to learn about how the psychological and spiritual well-being of the Bhutanese people has remained their nation’s guiding principle and how they set a benchmark that other countries might do well to follow.

The Taktsang Pulphug Monastery in Bhutan

Neighbouring Nepal receives many more overseas visitors than Bhutan, but very few of them are able to experience one of the exclusive highlights afforded to the guests on that particular thrillionaire expedition: a visit to the renowned and iconic Mount Everest Base Camp. A helicopter whisked the lucky few from the capital Kathmandu over some of the main peaks and glaciers of the Himalaya range for a bird’s-eye view of the world’s greatest mountain range before descending to the very spot where mountaineering history has been made.

Read more: Maryam Eisler’s Icelandic photography series

Another previous expedition saw thrillionaires diving from sumptuous super-yachts into the pristine waters of Palau in Micronesia. Often dubbed the ‘underwater Serengeti’, the seas around this archipelago of forested volcanic islands support a unique ecosystem defined by several hundred different types of coral and with more than 1,500 species of fish to swim with and marvel at.

But for those seeking some serious party time, then the smart advice is to join Kent on his Rio de Janeiro carnival expedition early next year. “Nothing beats Rio for sheer energy and that inimitable samba vibe,” he says. A&K guests will enjoy VIP access to the world’s most famous carnival, including a ringside seat at the main parade and the opportunity to don a suitably extravagant costume and join the throngs of other dancers and revellers at the Copacabana Palace ball. There will also be private dinners with Rio’s glitterati and the chance to relax on a luxury private yacht after all that partying.

The island of Peleliu in Palau, Micronesia

Every itinerary is meticulously researched and trialled by A&K in advance. As part of an expedition to Antarctica earlier this year (and which will take place again in 2020), clients were invited to submit suggestions for the naming of a previously unclimbed peak in the Drygalski Mountains that they would be tackling during the expedition. Careful scrutiny of maps and aerial photos led to the identification of several unnamed peaks potentially suitable for an ascent by non-professional climbers, but these needed to be checked out. Travelling solo, on foot and with all his gear on his back, a member of the A&K team spent several days camping in the foothills before determining which was the most suitable peak, as well as identifying a nearby glacier where the guests’ plane could land. It was exhaustive and essential planning that paid off handsomely when the eight clients, under the guidance of master mountaineer Marko Prezelj, safely scaled the peak that they had earned the right to call Mount Inspiring.

Meanwhile, there’s even the option of going on a round-the-world wildlife safari by private jet, lasting 25 days and spanning three continents, in a quest to spot giant pandas, tigers, mountain gorillas and lions. The price might not suit everyone, but that’s not the point. These are special tours for special individuals.

So, where next for A&K’s Inspiring Expeditions? Perhaps a mission to the Moon, or even Mars? No, at least not yet. Kent has discounted space travel as too unsafe right now, but he has other destinations up his sleeve. “I can’t deny that the world is well-travelled and that it takes innovative thinking to find new destinations,” he admits, “but there are still unexplored spots.” Among these he has his seasoned eye firmly on Gabon, a country in equatorial Africa that has placed an impressive 11% of its land area under national park protection. There are elephants, buffalo and lowland gorillas to go in search of in the virgin rainforest, as well as dramatic waterfalls and stunning beaches. “I remember seeing a group of elephants swimming off the beach with their trunks raised out of the water like snorkels,” laughs Kent. With sights like that to behold, is anyone up for a trip to Gabon?

Find out more: abercrombiekent.co.uk

This article was originally published in the Summer 19 Issue. 

A Porsche passes through Aix-en- Provence in the Rallye des Princesses

Ferraris! France! Finish lines! Equal parts grit and glamour, the Rallye des Princesses is a female-only classic car race with challenging conditions by day and champagne soirées come nightfall. Ahead of this year’s event, Laura Archer speaks to the founder Viviane Zaniroli

Kate Moss zooming along the Cotswolds country lanes in her vintage Porsche 911S, Jodie Kidd finishing the Mille Miglia in a Jaguar XK120, Kendall Jenner cruising around Hollywood in a 1965 Mustang… When it comes to classic cars, who says boys have all the fun? Women are getting in on the action more than ever – the percentage of women buying classic cars is rising year on year – but this isn’t just about something that looks good on the driveway: this is about the art of driving, the love of the open road, the thrill of the race. And for these women, there’s no greater expression of this art than the Rallye des Princesses Richard Mille, which this year celebrates its 20th edition.

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Spanning 1,000 miles from Paris to the south of France, and spread over five days, the female-only Rallye des Princesses Richard Mille has become synonymous with excellence in the sport. “It is a mix of precision, prestige and conviviality,” says Viviane Zaniroli, who founded the Rallye in 1999. Don’t let the name fool you; this is no jolly jaunt through pretty scenery. The Rallye is a challenging and often technical race, and counts the likes of Caroline Bugatti and the daughters of six-times Le Mans champion Jacky Ickx, Vanina and Larissa, among its alumni. “The challenge is to drive a classic car, which does not have all the comforts like power steering that we are used to these days, on small, sinuous roads, without getting lost,” Zaniroli explains. Competitors are tasked with following complex navigation instructions, only provided shortly before setting off in the morning, in order to complete a set daily distance, all the while maintaining strict average speed times – simply flooring it isn’t an option. “And even though it takes place in June, the weather can be bad,” Zaniroli adds. Indeed – last year’s race was beset with storms, leading to anecdotes of coaxing Ferraris through floods, nudging Bentleys around hairpin bends in torrential rain, and steering Lamborghinis past landslides.

The start of the Rallye in the Place de Vendôme in Paris

Competitors celebrate a stage during the race

If this all sounds rather like too much grit and nowhere near enough glam, fear not. After a long and bone-aching day behind the wheel, the participants relax in four- and five-star hotels, regaling each other with stories from the road at cocktail parties and gala dinners. This is one car race where evening gowns are an essential piece of kit. And of course, when the weather is rather more clement, it’s hard to beat the thrill of putting the top down, changing up through the gears and feeling the car respond as you hug the roads winding through the beautiful heartland of France.

Given this, it’s little wonder that the number of participants has tripled since the Rallye’s inception, with 90 teams taking part last year, more than half of which were first-time entrants. “I wanted to show that women liked to be behind the wheel of beautiful cars and experience a competition full of challenges,” says Zaniroli of the inspiration behind the event. “Women perfectly understood the concept, loved it and spread the word.” She says that competitors come from all walks of life; most are normal women “with kids and a busy job. They want to let go of the routine for a unique week. They want to experience a one-of-a-kind adventure – it’s thanks to their passion and enthusiasm that the rally became so famous and praised.”

Read more: Island life at the luxury resort of Baha Mar

It wasn’t always this way, however. Since the second world war, the number of women involved in motorsports has declined and in recent years it has become almost exclusively male, with a somewhat gentleman’s club vibe – think, for example, of Formula 1 with its podium girls. “At the beginning, the Rallye had to prove its worth and differentiate itself to exist in a very masculine automotive environment,” says Zaniroli. “That is why, in order to immediately assert its [authority] and find its place, we wanted it to be sporty, demanding and festive at the same time.”

The Place de Vendôme in Paris where the Rallye begins

The route below Courchevel

No easy task, but it’s one that Zaniroli and her team have pulled off, an achievement cemented by the endorsement of big-name brands such as Richard Mille, which in 2019 marks its fifth consecutive year as a partner. “Its departure from Place Vendôme in Paris, the finish at the Place des Lices in Saint-Tropez and the presence of dedicated partners like Richard Mille have built its prestige and made it a ‘haute couture’ rally,” says Zaniroli. But her motivation for running the event is not about international acclaim but something rather more personal. “When a woman subscribes to the Rallye des Princesses, their worry is often whether they will be able to do well and represent their team and the classic car they drive – a woman often questions her abilities,” Zaniroli reflects. “I promise them that they will make it, that they will surpass themselves, and on top of that they will make meaningful relationships. On the final line, their joy and pride are always the best reward, for them as well as for me.”

Given such support and camaraderie, it’s no wonder that competitors in the Rallye des Princesses feel like royalty. And although the event is in its 20th year, it shows no signs of hitting the brakes. After 2018’s Biarritz finish, this year it returns to Saint-Tropez, following the historical route that links Paris to the Cote d’Azur. There’s a new challenge for competitors – the Saint-Tropez Grand Prix, a new stage that takes drivers to the Var region inland, punctuated by three regularity zones. “Today, the rally has reached its cruising speed,” says Zaniroli. “We are contemplating varying the route every other year in order to visit other French regions, and we would also like to develop it internationally.” If that happens – and given Zaniroli’s drive and passion, there’s no reason to think otherwise – the Rallye des Princesses’ future success is assured. Ladies, start your engines.

Rallye des Princesses 2019 runs from 1 to 6 June. For more information visit: zaniroli.com/en/rallye-des-princesses/

This article was originally published in the Summer 19 Issue.

An image from Maryam Eisler’s new series ‘O is for Origin’

When Maryam Eisler, LUX Contributing Editor and author of The Sublime Feminine, visited Iceland the results were spectacular

At first glance, Iceland looks like what the Earth must have been at its very beginning, with the bleakness and sombre colours of the volcanic rock that seems to have pushed its way up to the surface only yesterday. This extraordinary terrain makes Iceland a genuine land of fire and ice, with active volcanoes and glaciers living side by side under the phosphorescent lights of the aurora borealis. The landscape creates a powerful visual poetry like no other place I’ve visited. It is no wonder that this land is rich in folklore, in which mythical creatures roam the land and sea. I even met one in my sleep, the hafmeyjan, or mermaid, who enraptures sailors with her siren songs and disappears into the waters’ depths with the men in her arms.

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Icelandic culture is dominated by women, as the progressive nature of its society and politics today shows. And if there was ever a way to highlight the central role of woman in creation, it is in the shifting shapes of this landscape, where female curves match perfectly the green, moss-covered outcrops that stretch far towards the distant murky horizon.

Read more: Photographer Maryam Eisler on East London and the power of art

In such a place, where people and landscape join in a jagged, unreal harmony, the photographer simply has to respond to the variety and scale of what nature presents them. If nothing else, our duty becomes the preservation of this quixotic land for the generations yet to behold its wonders.

View Maryam Eisler’s full portfolio of work: maryameisler.com

This article was originally published in the Summer 19 Issue.

St Moritz at night

St Moritz, in Switzerland’s Engadin, is an Alpine paradise in winter, with some of Europe’s best hotels for your skiing vacation. But it could be yours all year round with exclusive chalets for sale. Emma Love reports on the latest Savills offerings and the virtues of Alpine living

It’s hard to imagine that the celebrated ski resort St Moritz was once better known as a summer destination. That was until Johannes Badrutt, the founder of the legendary Kulm hotel, won a bet. The story goes that in the autumn of 1864, he was enthusing about St Moritz as a winter destination to four sceptical English holiday guests. Badrutt suggested that they return in December and if they didn’t enjoy their stay, he would not charge them. The four ended up staying until Easter, marking the beginning of winter tourism in the Engadin valley.

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Luxury chalet Chesa Lumpaz

Of course, these days St Moritz is globally renowned as the glamorous go-to, year-round Alpine resort where everyone from Claudia Schiffer and Robert de Niro to the Swedish royal family has been spotted. It has hosted the Winter Olympics twice, popularised sports such as ice cricket and snow polo and is home to the Cresta Run, a world-championship bobsled run made of natural ice – not to mention it being home to Michelin-star restaurants, Bond Street-style designer fashion boutiques, and  glitzy bars, clubs and hotels. “Historically and geographically, St Moritz has long attracted a crowd with a heavy Italian influence, but in the past couple of decades there has been a steady flow of international billionaires buying chalets here. They are attracted to the sophistication of the resort,” says Jeremy Rollason, head of Savills Ski, who specialises in the sale of chalets and developments in super-prime Alpine locations.

