Large horizontal drawing of hybrid characters dancing on a table
Large horizontal drawing of hybrid characters dancing on a table

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

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

Monochrome portrait of contemporary artist ruby onyinyechi amanze

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.

Large scale hanging drawing of magical creatures by ruby onyinyechi amanze

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

LUX: Where is home for you?
ruby onyinyechi amanze: Home can be many different places and not just geographical ones with borders and points on a map. There can be mental, emotional and spiritual kinds of places that you can go back and forth between very easily. All of them can collide and you can live in all spaces at once. But geographically I call Philadelphia home, I call Brooklyn home, and though I haven’t actually lived in London, I call London home, and I call Lagos home.

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.

Drawing of an abstract swimmer crouched over in a diving position

‘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.

ruby onyinyechi amanze's drawing of an abstract figure crouched in a diving pose against a pale pink background

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

Abstract drawing by contemporary artist ruby onyinyechi amanze

‘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

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Sculpture of a family in a domestic setting by artist Cathy Wilkes
Sculpture of a family in a domestic setting by artist Cathy Wilkes

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

Black and white illustration of Zoe Whitley

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

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

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.

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Portrait of chinese art collector Kelly Ying
Sign for Art021 art fair in front of a water fountain and skyscrapers

Art021 is a contemporary art fair in Shanghai set up by art collector Kelly Ying and her husband

Co-founder of Shanghai’s contemporary art fair Art021, Kelly Ying is considered one of the most influential young art collectors in China. Here, we speak to Ying about art collecting, love at first sight and supporting young artists.

Portrait of art collector Kelly Ying

Kelly Ying

1. You used to work in fashion industry, what made you want to start collecting contemporary art and do you see a connection between the two worlds?

I think there are definitely connections between art and fashion, and we need to explore that more. I started to collect art many years ago because of my family. My mom and my husband [David Chau] have a strong influence on my collection and collecting decisions.

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2. What draws you to an artwork? Do you think your tastes tend towards a particular aesthetic?

I believe in “love at first sight”, therefore the initial emotional and aesthetical chemistry of an artwork is very important to me. As a woman myself, emotions play a significant part in my collecting decisions. However, I also try to balance emotions with intellectual analysis, looking at artists’ background, past exhibitions, exposures, etc. Recently I’m really attached to artists working with different media, multi-media and mix-media works.

3. Why did you decide to set up Art021?

My husband, Bao Yifeng and I all thought that there should be a high-quality contemporary art fair in Shanghai at the time. We felt the urge, and we got the courage, so we made ART021 happen.

Portrait of chinese art collector Kelly Ying

Originally working in the fashion industry, Ying is now focusing entirely on art.

4. Which artists are exciting you at the moment?

Many artists excite me. I like young artists. I find Chinese artists like Li Qing and Zhao Yao very interesting. During my recent trips to LA, I discovered that there are lots of talented young artists based in LA who deserve more attention. I also like artists like Amalia Pica and Ryan Gander, who make very conceptual artworks.

5. What advice would you give to young collectors?

I think young collectors should just get out, look at art and visit lots of exhibitions and fairs. It’s also important for them to talk more often with the right person in the art world.

6. What gets you up in the morning?

A nice cup of coffee!

Follow Kelly Ying on Instagram: @kellyyingxoxo

Art021 runs from 7-10 November 19, for more information visit: art021.org

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Contemporary architectural steel work on the facade of a glass building
Chais Monnet is a luxury country hotel in southwest France with striking contemporary architecture

The spectacular architecture of the Hôtel Chais Monnet, designed by Didier Poignant

A new kind of luxury hotel in Cognac sets new standards of comfort, cuisine and architecture for those exploring the region that’s been in the shadow of nearby Bordeaux for too long, says James Richardson
A grand piano in a rustic wooden setting

Le 1838, the hotel’s jazz and cognac bar

A short drive from the city of Bordeaux, the newly opened Chais Monnet is the swankiest hotel in southwest France and the first of a new breed of destination – the super-luxury auberge. The hotel and spa (and conference centre) are situated in and around a very expensively converted former cognac-aging warehouse by the Charente river. Lavishly designed by architect Didier Poignant, the hotel’s