One of the four master bedrooms, all fitted out in contemporary style but with traditional materials

While many of the top one per cent choose to base themselves in traditional ski-in, ski-out Suvretta (where a car is needed to get into town), the latest Savills property on the market offers something rather different – the rare chance to own (and rent) a seven-bedroom lakeside house right in the heart of St Moritz, next door to the Badrutt’s Palace hotel and just ten minutes’ drive from Samedan, the private-jet airport. “Chalet Chesa Lumpaz is one of those rare propositions; it’s contemporary rather than futuristic, quiet yet close to the main shopping precinct and has extraordinary views,” Rollason says of the property, which is for sale POA. “The designer Nico Rensch has expertly combined modern design with St Moritz flair.”

Read more: Why Blue Palace in Crete is a springtime paradise

Spread over five floors, the 890m2 house has a private wellness area (which includes a gym, hot tub, steam room, sauna and massage room), a ski room (with boot, helmet and clothes heaters) and an open-plan living area designed for socialising. “The house was built to entertain, with the living room at the top because you want to have the view when you’re awake not when you’re asleep,” explains Oli Stastny, whose company PPM Exclusive Services manages fully serviced private villas in St Moritz. “The aim with the design was to fuse local materials such as stone and wood in a modern way while keeping a cosy, Alpine feel. For instance, the bedrooms have wood-clad walls.”

There is not one master bedroom but four, all at the front to take advantage of the views of the lake. They are fitted with sliding walls so the configuration can change depending on the guests staying. Yet Stastny echoes Rollason in stating that it is the uniqueness of the property and its location that makes it truly special. “This is one of the only single standing houses in the centre of town, the rest are apartments. It’s also connected by an escalator that goes down to the lake and up to the shops and Badrutt’s Palace.”

The living room (above) and view from the living room on the top floor of the Chesa Lumpaz chalet

This feature could be especially handy for anyone attending the annual New Year’s Eve dinner at the hotel, which is one of the hottest events of the winter social calendar. Other unmissable dates for the diary include the long- established St Moritz Gourmet Festival every January, which is known for attracting star chefs from around the world (this year the line- up included Guillaume Galliot from Caprice at the Four Seasons Hong Kong and Nicolai Nørregaard from Kadeau in Copenhagen). And, in the summer, a jazz festival held in the Dracula Club (Norah Jones, Nigel Kennedy and Curtis Stigers were highlights in 2018); the annual gathering of vintage cars, the British Classic Car Meet; the Engadin Festival featuring ten high-calibre classical concerts and the Tavolata weekend, a celebration of food and music.

All of which proves that while winter sports might be one of the biggest draws to St Moritz – the resort is at 1,850 metres which means an excellent snow record and world-class skiing – there is plenty to entertain visitors in the summer months too. “These summer festivals are a great way of getting property owners back into the resorts as an alternative to the French Riviera which, especially last year, was extremely hot,” says Rollason. “In the summer you can windsurf on the lake and cycle the mountain trails. St Moritz is a genuine dual- season resort.” Exactly as Johannes Badrutt suggested all those years ago.

Find out more: chesalumpaz.com and savills.com/countries/savills-ski

This article was originally published in the Summer 19 Issue

The Rosewood Baha Mar’s pool

There has never been a better time to luxuriate in the Bahamas, as Jenny Southan finds out at the new exclusive luxury resort of Baha Mar in Nassau on New Providence Island

In an ever-more tumultuous world, the idea of escaping to an island holds much appeal. New Providence is one of 700 islands in the Bahamas, and a dream for castaways who want more than one or two luxuries to be marooned with. Positioned on the pale sugar sands of Cable Beach, multibillion-dollar resort Baha Mar is setting new standards for expat living with a collection of private residences that are up for sale.

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How often have you said to yourself, “I wish I could just live here”, as a holiday comes to an end? Now, as well as hotel rooms for short-term sunseeking, the SLS Baha Mar and the Rosewood Baha Mar are offering a variety of homes, available from US$726,500 to $25 million. So, if it really was the trip of a lifetime, you can invest in living it all over again, whenever you want.

Rosewood Baha Mar and its grounds

With the first release in January 2019, the residences are hot new entrants to the market, and lovers of the Bahamian laid-back lifestyle, of pristine beaches, swimming pigs and rum cake, are snapping up purchase agreements already. The Rosewood has 87 one- to three-bedroom residences priced from $995,000, plus four three- to six-bedroom beachfront villas from $6.4 million to $25 million, each with its own private swimming pool. Meanwhile, the SLS, which is operated by US lifestyle hospitality company sbe and is now 50% owned by Accorhotels, has 107 one- to three-bedroom residences costing $726,500 to $4.2 million. House hunting has never looked so good.

What’s the difference between the two brands? While many of the perks are the same, Genevieve Conroy, vice-president of residential sales and marketing for Baha Mar, says: “The SLS is more contemporary. Residences have sleek white furnishings, and a modernist, minimalist flair coming through. They’re sexy and cool. The Rosewood is more elegantly traditional in style. Clients walk in and they definitely gravitate to one or the other.”

Not only can owners generate additional income from renting out their property, but they will qualify to apply for residency in this independent realm of the British Commonwealth. What is more, buyers may be exempt from income tax, capital gains tax or inheritance tax. From being able to bank in one of the world’s largest and most trusted financial centres, to reliable medical care, to international schools, supermarkets and buying a car, it is easy for people to transplant their lives here, whether they are relocating full- or part-time.

Read more: Inside one of the world’s most exclusive business networks

To have a home on Baha Mar is to live on one of the most covetable of Caribbean bases. Conroy says: “You have these two globally recognised brands in one of the best resorts in the world – that is formidable. Owners get butler and concierge services, complimentary valet, and we are one of the few resorts that doesn’t charge them a daily resort fee.” On top of this, people looking to decorate their new homes can make use of the resort’s superior arts programme. A dedicated local curator will help them choose (or even commission) Bahamian work to display. Owners also receive 15% preferential pricing in many of the resort’s restaurants, shops and spas.

Baha Mar has almost 50 restaurants and bars, with cuisines ranging from Mexican to Chinese. There are nine tennis courts (including grass), as well as a Jack Nicklaus signature golf course (with 24 free rounds of golf annually for homeowners ), VIP entrance to Baha Mar’s Bond nightclub and Platinum status at the largest casino in the Caribbean (007 fans will feel like they have a starring role in Casino Royale, which was filmed on the island). Residents are also gifted VIP access to NEXUS Club by the eponymous luxury hospitality company founded by singer-songwriter-actor Justin Timberlake, the Tavistock Group’s Joe Lewis, and golfers Tiger Woods and Ernie Els.

Being part of a branded community guarantees certain standards, as well as international neighbours from a variety of backgrounds. The offshore lifestyle, of course, is key. Baha Mar has its own private island, Long Cay, which can be hired exclusively for parties and which has its own rum tasting room. It also has VIP use of the superyachts (213-ft/65m) Eternity I and II for private charter. Quirky touches at Baha Mar include Airstream food trucks and a daiquiri shack on the beach. Although residents can use two on-site spas (one of which is a flagship ESPA), treatments can be arranged at home. Gourmet meals can be cooked by in-house chefs.

A residence at SLS Baha Mar

How can buyers choose between the SLS and the Rosewood? Luigi Romaniello, managing director at the Rosewood Baha Mar, says: “The residences at Rosewood Baha Mar offer owners the opportunity to bask in the comforts of a home while indulging in the benefits of a five-star, world-class, luxury resort. Owners also become part of the elite Rosewood Residences global network. Worldwide privileges include preferred rates, special food, beverage and spa benefits, and VIP courtesies and treatment across Rosewood Hotels and Resorts.”

Meanwhile, Richard Alexander, general manager of the SLS Baha Mar, says: “Ownership at SLS Baha Mar provides a Bahamian retreat for contemporary global citizens and the opportunity to connect with a discerning community. Blending sleek design, an impressive array of culinary offerings and elegant nightlife, SLS Baha Mar residences are a rare and unique proposition surrounded by sparkling turquoise waters. More than a home – they are ushering in a new era of glamour in the Caribbean.” Where do we sign?

Baha Mar living – the facts

Number of residences Rosewood: 91; SLS: 107
Price range Rosewood: $995,000–$25m; SLS: $726,500–$4.2m
Types of property Rosewood: one- to three-bed apartments with balconies; three- to six-bed beachfront villas with terraces, hot tubs, outdoor showers and workout areas; SLS: one- to three- bed residences with terraces and sea views
Tax advantages no income tax, corporate tax, capital gains tax, wealth tax or inheritance tax for most nationalities
Services and amenities NEXUS Club Baha Mar membership, 24 annual free rounds at the Jack Nicklaus Signature Royal Blue club, Platinum-tier status at Baha Mar Casino Club Blu, VIP access to Bond nightclub, VIP reservations at Baha Mar restaurants, concierge and complimentary valet
Nearest airports Lynden Pindling, 9.5km away; private jet terminals
Non-stop flights British Airways from London; American Airlines from Miami and Charlotte; Delta Air Lines, JetBlue and United from New York; Delta from Atlanta; JetBlue and Delta from Boston; United from Chicago; Air Canada and Westjet from Toronto; Bahamasair from Houston and Miami and Ft Lauderdale

Find out more: residences.bahamar.com

This article was originally published in the Summer 19 Issue

Ricardo Guadalupe (left) with Richard Orlinski and one of his ‘Wild Kong’ sculptures

Luxury Swiss watchmaker Hublot is letting artists design their timepieces, and their customers and collectors love them. Rachael Taylor examines a new trend in horological branding

Hublot chief executive Ricardo Guadalupe was on a skiing holiday in the exclusive Courchevel resort in the French Alps when he spotted unusual sculptures rearing out of the powdery white slopes. The giant faceted animals, including a howling wolf, a chest-beating gorilla and a bright red Tyrannosaurus rex, were the work of contemporary French artist Richard Orlinski, and this chance encounter with a mountain-top menagerie would go on to inspire a surprise hit for Hublot.

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“Maybe Hublot was surprised, but I wasn’t,” laughs Orlinski, commenting on the success of the first watch he designed for the brand. “I don’t know if I have talent, but with my eyes I can see what people see. I’m a mainstream guy. When I like something, a lot of people like it.”

Indeed, Guadalupe has described the demand for Orlinski’s Hublot watches as “unbelievable”, and impossible to fulfil. The collaboration first started in 2017 with the Classic Fusion Aerofusion Chronograph Orlinski, a polished titanium skeletonised model with a sharply faceted case and bezel that mirrors Orlinski’s iconic sculptures. The Swiss watchmaker, passing creative control to an artist for the first time, created a modest run of 200 watches, unsure of how they would be received. The collection quickly sold out, attracting existing Hublot collectors, as well as aesthetes, art buffs and quite a few of Orlinski’s famous friends who were new to the brand.

Hublot’s Classic Fusion Tourbillon Orlinski Black Magic

Since then, Orlinski and Hublot have partnered to create a further 10 editions of the watch. These include a vivid-red ceramic version that launched last year; the colour, which is technically very difficult to achieve and is exclusive to Hublot, matched a shade applied to many of Orlinski’s sculptures. For luxury collectors, there is the Aerofusion Chronograph Orlinski King Gold Jewellery, a 18ct solid-gold version set with more than 300 diamonds. And at the top of the range is the Tourbillon Power Reserve 5 Days Orlinski Sapphire, limited to just 30 watches, with a case made entirely from polished sapphire crystal.

Read more: Trevor Hernandez’s surreal urban photography

The faceted cases and bezels of Orlinski’s watches dazzle with light and shadow, adding a sculptural edge to the design. Keeping the watch functional, legible and wearable was important to Orlinski, who is himself a watch collector. “I know a lot about watches,” he says, but admits that until this collaboration his hoard did not include a Hublot as it was focused on vintage timepieces. “I wanted to make a mix between a watch and a sculpture – something you can wear every day, not something very strange.”

Hublot was not the first watch brand to come knocking at Orlinski’s door. Others had tried, but they offered the chance to customise rather than create. For Orlinski, this was not enough. “I always declined because they wouldn’t let me do anything,” he says. “Hublot treat me as a watch designer.”

Richard Orlinski

By giving Orlinski autonomy over the watches that bear his name, the mainstream magic that the bestselling French artist claims to wield has rubbed off on Hublot, making it a commercial success, while also giving it a dose of art kudos. The collaboration has also had benefits for Orlinski’s art, as the global exposure he has enjoyed while touring the world for Hublot events has widened his fan base.

Such synergy between the contemporary art and luxury worlds has led to many such hook ups, as brands use artists to inject fresh vigour into heritage labels. Last year, Chaumet celebrated modern African art by enlisting Kenyan graphic designer Evans Mbugua to create a collection of high-jewellery brooches, while Dior invited 11 artists, including Isabelle Cornaro, Li Shurui and Poppy Apfelbaum, to reimagine its Dior Lady Art handbag.

The Classic Fusion Aerofusion Chronograph Orlinski Red Ceramic

“Nowadays, art gives a credibility to brands,” says Orlinski. “A lot of them understand that they have to tell stories; selling things is not enough now. We live in the World 2.0, and things are changing so fast. If you want to stay in the game, you have to be open minded. People want something different.” It’s also, he says, about using popular art to engage with a wider audience: “Even if you are a luxury brand, you have to talk to everyone. If you only talk to the rich people, you’re dead. The brands that don’t change are going to die.”

Read more: Art collector Kelly Ying on the contemporary artists to watch

As art and watch collectors line up to own a wearable piece of Orlinski, Hublot plans to keep this particular point of difference very much alive and ticking. While the core design of the watch will stay true to its faceted form, Orlinski believes there are myriad possibilities for the future, such as fresh colourways, new materials and increasingly complex horological complications. And at Baselworld watch show in March 2019, the first line of Orlinski Hublot watches for women will be unveiled, opening up a whole new market. “This model will evolve a lot,” says Orlinski. “I have so many ideas, we can go on collaborating for 20 years. It’s just a matter of talent, energy and brainstorming.”

Orlinski with actor Jacqueline Bracamontes at the launch of the Mexico variant of his Hublot watch

The case for collaboration

Hublot, like most watch brands, is best known for its sporting collaborations – its long-running partnership with Ferrari continues to be the vanguard of such alliances. Deals like this, and its sponsorship of the Fifa World Cup in Russia last year, are, according to chief executive Ricardo Guadalupe, the “premier league” of collaborations, to use a suitably sporting analogy. Uniting the worlds of timing and art is a less obvious strategy, but brings other benefits that Guadalupe is keen to cultivate.

“We’re always looking for new inspirations, and we have found that we should not stay in our industry, but go outside,” he says. “When you come with something unique and different, I think consumers are really waiting for that.”

Read more: Why you need to see Sarah Morris’ latest exhibition at White Cube, London

As well as working with Richard Orlinski on his hugely popular line of faceted watches (“The demand is still unbelievable. We can’t keep up with it”). Hublot has also engaged Los Angeles-based street artist Tristan Eaton and London tattoo studio Sang Bleu to reinterpret its Aerofusion and Big Bang models.

“[Working with artists] positions us as a trendsetter in creating new designs for watches and this is really important,” says Guadalupe. “We are at the beginning of the process with Richard Orlinski, with the tattoos, so this is something really new that is appearing in our world. Probably it will bring new consumers into our brand, but it also allows our actual consumers that love Hublot to buy a new watch. You must bring always something different and innovative. [Through art] we are creating a new way of making watches.”

Find out more: hublot.com

This article was originally published in the Summer 19 Issue.

The vineyards of Masseto slope down towards the sea from the mountains of Tuscany’s Maremma region

Masseto, Italy’s most celebrated wine, is made from spectacular vineyards by the Tuscan coast, backed by ancient forests, looking out over the Mediterranean. This spring, it received a stunning new winery, whose wonders are all contained underneath the blue clay soil, as Darius Sanai, one of the wine’s most obsessive aficionados, discovers

Photography by Marius W Hansen

As you approach the Masseto winery, the overwhelming feeling is one of luminescence. There is a glow from above, and behind, as if the narrow road you’re driving along is the entrance to some new, celestial world.

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There are three shades to the luminescence. The piercing blue of the sky (the sky always seems to be blue around here in the Maremma, the coastal strip of Tuscany halfway between Pisa and Rome); the deep primordial green ahead, which emanates not from the vineyards that surround you but from a thick forest on the mountains in front, forest that looks as wild as it must have been in prehistoric times, with little or no sign of human intervention; and then there is a silver, which seems to come from a different direction altogether, subtle but enveloping. As the road heads up the slope through the vineyards and towards the new winery, you feel that you’re about to be welcomed through into another world.

The entrance to the new winemaking buildings at Masseto winery

All this makes the entrance itself to the new winery, which opened this spring, even more remarkable. Rather than a great ziggurat to commemorate the otherworldly location of the home of one of the world’s greatest wines, you are greeted by a building that seems to sink far into the mountainside.

And this, perhaps, is the point. It is only when you enter between the stone sentinels at the entrance to the new winery, and disappear into the blue clay soil, that the adventure really begins.

Masseto is perhaps the only Italian wine that has passed into the pantheon of high-luxury brands. It is a wine venerated by connoisseurs, while its serving is also seen as a mark of the ultimate respect by those with just a passing interest in wine, along with names like Pétrus, Lafite, Latour and Domaine de la Romanée- Conti – all the others are French. All the more remarkable, since Masseto has only been a wine since 1987. And since its birth, until the opening of the new winery in 2019, it has always been seen as the ‘big sister’ wine of Ornellaia, made on the same premises.

Read more: Karl-Friedrich Scheufele on Chopard’s partnership with Mille Miglia

This spring, Masseto finally received its own home, distinct from its sister wine, a few hundred metres away on another part of the same slope. The new winery is one of the most striking creations of anything in the increasingly rarefied world of fine wine.

Amid the vineyards, there is a beautiful classical building, terraced, with views across the vineyards and to the Mediterranean Sea, just a couple of miles away. It is the sea that gives Masseto’s vineyards their luminescence, and the wines themselves a kind of olfactory luminescence, lifting up and away, balancing the richness and power and complexity with a kind of angelic delicacy only the very greatest wines in the world can achieve.

The glass-cube tasting room, and some of the merlot grapes harvested from the vineyard

But enter inside, and underground, and you are in a different universe. The landing area drops away to a vast, concrete-lined chamber, more redolent of a modern Abu Simbel in ancient Egypt than of a place where wine is made. Rows of wooden barriques line the room; everything is perfect, geometrically, but also puzzling, as if you have entered a kind of contemporary MC Escher drawing. A concrete wall swings open to reveal a room lined with what seem at first to be beautiful black tiles, but turns out to be the ends of Masseto bottles, stored geometrically in racks, black against the grey of the stone. Most remarkable of all is a glass tasting room, a cube in the middle of the winery, where you can taste wines looked on by the wines themselves, buried in the deep underbelly of Tuscany.

The architecture is the creation of Milan-based firm ZitoMori Studio. Masseto CEO Giovanni Geddes da Filicaja comments: “Years of planning and effort have been dedicated to building the right home for Masseto. One that consolidates three decades of experience, where every aspect has been designed to meet the winemaking team’s highly detailed requirements.”

The orderliness of the vineyards outside are matched by the clean and uncluttered design of the new winery buildings

Giovanni Geddes de Filicaja, CEO of Masseto

Commercial director Alex Belson comments about the architecture: “The architectural brief specified the winery must be a masterpiece in its own right. Quite simply, we needed to give Masseto the home it deserves and its own architectural identity. The brief also stipulated the winery must have minimal visual impact, and that the existing Masseto House (a classified building on the hill above the vineyard) be restored with integrity and to meet Italian architectural heritage requirements.”

To do this, says Japanese-born architect Hikaru Mori, “We created a series of spaces, not by construction but by extraction from the hill’s monolithic mass. The diverse internal volumes, heights and levels are reminiscent of a gold mine as it follows seams of precious metal to the core.”

Axel Heinz, Masseto’s Estate Director

But the architecture would mean nothing without the wine, and Masseto is a wine that is even more special than its setting. Axel Heinz, the estate’s director, has been in charge of the winemaking since 2005 and he says, “The core of Masseto, its warp thread, is a Mahler symphony played by a full orchestra. The weft is a small chamber music ensemble. It’s that orchestral power that needs very careful handling. It has to be balanced by the softer elements, which add complexity. People sometimes describe Masseto as single vineyard wine, but it’s not. There’s an incredible range of plot expressions and different proportions of clay, gravel and earth. It’s more like an intricate patchwork, with the blue clay at its core.”

Heinz also pays tribute to the importance of the sea, both in the light it donates to the vineyards, and the cooling breezes that temper the summer heat and give the wine its freshness, however ripe the vintage. But like the greatest wines, and the greatest poetry, and the greatest vistas, you cannot analyse the beauty of Masseto. It comes from the soil, the grapes, the winemaking, the weather, the microbiome of the earth, the human appreciation of the aesthetic, both in taste and in vision.

For me, Masseto shares with a handful of wines the distinction of being rich, powerful and deep, and also feather light, almost transparent. A big, rich red wine that lifts you up, with a thousand nuances. Different vintages have different characteristics, but there is a commonality in this lightness of being that differentiates it from any other wine I have had from Italy, and which it shares with a clutch of peers at the tip of the world wine tree. Grape variety is irrelevant here. One or two of the great Napa Cabernet Sauvignons have it, as do a handful of top Bordeaux names, and the greatest (and eye-wateringly expensive) wines from the likes of Domaine de la Romanée-Conti, Domaine Leroy, Mugnier and Armand Rousseau from Burgundy. In the context of many of these peers, Masseto, whose price has rocketed over the past few years, seems positively decent value.

And none of them have a view of the Mediterranean across the coast of the Maremma. It’s going to be fun tasting future vintages in that glass tasting room.

Find out more: masseto.com

This article was originally published in the Summer 19 Issue

Le Jardin de Russie restaurant at the Hotel de Russie, and the National Museum of 21st-Century Arts (MAXXI)

Rome has a lot to offer the modern traveller beyond classical ruins, and at the heart of this burgeoning contemporary scene is the new Hotel de la Ville. Emma Love sings the city’s praises

When Hotel de la Ville, high above the Spanish Steps in Rome, opens on 23 May 2019, it will be the latest in a wave of cool, contemporary destinations to appear in the capital. Joining Hotel de Russie as part of Rocco Forte Hotels, Hotel de la Ville celebrates the tradition of the European Grand Tour in a thoroughly modern way. Located in an 18th-century palazzo, its decor ranges from Renaissance-inspired busts in the Da Sistina bistro to the decorative patterns of blue-and-white ceramics reinterpreted as a wallpaper print. The spa, courtyard restaurant (with its new take on classic Roman dishes) and the 7th-floor bar with 360-degree views are all set to appeal to a new generation of travellers.

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It’s not only the design of Hotel de la Ville which is inspired by the European Grand Tour: both properties are in the heart of the Eternal City (Hotel de Russie is between Piazza di Spagna and Piazza del Popolo), so visitors are ideally placed to discover off-the-beaten-track gems. For instance, alongside Rome’s ancient wonders there are now a number of art galleries that offer alternative attractions. The National Gallery of Modern Art specialises in 19th and 20th-century works by Italian and international artists; the Museum of Contemporary Art of Rome (MACRO), located in a former warehouse, showcases works created since 1960; and the Zaha Hadid-designed National Museum of 21st-Century Arts (MAXXI) is dedicated to contemporary art and architecture. And there is the Palazzo Rhinoceros, which opened in 2018 as part of Fendi’s non-profit art foundation with its exhibitions, rooftop bar and restaurant.

A grand junior suite at the Hotel de la Ville (above) and the Spanish Steps

Hotel de Russie, named after the Russian Romantic painters who were guests when visiting the city, also blends classical architecture with modern interiors. It has a noteworthy spa, the Stravinskij bar and Le Jardin de Russie restaurant, where in summer tables spill out into the Secret Garden. Near Hotel de la Ville, architecture fans will discover the bizarre 16th- century Palazzo Zuccari, the façade of which features mascherone or grotesque, mask-like mouths around the front door and windows, and the church of Sant’Isidoro where the side chapel houses two 17th-century marble nude female figures designed by Bernini. Covered up by Irish priests in the 19th century, they were unveiled again only in 2002.

Read more: Why Blue Palace resort in Crete is the perfect Springtime destination

For more contemporary design, there is the Jubilee Church, built in 2003 in the Tor Tre Treste suburb by American architect Richard Meier, and the amphitheatre-like Parco Della Musica by Renzo Piano, where everything from contemporary dance to jazz and film festivals take place. Both hotels can arrange tailor-made experiences for guests, whether they want a behind-the-scenes look at the 19th-century Teatro dell’Opera di Roma or a tour of Monti, the once down-at-heel district now popular for vintage fashion and antiques. All of which demonstrates that this forward-looking city is so much more than its past.

SIX UNMISSABLE ROME EXPERIENCES

1. Behind-the-scenes designer shopping
From a private atelier visit to learning about the craftsmanship that goes into bespoke garments, Hotel de Russie’s ‘Avenue of Style’ experience offers unparalleled access to eleven Italian fashion brands.

2. Private tour of the opera house
Sneak a backstage look at Rome’s most famous classical music venue, the Teatro dell’Opera di Roma, which is resplendent in its 19th-century glory.

3. Cycle the city
Go cycling or jogging with Hotel de Russie’s personal trainer and triathlon world champion Danilo Palmucci, taking in the Villa Borghese gardens and architectural landmarks.

4. Discover a hip art gallery
Former London art dealer Lorcan O’Neill’s eponymous gallery is in a renovated stable in the centre of Rome where his roster of artists includes everyone from Rachel Whiteread and Tracey Emin to Richard Long and Francesco Clemente.

5. See optical illusions at the Trinità dei Monti convent
Go straight to the cloister on the upper floor to see the two large and very rare anamorphic wall paintings.

6. An immersive perfumery experience
Hotel de la Ville’s ‘olfactive itinerary’ is a closed-doors visit to a high-end perfumery, set inside a historic building with original frescos.

For more information visit: roccofortehotels.com

This article was originally published in the Summer 19 Issue.

Sassan Behnam-Bakhtiar at work in his studio

Franco-Iranian artist Sassan Behnam-Bakhtiar, despite a childhood spent escaping war, then living in post- revolutionary Iran and enduring the subsequent prejudice, produces the most brilliantly coloured and life-affirming paintings. James Parry speaks with him ahead of his new exhibition in Düsseldorf

It’s an idyllic scene. Azure skies and an enticing ultramarine sea reaching out to the horizon and dotted with yachts, the perfect backdrop for a picture-postcard harbour town with cobbled streets lined with stylish shops and restaurants. Bougainvillea froths over historic façades and cicadas chirp in the beautifully manicured gardens of opulent villas. Welcome to the south of France, and to Saint-Jean-Cap-Ferrat. The artist Sassan Behnam-Bakhtiar has made his home here, following in the footsteps of artists such as Cézanne, Matisse, Chagall, Renoir and Picasso, all drawn to the French Riviera by the dramatic light, colours and stunning scenery.

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As bucolic as this may sound, in Behnam- Bakhtiar’s case, the Côte d’Azur provides welcome and creative sanctuary from a life that has not been without its challenges. Born in France in 1984 to Iranian parents who left their homeland after the Islamic Revolution, he would only visit Iran for a few weeks each summer to see family. But even such relatively brief trips could be fraught. For much of the 1980s Iran was engaged in a bitter war with Iraq, and Tehran was periodically targeted by Iraqi missiles. “It was terrifying,” remembers Behnam-Bakhtiar. “We could hear the rockets roaring overhead, and then the explosions.” On one occasion, he and his mother had to make a desperate dash to the city of Bandar Abbas to catch the last flight out of the country to safety in Europe.

‘Lovers’ (2018) by Sassan Behnam-Bakhtiar

Further turmoil and trauma were to follow when, at the age of nine, Behnam-Bakhtiar moved to Iran permanently with his mother,to a world far removed from the childhood comforts of suburban Paris. He was a foreigner in a land deeply suspicious of the West. “At school they used to call me ‘the outsider’ and it wasn’t long before the verbal insults turned into actual physical violence,” he recalls.

The bullying came not only from his fellow pupils but also from the teachers, and continued outside of school, with intimidation and harassment from the police an almost daily occurrence. Behnam-Bakhtiar was singled out for being different, and because of his family’s history and role in the government prior to the Islamic revolution. Only by standing his ground and fighting his corner (literally, helped by taekwondo classes), did the unwelcome newcomer manage to get through each day. “At times it was pure darkness and not easy to focus on the potential light at the end of the tunnel,” he admits.

Read more: Karl-Friedrich Scheufele on Chopard’s partnership with Mille Miglia

But light there was, and Behnam-Bakhtiar will be focusing on the empowering aspects of such life experiences in his forthcoming exhibition ‘Extremis’, which opens at Setareh Gallery in Düsseldorf on 24 October. An evolution of his ‘Oneness Wholeness’ body of work, which wowed crowds last year at the Saatchi Gallery in London and at Jean Cocteau’s dramatically decorated Villa Santo Sospir on Cap Ferrat, the show will consist mostly of new works. “My new paintings reflect on what I learned from my difficult times in Iran and from life in general,” explains the artist. “By putting it out on the canvas, I’m saying that even in the toughest of situations, it’s always possible to learn and move forward towards becoming a more complete human being.”

Detail of Sassan Behnam-Bakhtiar’s painting ‘Eternal Wholeness’

Behnam-Bakhtiar’s work, which is both beautiful and technically proficient, has been achieved against an unusual and sometimes difficult background. His parents were both artists, but post-revolution Iran presented its challenges for opportunities to express or develop any artistic potential. What saved him was his camera. “Photography was my creative safety valve,” he explains. “I was always out and about, taking pictures of whatever caught my eye. That in itself was problematic during those years in Iran, but I learnt how to be discreet.”

Soon he had amassed a vast bank of images, part of an archive of source material that he now uses in his work. “I’ve been collecting ideas for years,” he admits, “especially patterns and designs that appeal to me.” These inspire him in the choosing of his own motifs, mostly Persian-oriented, which he uses in his collage- style paintings. To refer to them as ‘mixed media on canvas’ comes nowhere close to doing them justice, as they are complex and painstakingly crafted works of immense skill, using the artist’s trademark layered technique (see end of article). Behnam-Bakhtiar specialises in large works, expansive and yet also highly detailed, studded with jewel-like effects that resonate with the richness of a Persian heritage that he regards as central to what he does and who he is.

Detail of ‘Lovers’ (2018)

This approach – and the battle between light and dark in human life – will be brought into sharp relief in the new show. The exhibition centrepiece will be an epic work, Tornado of Life (2017), a vivid and exuberant painting around which many other works will be gathered. More guarded and sombre in hue, with just flickers of brighter colours emerging, these paintings serve to emphasise the triumph of light – and indeed of personal enlightenment – that Behnam- Bakhtiar seeks to achieve. Even in the darkest days in Iran, he explains, he drew positives from the friendships that he eventually made there.

Read more: Masseto unveils a new underground wine cellar

“Sassan stands out as a globally educated artist of Iranian background who is bringing works of great relevance to the canon of world art history,” says Samandar Setareh, owner of Setareh Gallery. “By using historic references, as well as a deeply personal and sensitive vision of the human condition, he is formulating a language that is understood beyond any frontier of cultural limitation.” ‘Extremis’ reflects the global appeal of this ethos and art, as well as Behnam-Bakhtiar’s commitment to identifying and developing positive outcomes from seemingly bleak situations. The myriad layers of his textured paintings reflect the very complexity and passage of life itself, a synthesis of practical skill and ingenuity that results in a very special type of art.

The artist in his studio

Layers of technique

Sassan Behnam-Bakhtiar’s stunning artworks are created by a particular technique that has become his trademark. In much the same way as his life experience is layered and complex, his artworks are similarly intricate. Working in mixed media and oil on canvas, he builds up his paintings through the application of different layers of paint. These can include fragments of handcrafted designs that he attaches to the canvas, collage-style. He overpaints each layer, in some cases working to a grid-like pattern to create a mosaic effect. Finally, he uses a plasterer’s edging trowel to remove sections of the top layers of paint and reveal the colours underneath, resulting in the kaleidoscopic effect for which his works are renowned.

Find out more: sassanbehnambakhtiar.com or setareh-gallery.com

This article was originally published in the Summer 19 Issue.

Summer in Andermatt with bike trails, the historic village streets, the Radisson Blu hotel and the new golf course

Andermatt is rapidly becoming one of Switzerland’s best year-round Alpine destinations. Already famed for its winter sports, the resort is now offering activities, accommodation and dining for summer, too, thanks to a major new development. Rob Freeman discovers the joys of the village’s new season

As the winter snows melt on the slopes above Andermatt, the year-round allure of this Swiss village becomes apparent. Thanks to the charm and the beauty of its summer meadows carpeted with white, blue, yellow and pink Alpine flowers, the resort has become a multi- faceted, all-season destination.

As glorious as it is in winter – Andermatt is now a world-class winter-sports centre and part of central Switzerland’s largest linked ski area – the resort, thanks to some remarkable developments that are taking place there, is equally stunning in the summer. In many ways, the contrast between the verdant valleys and the glistening white peaks above in summer makes this landscape even more striking.

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Andermatt’s parish records go back 800 years, with many of its houses being centuries old, so it’s small wonder that there is a palpable sense of history and tradition in its streets. With such a background, it’s intriguing to see the village enter a new phase, underlined by the recent opening of the elegant shopping and dining square, the Piazza Gottardo, which is part of a visionary development by Egyptian investor Samih Sawiris that will see the village double in size. There’s a distinct yet subtle style to this new car-free area, known as Andermatt Reuss, of which the Piazza is the centrepiece. The trick is having every building individually designed by one of more than 30 Swiss and international architects to create an eclectic rather than uniform appearance.

Each new building, as architect Christoph Langenberg, the project manager of the developer Andermatt Swiss Alps, explains, pays homage in one respect or another to the traditional styles of the local architecture. The Edelweiss apartment building, for example, has distinctive shutters with chevron patterns in contrast to the broad arches that protect balconies against the sometimes severe weather. But its most extraordinary feature is its exterior colour, which starts from a dark base and gradually lightens as it rises until seeming to fade into the sky. Diamond shapes are scored into the façade, with wavy lines accentuating the lightness. In another building, House Wolf, the design incorporates the careful gauging of the sculptural effect of the roof overhang.

“The buildings are clustered together more closely than is usual in new projects like this,” Langenberg adds. This is deliberate, to reflect the traditional way in which these villages evolved. The buildings have always been close together for warmth and security. We wanted the new developments to be an extension to the old village, rather than something separate.” One to five-bedroom apartments are available, and the whole project, which will include 30 individual chalets, has no purchase restrictions for foreigners.

The square, complete with fountain, is fringed by shops, restaurants and bars. Restaurant Biselli already epitomises Piazza Gottardo’s village spirit and, from 8am to 11pm, is a focal point for holidaymakers and residents. Occupying the ground floor of the six-storey House Alpenrose apartment building, the restaurant is also a bakery, providing rolls and croissants every morning, and a chocolate shop where the chocolatier can often be seen creating little masterpieces. It also has a small section selling holiday necessities such as milk, butter and jam, even toothpaste. The softly lit restaurant, which is romantic and stylish, has a menu embracing dishes such as goose liver mousse with cognac and truffles, and sea bass baked in puff pastry, as well as local specialities such as tarte flambée of onions, bacon, sour cream and mountain cheese, and dumplings with roasted pork belly.

Read more: Maryam Eisler in conversation with Kenny Scharf

The Mammut sports shop opposite is a high-end ski-rental shop in winter and a bike, hiking and climbing emporium in summer. A Victorinox store has a large selection of Swiss Army and kitchen knives, designer luggage and watches. A pharmacy and small supermarket will soon join the line-up.

Radisson Blu Hotel Reussen

The impressive Radisson Blu Hotel Reussen opened recently, and its Spun restaurant, highlighting Swiss and Italian cuisine, also fronts onto the Piazza. The hotel also has a fitness zone including two saunas, steam bath and 13 treatment rooms and extensive gym, as well as a 25-metre public indoor pool with floor-to-ceiling windows facing the mountains of the Urseren Valley. A new concert hall with state-of-the-art acoustics and seating 700, designed by British studio Seilern Architects, is attached to the hotel. Further accommodation for the village will include a hotel aimed at families, featuring a water-slide through reception!

Summer offerings include walks from gentle strolls to challenging hikes, and climbing for novices as well as experts. Also popular are e-bikes with auxiliary motors to tackle distances and gradients that would otherwise be out of the question. The Four Headwaters Trail links the nearby sources of four rivers, the Rhine, Reuss, Ticino and Rhone. The 85-km family-friendly route can be split into day trips or a five-day tour staying at huts. And days out on the Matterhorn Gotthard Glacier Express are spectacular. There’s no more marvellous way to enjoy these glorious mountains.

Andermatt’s 18-hole golf course

The new 18-hole, par-72 championship Andermatt Swiss Alps golf course

Designed to complement its spectacular natural setting, Andermatt’s 18-hole golf course is immediately adjacent to the village. Although it only opened as recently as 2016, it has already achieved the highest possible accolades, including being named Switzerland’s Best Golf Course in the World Golf Awards every year since. Designed by renowned German golf-course architect Kurt Rossknecht, it has the feel of a Scottish links course and meets international tournament standards. Importantly for holidaymakers, it is open to the public on a pay-and-play basis.

Find out more: andermatt-swissalps.ch

This article originally appeared in the Summer 19 Issue.

Egyptian entrepreneur Samih Sawiris

Mass automation will mean the majority of human beings will have little prospect of being in employment. It is essential both to provide for them with financial support, and to create a sense of purpose

The transition to the era where the vast majority of people will not be able to be employed will require governments to start seriously thinking about de-demonising not working. Right now, the world is full of Calvinists who believe that God made us here to work, and even if others are not as extreme, there is this subtle belief that if you don’t work you’re no good. And this will have to change as we move into an era where machines will do a lot of the work that people are doing now and where it becomes impossible to create enough jobs. So, de facto, come 2050 a lot of people will be born and live and die without ever really working because the world doesn’t need them as a workforce.

If governments don’t soon start to prepare people for this event, we will have a lot of angry and unhappy people who just don’t understand why some are working and they’re not.

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The second thing that has to happen is to create an association between all these machines and the ex-employees that were replaced by them, and the best scenario would be to start contriving a sense of ownership. Let’s let’s say you used to assemble cars in a factory and now it’s all computerised with robots. Under this system, you would actually own the robot, so your robot is working instead of you, doing the job that you used to do manually. You go in at the end of the month, tap it, pat it and then collect your salary. And basically governments are giving you your tax money back, the factories are not paying salaries any longer but they are paying higher taxes, and that gives the ex-employee more or less the same income, because the productivity has become better. You keep this improvement in productivity for yourself as the factory owner, you pass some of it to the employee, and the government starts giving the people some of the taxes directly, not as unemployment payments but rather as employment, or, specifically, loans to buy their robot. A factory may have a thousand robots, so a thousand employees are given a loan to buy them and they lease them to the manufacturer. The worker feels he owns the robot and the robot’s working instead of him.

Once you have addressed the bulk of the employment problem, you think about other elements. A former Uber driver would become an owner of an Uber car, and he would lease it, and he gets the delta between what the driverless car brings in versus what he would have brought, because a driverless car can drive 24 hours a day, which he cannot. So effectively there are 16 hours more work done that wouldn’t have otherwise been done.

So, with cars, trucks, assembly line workers and other manual jobs, there is a long list of functions that could be addressed in this way. New ideas will ultimately come up to address other sectors, such as accountants, for example, who will be replaced by machines.

I am not saying you’re going to totally eradicate the problem overnight, but governments have to start thinking about this. We have to start preparing children when they go to school that they shouldn’t think they are going to become a surgeon – because even operations today can be done by machines. For example, there is an experiment in which a perfect copy of a liver, including a tumour, is produced. The replica is operated on by a machine until it’s done right, and then back in the operating theatre the robot does the whole job so there is no risk of tearing an artery or other mistakes. Doctors will still have to exist for the training, and they will become much more efficient because they will be present for the first part of the process and in the second part the robot and the computer will do it alone.

Read more: Masseto unveils a new underground wine cellar

It is also empowering. If people who were formerly employees believe they own the tools, whether in a factory or in a hospital, they are being paid for the tools they own, and instead of having employees in the billions and owners in the thousands or hundreds of thousands, it becomes the other way round. There will be billions of entrepreneur/owners: the guy who owns the robot, the doctor who owns the tools. And they will get paid for the use of their tools.

At the end of the day we are only replacing people with machines because machines are going to do a better and cheaper job. So there is a delta, a benefit that’s going to be created – don’t try and keep it in your pocket, give it to the people so that they feel some kind of empowerment. They may not get paid more than they are now, maybe they even get paid less. But such is life: you stay at home, you are paid 70% of your salary from when you worked like an idiot nine hours a day. You are still better off and you have time for your family.

There will be a lot of new industries created. The entertainment industry will triple or quadruple in size to take care of all this new leisure time, and this industry will require manual labour. So the excess surplus time that people will have will by itself reignite job creation for those who just need to work.

At the end of the day we know now that jobs will disappear and the current solution of unemployment money paid to people is socially unacceptable. Society should start thinking seriously about this issue. We need to demand from governments that they be proactive in preparing citizens worldwide for this impending era.

Samih Sawiris is an Egyptian entrepreneur who built the desert city of El Gouna and is the developer of Andermatt Swiss Alps in Switzerland and Luštica Bay in Montenegro

This article was originally published in the Summer 19 Issue

The Belmond Le Manoir aux Quat’Saisons in Oxfordshire

The Michelin-starred Belmond Le Manoir aux Quat’Saisons restaurant, run by chef Raymond Blanc, is at the forefront of the culinary arts with its cookery school and Gaggenau kitchen, as Mark C O’Flaherty discovers

Few things attach a date to drama on film like a scene set in a character’s kitchen. It might be a can of the 1970s diet cola TaB on the counter, or a style of cereal box with typography that hasn’t been seen for decades. It’s also the hardware – is it a faux country kitchen in the suburbs, or is it someone pulling out a ready meal from a panel of flashing lights in 2001: A Space Odyssey? Our kitchens tell the story of our lives, and the way we live today. No space in the home has changed more in the past 20 years.

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“More than ever before, we see the dinner table as the most important medium of communication,” says Raymond Blanc, the French chef behind the two Michelin star Belmond Le Manoir aux Quat’Saisons in Oxfordshire, incorporating a restaurant which has, for the past 35 years, been one of the top special-occasion destinations in the UK. “The media has helped change our connection with food and our health and the environment. It was all separate before. Now we know it is linked, and a home-cooked meal made from scratch is so much more important – a way to bond with your clan, your family, your loved one. We are more emotional about food today. And what we are eating is changing, too. We eat seasonally because it tastes better, and we are eating less meat, because we know about climate change.”

The Belmond Le Manoir aux Quat’Saisons hotel and restaurant (above) was opened in 1984 by Raymond Blanc who also established the forward-thinking cookery school

Blanc’s comment about food being more emotional can’t be overstated. While our interest in fashion has cooled somewhat, with a glut of identikit global brands and crass merchandising, food has become something of an obsession. It fuels social media, with information about chefs and niche new restaurant openings shared like precious insider intel. We have taken that obsession home with us, buying up cookbooks by some of the world’s most avant-garde chefs, full of the most ambitious techniques. We have upgraded our kitchens to match those ambitions. “What we have done now is to domesticate the professional kitchen tool,” says Sven Baacke, head of design at Gaggenau, the German manufacturer of some of the most advanced and design-conscious kitchen hardware in the world. “It is something I call ‘traditional avant-garde’.” Sitting in his studio in Munich, with a panoramic view out to the snow-capped mountains of Bavaria, Baacke talks through some of the objects on his desk – pieces that inspire him to create the modern kitchen: “Designers are collectors,” he says, “so here in our studio I have a lot of different things to take ideas from.” One of the most unusual objects is a mouse trap. “I collect them,” he explains. “I am inspired by how many ways there are to catch a mouse, and the ingenuity in each different design of trap. I also collect pocket torches, because I am fascinated by all the different solutions people have come up with to carry a light around with them, and to fashion that particular tool.”

Read more: Masseto unveils a new underground wine cellar

A lot of what Baacke has developed in Munich has ended up in Blanc’s hands in Oxfordshire, and Blanc – as a chef who cooks the way we now also want to cook at home – can predict where the domestic kitchen is going, and how it will look. He is the kind of chef who Baacke is designing for, and the influence trickles down to the home. “If you looked at a domestic kitchen in the 1970s,” says Blanc, “you’d find a microwave and a nasty little cooker with a twin gas range, and a tin opener close by. That was it. It was sad, it was grey, it was barren. And if you were wealthy, you would have an AGA, which warms the house but is impossible to cook with. Today, our kitchens are beautiful and polished, in stainless steel and Corian. They look exciting.”

The Raymond Blanc cookery school

Blanc’s dream kitchens – which include what he has at home, in his cookery school in Oxfordshire and, of course, at Le Manoir aux Quat’Saisons in the same building – are defined by hardware that offers performance along with technology. “I want the same thing at home as I do at work,” he explains, “durability and precision and immediate power. And modern cuisine needs an environment conducive to cooking, with all the gadgets possible. I want multi-functions, I want to steam, use dry heat, wet heat, and a mix. I want to cook sous-vide.”

If home kitchens have been transformed by our appetite for dining out and by chefs’ ravenous hunger for adventure, then the arrival of the vacuum drawer in the home – which can be used for marinating, storage and of course sous-vide cooking – is a quintessentially 21st- century moment. Just as we saw the pressure cooker and the deep-fat fryer dominate the landscape in the 1970s, today’s more food- literate consumer wants protein that has been cooked to retain moisture, and to have all its flavour quite literally sealed in. Essentially it is futurist poaching, cooking with vacuum-packed ingredients, but the results, even with a simple carrot, have been revelatory in the restaurant. Now we want that at home. “Cooking this way is extraordinary – you seal the ingredients without any air, so there is no cross contamination as you’d get when you marinate in the fridge. You have such succulence, and you lose no flavour at all in the cooking.” It is part of the legacy of molecular gastronomy, which Blanc sees as a low point for restaurant culture, but which he also believes has left us with a radical and exploratory approach to cooking which is a positive thing. “It’s like nouvelle cuisine in the 1970s,” he explains, “which was great, but which was ruined by the media and the way they portrayed it. We still learned a lot from it.”

Read more: Massimo Bottura on his Michelin-starred restaurant and Food for Soul project

Induction cooking has been another revolution in the domestic and professional kitchen – something which Blanc has only recently shifted to at his restaurant. “When we had the open gas ranges, it was torture to stand in front of them because of the heat. Now with induction cooking, there’s none of that waste of heat, or all those flames literally roasting you while you work.” Unlike previous electric hobs, induction gives the immediate power and precision that a chef needs, so it’s a viable alternative, and overall improvement, on gas.

Students making pasta

Another change in how we use our kitchens is coming from social trends. The meat-and- two-veg way of cooking looks set to disappear from our lives in the near future. Veganism has long ceased being a fad. “When I opened my restaurant 35 years ago, I had a five- and seven- course vegetarian menu,” says Blanc. “No one wanted it. That’s totally different today. And the situation is irreversible. It takes 16,000 litres of water to provide 1kg of beef. Eating meat contributes so much to greenhouse gases. I have no problem in cooking vegetarian food – when I was growing up, we only had meat maybe four times a week – including steak frites on Saturday and rabbit on Sunday – and everything else was vegetarian. My mother made wonderful, delicious food from vegetables.”

How will this movement manifest itself in the kitchen of the future? Sven Baacke at Gaggenau believes that it will be about our ability to access and keep, as much as prepare, food. “When you buy more fresh fruit and veg, you want to store it in a better way,” he says. “Will we be having things delivered weekly? Will meat become something just for special occasions? I think it could be that being able to eat a really fresh apple will become as special as taking a bottle of fine wine out of the chiller. Digitalisation will see supply become something that happens at a very high level – a very luxurious level. The supply chain will become much better than it is today.”

And what of the technology that isn’t available yet? What will the kitchen of the 2030s have? Trends will continue to come from the way chefs are cooking professionally, for sure. “Methods such as teriyaki, and cooking with steam, those are now high-end domestic but come from restaurant culture,” says Baacke. “I think the social aspect of cooking will develop. I think appliances will become less visible, and we will want to cook together but remotely. We will be able to be in the kitchen together, even if you are in LA and I am in New York.”

As for the actual preparation of food, Blanc has one wish, something that chefs who wear glasses when they work will empathise with the world over: “I would love to be able to open an oven door after roasting something, and not be blasted with the heat from inside. And you know what? Kitchen technology is moving so fast, it’s probably just around the corner.”

Raymond Blanc Cookery School at Belmond Le Manoir aux Quat’Saisons

In an age when we are valuing experiences over objects, a cookery class voucher is a welcome gift. Raymond Blanc’s cookery school in Oxfordshire is just across the hall from his bustling kitchen that serves Le Manoir’s restaurant, but the ambience is markedly different. Here is the kitchen of your dreams, fully equipped with state-of-the-art Gaggenau hardware in fine wood cabinets. The school channels Blanc’s culinary DNA through its director, Mark Peregrine, who is Blanc’s right hand at Le Manoir, with bakery courses taught by Benoit Blin. “We have been so ahead of the curve with the school,” says Blanc. “We were the first to offer courses for children, and we have always taught vegetarian cooking.” A full day’s cookery class here has become a popular bolt-on to an anniversary stay with dinner at the hotel, offering a fully immersive foodie experience along with an afternoon spent among the artfully plotted crops in the garden (which now offers its own school too). “This is such a great time for British cooking,” says Blanc. “It has developed such a new and unique style, and doesn’t come with the same baggage as Italian and French cuisine. When we first opened, it wasn’t really anywhere, but now look at what Benoit is doing at the school. This country is number five in the world for patisserie.”

Find out more: belmond.com or gaggenau.com/gb

This article originally appeared in the Summer 19 Issue.

Philip and Charlotte Colbert in their fried-egg suits designed by Philip

In a warehouse in east London, Philip and Charlotte Colbert are creating a world of Pop art and sculpture that is putting them on the global map. Darius Sanai speaks to the dynamic enfants terribles of the London art scene while Maryam Eisler photographs them

At the back of a warehouse in east London, Philip Colbert sticks his head out of a doorway. “Come in,” he says, smiling, while simultaneously holding a conversation with his phone on one ear. “No, it needs to be there tonight. Right,” he says, into the phone. His tone is soft, firm, a gentle Scottish accent is present but inconspicuous, almost shy.

Inside, workers are cutting and daubing in an area full of canvasses and paint, and behind a rail of pop-coloured clothes, four more people are on their phones, sitting at desks. Through a space in the wall is another artist’s studio, this one tidier, less colourful, more precise, hung with sculptures of curved forms and creatures.

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Welcome to the world of Philip and Charlotte (through in the other studio) Colbert, the enfants terribles of the London art scene. Philip has been called all sorts of things, including a worthy successor to Andy Warhol; in his zany coloured suits he is a mainstay of the party (and social media) scene and with his classical education (philosophy, St Andrew’s University) combined with his cheeky-to-outrageous art he is one of the capital’s most desirable dinner party guests.

Colbert has created everything from lobsters sold in his (now closed) Paris namesake store to partnerships with Peanuts and Rolex; he has bucket loads of celebrity followers (Cara, Sienna, Gaga) and he’s big in China.

Charlotte with some of her flocked ceramics

But as his latest works show, he is also a proper artist. His ‘Hunt’ paintings, shown recently by the Saatchi Galleries in both London and LA, around each city’s Frieze art fair, are a kind of Raft of the Medusa for contemporary society, riffing on themes around social media’s banal power, swatches from his favoured artists [Dalí, Lichtenstein, Hockney], and providing a poignant commentary on the chaos of contemporary society. They are also vibrant, colourful (as pop art should be) and, frankly, rather beautiful. He thinks of himself as a “neo-pop surrealist”, though a case could be made for him being more pop-impressionist: out of the microcosms of his creations there emerges a whole image of something quite different.

Read more: 6 artists creating new experiential spaces

His wife Charlotte, meanwhile, has created her own artistic world, one which shocks and smiles at the same time. Youthful, photogenic, and with enough wit not to take themselves entirely seriously, the Colberts may just be among the most interesting artists to emerge from Britain in the last decade. And you feel their whole future may just be ahead of them.

Philip Colbert

LUX: How would you describe yourself ?
Philip Colbert: I’m someone who’s trying to create a world. I started out creating a sort of art brand, with artworks and furniture and was, in a way, trying to expand what the idea of art was beyond painting. But recently I’ve come back to painting in a big way and I think fundamentally my journey is about just trying to make my own sort of artistic world. The lobster alter-ego is really an articulation of my artistic persona.

LUX: Why a lobster?
Philip Colbert: I’ve always been into symbols. The lobster was a symbol of surrealism for a lot of surrealist poets and Dalí as well. I like the idea of bringing it to life and taking it on a journey.

Philip Colbert with his iconic lobster alter-ego

LUX: What is art about, for you?
Philip Colbert: The simple essence of art is human freedom, and pushing the creativity that we have. And if you push freedom forward and create more, you push reality and create more freedom for art. There’s something I like about taking the idea of art and trying to inject it with new energy and a new sense of possibility.

LUX: Should artworks be beautiful?
Philip Colbert: It’s an important part of communicating, to understand visual language. A cornerstone of my art is to try and be very positive and use primary colours and really radiate a sort of energy from my works. Even though they may still have a sort of darker undertone, I still like to give them the essence of a sunflower.

‘Untitled II’ (2018) from Philip Colbert’s ‘Hunt Paintings’ series

LUX: Can you talk about ‘The Hunt’ series and how your work has developed?
Philip Colbert: ‘The Hunt’ paintings are important for me. I have been engaging with the idea of contemporary culture and the mass saturation of images and the internet. At the same time I’m still having a conversation with painting. The Old Masters are such a powerful part of art history and I like the idea of making my contemporary Pop culture paintings to be informed by and in conversation with them.

Read more: 6 questions with art collector Kelly Ying

LUX: Symbols from painters – how do you choose them?
Philip Colbert: Well, I was really drawn to elevated images, such as in history painting, with heroic battle depictions by artists such as Rubens. I wanted to underpin the violence of contemporary culture and use the analogy of a more traditional battle scene, to structure it like an Instagram feed. We consume so much today, and we see so much, we’re aware of so many amazingly escapist ideas juxtaposed with a lot of darker elements, like global warming or political instability. A lot of artists have been exploring abstraction or exploring obsession, but I wanted to capture more of this play of light and dark. I thought that the analogy of the battle scene was a good way to explore these tensions.

Philip at work on ‘Screw Hunt II’ (2018)

LUX: Have you felt pushed back by contemporary art establishments?
Philip Colbert: I think of myself as an outsider in a way, because I studied philosophy and really just developed my own practice. I’m not looking for validation from anyone. I feel that in the art world, people are sometimes groomed to want to please, but I’m much more interested in just connecting to people on a real and direct level.

LUX: Are you here to sell art or create art?
Philip Colbert: One hundred per cent to create art. The sales side of it is obviously an essential part of being able to grow because it allows one to do more, but I’m not deliberately engineering my works to be purely reflective of the market, which is not necessarily a bad thing either – Warhol was very good at mirroring what he felt the system wanted. My paintings are complex and intense and highly saturated, so are not the easiest to sell via Instagram, for example.

LUX: Talk about your use of social media.
Philip Colbert: If I think of my paintings as a reflection of my interaction with contemporary culture, social media are a significant element within that. There are some different strands of my work. I’m really developing a lot of these big history paintings, but also I’ve developed ‘Lobster Land’, a virtual reality world, which is the digital world where my lobster character lives. And in Lobster Land there’s a Lobster Bank, Lobster Coin, there’s a museum. I’m building my own reality there, which is one way of engaging with contemporary technology.

‘Hunt Triptych’ (2018) from the ‘Hunt Paintings’ series

LUX: How did you get started in China?
Philip Colbert: It happened very organically. When I had my first exhibition at the Saatchi Gallery, curators from China came along and they featured some of my paintings in a group show in China. That was maybe June last year. It was amazing – I saw a crazy energy in China when I was there. So many people came to the show. It has simply evolved from there.

LUX: What are your influences?
Philip Colbert: There’s very much a ‘celebration of appropriation’ in these paintings. I was putting myself at the centre of the piece –you get the idea, it’s like my character is the narrator of the painting but then there’s art history effectively having a sort of ‘battle dialogue’ with this voice. This sort of dialogue is present in an artist’s mind when they’re creating an artwork. There’s the idea of place and time in the relationships to other philosophies and ideas within art, so by putting them into a battle sequence, it represents my own philosophy battling with other ideas and also being able to present a much bigger holistic idea, to create an orchestrated, ‘multi-philosophied’ painting. I’ve referenced loads of things deliberately. Léger was, for me, a very important proto-Pop thinker/painter, and his work was influential on people like Lichtenstein, who often even referred to Léger in the bottom corners of his paintings. My paintings are an evolution of Pop art – I have those references while I’m still playing with abstraction and different varieties of painting styles within a single painting.

LUX: This sounds more like it’s from inside someone’s mind rather than culture?
Philip Colbert: Yeah, I think of the paintings as like mind-maps in a way. I was really interested in ideas of art, so that’s why I like to use preconceived ideas because for me they are language. I could create my own characters but I wanted to use branded ideas that people could understand. So, when people look at the paintings, they will immediately understand ‘That’s Van Gogh’, or ‘that’s a Gucci handbag’. It’s using things that are already loaded with meaning.

Philip and Charlotte Colbert

LUX: Is it strange not coming from a family of artists?
Philip Colbert: No, I don’t think so. Some people’s parents are artists and they follow suit and are inspired by a world they’ve already been presented with. For me, I was always just connected with art and so it was always the language I was immediately connected with. As you know, I went into making clothing first, but I wasn’t making clothing to be a fashion designer, I was making clothing and thinking about artwork. I was more interested in this idea of ‘wearable art’ and trying to use the idea of a brand as a vehicle for art.

Read more: Maryam Eisler in conversation with Kenny Scharf

LUX: What plans do you have for the future?
Philip Colbert: Well, I have an exhibition in Shanghai at the end of June, then I have two shows in Hong Kong, a show in a museum in South Korea, and then another in Moscow in September in a multi-media art museum.

LUX: Do you and Charlotte collaborate?
Philip Colbert: Well, we’re married, so we inevitably interact and have an influence on each other’s work. We have quite a different aesthetic and even though we’re both interested in a lot of the same things, our end picture is very different, which is nice. But I think we both understand each other’s DNA, so we can help each other.

Charlotte Colbert with ‘Self Portrait in Lucian Freud’s studio’ (2018) from her ‘Screen Portrait’ series

Charlotte Colbert

LUX: Tell us about your photography.
Charlotte Colbert: I have done a couple of series. I started in 2013 with ‘A Day at Home’. It correlated the madness of the writer and the madness of the housewife in this domestic space that was both a prison and open to the landscapes of the imagination. It sort of chronicled the porousness of the world around the woman in a decrepit house in East London. We kept shooting as the place was being demolished, so we were getting layers of that story-telling within the building itself. Then I worked on ‘Ordinary Madness’ [2016], which was about our relationship to the digital age. The idea was that we expected aliens to come from outer space and somehow conquer us. But, little by little, we are becoming the cyborg, and technology is being absorbed into our bodies and changing the fabric of our being until we’ve become a new sort of human.

LUX: The video sculptures, ‘Screen Portraits’, are they bronzes?
Charlotte Colbert: No, they’re made of Corten steel. The first one was done for the Korea Institute. I came across this beautiful but heart-breaking story of a South Korean woman, Lee Soon-Kyu, who was 79 when I met her. She was pregnant when the Korean War started in 1950, but was separated from her husband who ended up in the north. She was able to meet him many years later, and went to North Korea with her son, who was then 65, to see him for the last time. It seemed fitting to do her portrait at this moment in her life, after she’d been in this Cold War kind of narrative for decades. She had to stay very still with just one light on her face. The filming of the sculpture was an extraordinary moment.

LUX: The one with a nuclear explosion, tell us about that.
Charlotte Colbert: That’s a piece called Disassociation. It’s a self-portrait. The eyes and the face are very much at peace and the head contains the nuclear explosion. I made it when I was seven months pregnant, at a time when you feel disconnected from the world around you. But I feel that in some ways it’s like an extreme version of everyone’s relationship to the world.

LUX: Neighbouring studios with Philip – how does that work?
Charlotte Colbert: Funnily enough, we’ve done loads of stuff together and I think in some way, we do look at each other’s works and comment on them, but our worlds definitely haven’t fused. I feel like both of us have pushed the identities really as defined against each other.

LUX: The studio, it seems very serene.
Charlotte Colbert: It’s amazing but there’s a lot of interesting characters around, and the building’s quite fun and it’s got all these layers of history. I think at one point it was a kennels, so there were dogs, now there’s more little mice. It’s a really amazing location – we’re so lucky.

Find out more: philipcolbert.com and charlottecolbert.com

This article was originally published in the Summer 19 Issue.

Exterior render of the new One Monte-Carlo residences in Monaco

The new One Monte-Carlo development could just be the swankiest place in the world for you to hang out with your money, your trophy spouse, and your Ferrari

Wander to your living room window, glass of Cristal in hand, open the balcony door and step out into a view of the Casino de Monte-Carlo, and beyond it, the Mediterranean. Feel the need for an emergency handbag? No problem, a flagship Louis Vuitton is just downstairs.

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Welcome to One Monte-Carlo. To call the development, created by Richard Rogers, the celebrated British architect, and Bruno Moinard, ‘interior architect’ to the stars, lavish would be a dramatic understatement. Built next to the Hôtel de Paris on Casino Square, and opened amid much champagne this spring, One M-C bring new heights of extravagance to a principality not exactly unknown for its swanky places for you and your money to live.

Render of One M-C residences and public space

Designed by Richard Rogers, One Monte Carlo houses 37 luxury apartments and dozens of retail stores

Moinard, responsible for the contemporary yet warm interiors of luxury temples such as the Plaza Athénée and Château Latour, tells LUX that, “in line with the vision of Monaco’s future, we used materials that give life and humanity to this exceptional project”. Combined with Rogers’ curvaceous forms, this gives One M-C a sense of the mountains overlooking the city. Some of the principality’s bland 1960s apartment blocks must now be feeling ashamed of themselves.

The catch? You can never own in One M-C: the apartments are available for long-term rental only, and most have already been snapped up. Worth selling your LaFerrari for a year’s rental? We would.

Find out more: montecarlosbm.com/en/hotel-monaco/residences

This article was originally published in the Summer 19 Issue

LA photographer Trevor Hernandez, known as @gangculture on Instagram, took all of the images included in this article. He was commissioned in 2018 by Frieze LA to photograph the Paramount Pictures Studios and surrounding Los Angeles landscape

In early 2019, Frieze invited surrealist photographer Trevor Hernandez to point his Instagram-focused lens, @gangculture, at its Los Angeles fair. He is one of a new generation of artists who, using social media, are building on and subverting the traditional tenets of surrealism. Katrina Kufer investigates

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“When I think of surrealist photography I usually think of the term with a capital ‘S’ that refers to a specific movement in the early 20th century, which is nearly 100 years ago!” remarks Rebecca Morse, curator in the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art (LACMA). The visual characteristics of surrealist photography were defined by pivotal figures such as Man Ray, Dora Maar, Hans Bellmer and René Magritte in the 1920s and 30s who, reacting against the medium’s widespread intent to document reality, focused on image manipulation to create chance and dream-like compositions. While today’s version of surrealism is still marked by a sense of displacement, it is subtler and less engineered by the artists, who instead choose subjects that still respond to how reality – now largely presented via social media – is represented. Surrealism’s stylistic diversity can be fantastical or literal, clear or abstract, staged or organic and may prove difficult to code visually, but that hasn’t stopped photography being lauded as “the great unknown, undervalued aspect of surrealist practice” by art critic Rosalind Krauss. Surrealism’s oscillating, paradoxical nature, in tackling how evolving technologies and modes of seeing impact experienced realities, is what renders the movement, which underwent a revamp in the 1970s and 80s, so fresh and relevant.

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Krauss’s seminal 1985 essay ‘Photography in the Service of Surrealism’ argues against the belief, based on surrealism’s foundation of reorganizing perceptions of reality, that surrealism and photography could not coexist. However, as Krauss writes, “Surrealist photography exploits the very special connection to reality with which all photography is endowed. Photography is an imprint or transfer of the real.” It is with this relationship between photography and reality in mind that today’s artists have translated surrealism and taken it into the digital realm.

Instagram: @gangculture

Instagram: @gangculture

Photography subverts reality through the idea of the uncanny – that is, transforming the recognizable into something unfamiliar through unexpected contexts, strange juxtapositions and spatial collapse. The view through the lenses of artists such as Cindy Sherman, Lee Friedlander and Garry Winogrand is a less analog and more nuanced one, closer to an askew déjà vu rather than German photographer Herbert List’s fotografia metafisica style from the early 1930s, which envisioned dream-like states. Where surrealist photographers in the early 20th century were manipulating the image through solarization, montage, multiple exposure and distortion, artists now prefer to seek out moments that disrupt space naturally: “Think of Friedlander’s photographs of his shadowy head on the back of a woman’s fur jacket, or Winogrand’s hilarious image of a woman who looks strangely like the rhinoceros she is standing next to at the zoo,” says Morse. “Many individuals who work in this way are street photographers who use small hand-held cameras.” LA-based Mike Slack, Barak Zemer or Trevor Hernandez exemplify current photographers who are bringing this approach into the 21st century. In fact, Hernandez, who often uses his iPhone to capture LA’s urban landscape with a conceptual, sculptural edge under Instagram handle @gangculture, collaborated with Frieze LA in 2019 for a commissioned series. “Surrealist photography tends to create a specific narrative through heavily orchestrated scenes employing tricks and manipulation. This is quite different from my process,” he explains. “The objects need to exist in a state of discovery for me to consider capturing an image.”

Read more: In conversation with artist ruby onyinyechi amanze

But even before the internet, artists were turning away from technical processes and towards cities to provide the necessary theatricality. Practitioners such as John Gutmann, Anthony Hernandez (whose work will be seen in the main exhibition at the 2019 Venice Biennale) and Helen Levitt embraced street photography, and, as Morse explains, their tactics resonate through today’s generation, with Trevor Hernandez making the point that the development of technology has further benefited photography by democratizing the camera via the smartphone.

By showcasing their observations digitally rather than through exhibits or print, today’s artists deviate from surrealism’s formal tenets, but add layers of curiosity provoked by the internet’s intervention in the act and idea of seeing. It also sees a generation returning to a different surrealist cornerstone: the elimination of logical thought or process in favor of instinct. This revitalized movement has taken hold particularly in LA, and while the city hasn’t bred as many street photographers as New York for example, its unique energy allows for “strange juxtapositions that only occur in LA,” remarks Morse. Trevor Hernandez capitalizes on precisely this: the inherent artistic potential of the city’s banal and desolate charm. “LA has a diverse group of artists scattered throughout the city. The isolation and independence created by decentralized living could be expressed in some of the images from my campaign,” he says. “I’m interested in surveying or decoding the landscape for a certain essence and the specific ingredients to that equation are constantly evolving.”

Instagram: @gangculture

The directness of snapshot to social media sidesteps artistic machinations to present
ultra-reality. However, the result is then skewed by, for example, Instagram’s reputation for showcasing manufactured realities. Cindy Sherman’s practice exemplifies this: she has adopted the social media platforms to investigate self-portraiture through the uncanny. Trevor Hernandez’s images, meanwhile, document unmodified moments, but the very act of selecting a scene and framing the image reconfigures the viewer’s perspective. Sitting where the real and unreal meet, the result is a deep dive into hyper-surrealism.

Contemporary surrealist photographers, by engaging with this dynamic, maximize the medium’s privileged capacity to explore the uncanny and transform reality not just through how the image is made, but how it’s shared. Surrealism’s revamp and shift towards urban landscape photography has injected new energy into image-making, and for those artists who deal with the digital world as well, such as Trevor Hernandez, audiences have immediate access to the surreal in real time.

Follow Trevor Hernandez on Instagram: @gangculture

This article originally appeared in the Deutsche Bank Wealth Management x LUX special supplement inside the Summer 19 Issue.

‘Space Odyssey’ (2019) by Etienne Rey

Space in the hands of today’s artists means not just making sculpture but also whole physical or digital environments that the spectator experiences. Clint McLean selects six explorers of these new worlds

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JULIE MEHRETU

Ethiopian-American artist Julie Mehretu’s abstract paintings compress space and time to reveal imaginary places birthed from unrecognizable but real locations. The artist layers her distinctive markings with architectural drawings, maps, drafts and plans to create the “in-between psychological spaces,” as she refers to them. The paintings are a storm of simultaneous perspectives rendered in pencil, ink and paint and are at times monumental in size.

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‘Hineni (E. 3:4)’ (2018) by Julie Mehretu

KLAUS PINTER

The largest installations of Austrian artist Klaus Pinter don’t just occupy space, they dominate it. The buoyant airships and ornaments are often translucent and, though enormous, have a lightness and playfulness to them. The two giant balls that constitute Rebonds, which was installed at the Paris Panthéon in 2010, turned the space into a Cubist dream by creating a warped and translucent simulacrum of the architecture it inhabited.

‘Rebonds’ (2010) by Klaus Pinter

ETIENNE REY

The installations by French artist Etienne Rey confuse our sense of space through light, movement and reflection. Works like the semi- reflective, semi-translucent wall Flou No. 1 (2017), and the light sculpture Space Odyssey (2013) created with Wilfried Wendling, are like portals to another dimension. Except that we never arrive at another place. Rather, the artworks distort and erase our environment, making depth and distance disappear and leaving us forever in an in-between place.

‘WDCH Dreams’ (2018) by Refik Anadol

Read more: Curator Zoe Whitley on the art of collaboration

REFIK ANADOL

Turkish artist Refik Anadol makes the digital space physical through immersive projections of light and sound that draw on data collection and artificial intelligence, among other things. In Archive Dreaming (2017), Anadol surrounds us with data from a digital archive that in turns leaves us hurtling through a vortex of information, floating in space, and inspecting a library of images. The installation is as futuristic as it is nostalgic.

‘Untitled (Pulp)’ (1999) by Rachel Whiteread

RACHEL WHITEREAD

British-born Rachel Whiteread’s sculptures make negative space positive by casting the spaces in, under and around things in rubber, resin, plaster or cement. The Turner Prize-winning artist has cast domestic items such as the space under chairs (echoing Bruce Nauman’s chair-space casts from the 1960s), as well as architectural spaces such as a room (Ghost, 1990) or an entire house (House, 1993). Her work shuffles between playful and haunting while evoking themes of absence and memory.

‘Me Somewhere Else’ (2018) by Chiharu Shiota

CHIHARU SHIOTA

The ‘thread drawings’ of Japanese artist Chiharu Shiota fill spaces in dense webs of yarn as they traverse universal themes of life, death, love, relationships and memory. They adorn and claim structures, and tornadoes of her signature red, black or white threads absorb objects such as boats, books, dresses and keys. Her installations turn spaces into dramatic environments as both backdrops and vehicles for sentimental narratives.

This article was originally publishing in the Deutsche Bank Wealth Management x LUX supplement inside the Summer 19 Issue.

ruby onyinyechi amanze’s ‘Without a Care in the Galaxy, we Danced on Galaxies (or Red Sand with that Different Kind of Sky) with Ghosts of your Fatherland Keeping Watch’ (2015). Deutsche Bank Collection

Nigerian-born, US-based ruby onyinyechi amanze, the official artist of 2019’s Deutsche Bank Wealth Management Lounge at Frieze New York, is exploring new realms of drawing, as she explains to Clint McLean

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The artist ruby onyinyechi amanze

Picture a landscape without earth, sky or horizon and then dance a motley crew of aliens across the naked expanse. Arrange things such as birds, motorcycles and fragments of architecture around the figures as though musical notes on a staff. If this can be done with a light enough touch, the resulting image may be something like the drawings of ruby onyinyechi amanze.

The 36-year-old Nigerian-born artist, whose output is primarily drawings and works on paper, has become best known for a body of work she refers to as ‘aliens, hybrids and ghosts’. These sometimes large-scale pencil drawings, enhanced with ink, acrylic and photo transfers, depict strange hybrid creatures, often part-human and part-creature, in unexplained narratives.

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Before moving to the US in the mid- 1990s, amanze (who prefers to have her name all in lowercase) spent her childhood in the UK, but she prefers to avoid geographical and national identifiers. “None of them feel quite right,” she tells me from her home in Philadelphia. “Too vague? Too simple? Missing the nuance?” This post- national thinking is central to the direction her work took in 2012 while she was living in Nigeria, thanks in part to a Fulbright Scholarship. That was when amanze developed the cast of characters that helped her explore how she felt alien in a place that was both familiar and foreign. “I was going between those two extremes and wanted to look at that through the lens of these other beings and not as a self-portrait,” she explains. Her first character, Ada, was an electric-yellow doppelganger; she was followed by Audre, a leopard-headed figure presenting as male. Others – Pigeon, Twin and Merman – appeared over the following months.

These characters have continued from that 2012–13 body of work into the dream worlds of amanze’s recent drawings, which she says are now more about space. On smooth, heavy cotton paper, the characters are enveloped by white expanses, yet this absence has a presence. Her alien characters help sculpt and define that space, but are now subordinate to it.

‘The Gap [and the beams of sun, special ordered on our behalf]’ (2017). Image courtesy of the artist and the Goodman Gallery

LUX: Do you still feel alien in these places?
ruby onyinyechi amanze: Yes, definitely, and that’s why I connect more with other people who move between worlds in a way that feels similar to me. I identify with those people and that energy and view those in- between worlds as their own country and space. So yes, I do feel like an alien in many places I find myself. I meet other aliens who identify in similar ways and there’s a shared connection there for people who have this sort of relationship to place.

Read more: Curator Zoe Whitley on the art of collaboration

LUX: Your work seems to have four ‘characters’: the aliens, space, paper and drawing.
ruby onyinyechi amanze: I think that’s accurate. If I was to put them into hierarchical order, then the figures would be the least important. They were once, but now they’re not and may drop out of future drawings altogether. There are some current smaller drawings that do not have these figures and in fact the chapter of drawings before this body of work were all abstract.

‘Don’t Stay’ (2018). Image courtesy of the artist and the Goodman Gallery

LUX: Will you be exploring this new approach to drawing in your work at Frieze?
ruby onyinyechi amanze: When I started this particular body of work, the development of the hybrid nature of some of the beings that inhabit the space was certainly much more central to what I was thinking about. But I think at this point my interest is much more in the space itself and in playing – that’s very important to me. There’s something magical in the drawing process and in the larger context of how one can move through space. Also, on the paper plane, to be able to move and push and pull and create entrances and windows and alleyways and all of these things that suggest the space, is the meat of the work and less an issue about a mix of cultures – although that stays as a founding root of it. I had a show in 2018 with Goodman Gallery in Cape Town entitled ‘there are even moonbeams we can unfold’. There were some new pieces that were shown there for the first time and a few pieces that came off the wall or interacted with the architecture. I’m interested now in works that are sculptural in some way, so that is a part of the work at the Deutsche Bank Wealth Management Lounge. I want the works in one way or another to have weight to them.

Read more: Sarah Morris’ architectural explorations at the White Cube, London

LUX: What was the catalyst for moving into sculptural paper?
ruby onyinyechi amanze: It’s the point in the work and my studio practice that feels like the most ‘alive’ part of the process right now – discovering ways that paper can hold physical weight and have a presence in the space it’s in and can physically engage with the viewer and/or with the architecture. That comes from what happens inside the drawings: moving through spaces and spaces colliding and planes and all of those things, and to allow the drawn world to become three-dimensional. The two-dimensional space of the paper has never emotionally or spiritually felt flat to me. I enter it in some weird way and am approaching it from that perspective.

‘I was never really there’ (2018). Image courtesy of the artist and the Goodman Gallery

‘Canopies, Lungs and Effervescence’ (2018). Image courtesy of the artist and the Goodman Gallery

LUX: Tell us about your love of paper?
ruby onyinyechi amanze: I find it to be very beautiful as a material. It’s so rich in its history and in its simplicity. To think about the process and history of paper as a whole, the history of this specific piece of paper – and I can now embed additional narratives and marks in it. Yet it came to me with so much embedded subtly into the fibers already. I appreciate subtlety and think it’s poetic. There’s a lot of raw potential in what you can do to further manipulate this material. It can take many forms and all of those things excite me.

LUX: You lie on top of your drawings when you are creating them and leave marks on them. Do these add to the artwork?
ruby onyinyechi amanze: Yes, always. Paper is already imperfect when it comes to me. It’s already scarred in some way. So additional scars are part of its story and part of its history. Paper is like skin. It holds the memory of these things whether they are visible or not.

A selection of new works by ruby onyinyechi amanze will be on display in the Deutsche Bank Wealth Management Lounge at Frieze New York on May 1–5, 2019, presented in collaboration with Deutsche Bank’s Art, Culture & Sports division.

This article first appeared in the Deutsche Bank Wealth Management x LUX supplement inside the Summer 19 Issue

‘Untitled’ (2012) by Cathy Wilkes at MoMA PS1, New York, 2017

Zoe Whitley

Traditionally, art exhibitions have been directed by curators, but now there is a move to hand the reins over to the artist. As the eighth edition of Frieze New York gets underway, Zoe Whitley, curator of the British Pavilion at the 2019 Venice Biennale, discusses how allowing artists the freedom to realize their vision can lead to a deeper, shared experience of the work

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Artists encourage us to see things around us anew, pushing us to reframe and re-examine contexts that are already well established. As a curator, working with and learning directly from artists has given me the greatest insights, which is why I think it is crucial to listen to artists when it comes to putting together a show.

‘Artist-led’ has become something of a buzzword lately, but it is easier said than put into practice. It is certainly not easy to put one’s ego aside and listen – really listen – to what an artist needs. Rather than asking an artist, “I have this idea, can you illustrate it?”, a curator should instead establish trust and, perhaps counterintuitively, ‘do’ less by allowing the work to unfold and by supporting the artist as they need it, particularly where new commissions are concerned. Of course, as in all projects, there are production and press deadlines to juggle and other logistical realities, but one has to also be sensitive to the fact that artists can’t necessarily (and shouldn’t have to) work to a Gantt chart. Ultimately, deadlines are imposed and as a curator one needs to focus on creating (within a framework) as much space as possible around the artist so they are able to think, respond and reflect. Only then can one come in and ask questions.

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This is particularly relevant in a context like the Venice Biennale, in which you are essentially inviting an artist to realize one of their most ambitious visions. In fact, this year’s Biennale marks a shift in how we have tackled the curation of the British Pavilion. For the first time, an open call by the British Council, which has been responsible for the British presentation at the Biennale since 1937, invited mid-career external curators to apply for the position, creating an opportunity for an international arts professional working in the UK. That, too, is a more collaborative, outward-looking approach. I am honored to have been selected and am the first African American to hold such a position attached to a national pavilion. (Given that firsts are built on other firsts, I credit Kinshasha Holman Conwill and Grace Stanislaus, who, in 1990, curated five artists from Africa at the Venice Biennale, under the auspices of the Studio Museum in Harlem.)

A collaborative approach is important in showing that there is not only one way to work or live or even to be. Collaboration can yield brilliant ideas and greater diversity of thought and creativity, no matter what the end format of those ideas is. This year’s British Pavilion and the Biennale are a reminder that things don’t have to be done the way they have always been done, and there is a sense of hitting ‘refresh’ every two years that feels very affirming to me right now.

The artist representing Britain, Turner Prize-nominated Cathy Wilkes, is testament to this. Working with her has been fascinating and an exercise in humility. Cathy and I have had a fruitful rapport, thinking through the subtleties in her work. From the get-go it has been important to me to take her lead, and I have said to her, “Even if the show is a huge success, if you are unhappy with it, then I will feel like we failed.”

I always say that Cathy’s work is art that whispers rather than shouts. She won the inaugural Maria Lassnig Prize for mid-career artists in 2017, and the resulting show, at MoMA PS1 in New York City, was not only incredibly beautiful but also very subtle. It featured minimal curatorial interventions. There were no texts obfuscating the works, instructing how the viewer must respond to them. It allowed for a particularly contemplative experience but also, honestly, a slightly disconcerting one without those usual didactic prompts. I’ll say it: contemporary art can sometimes be tricky to engage with if you don’t have any prior knowledge of the art or the artist. But not everything has to be easy or prescriptive. Cathy’s work comes from her singular vision, yet she doesn’t want to impose one preconceived experience upon the viewer, hence the constant attempts at paring back and stripping away (texts, titles, even light fittings) to make as much room for the viewer as possible. I find that hugely refreshing and honest. It’s also incredibly freeing, because we can all find our own way and together pose a series of questions, or come to her work with our own personal experiences.

Read more: Art collector Kelly Ying on supporting young artists

It is also significant that the UK artists at this year’s Bienniale (Charlotte Prodger for Scotland and Sean Edwards for Wales), like Cathy, have all contributed to dynamic and vibrant artistic communities outside of London, in Glasgow and Cardiff. It suggests we can move beyond what we think of as the default capital centers of cultural production and, perhaps, question the very notion of national representation as suggesting only one allegiance. Cathy herself was born in Northern Ireland and lives and works in Scotland. National boundaries don’t need to be fixed or prescribed. This matters to me now more than ever, and is something that the British Council has embraced.

Where is all this heading? Are the arts, like so many other sectors, moving more towards a mindful experience? I’m not one for trend-casting but I’d say there’s space for everything. What I really appreciate is that, in Venice at least, we have been given the chance to create a space for quiet and for seeing with an innocent eye and we can all discover something new in a shared space. We can all be non-initiates – together.

The 58th Venice Biennale runs from May 11 to November 24, 2019. For more information visit: labiennale.org/art

This article first appeared in the Deutsche Bank Wealth Management x LUX supplement inside the Summer 19 Issue.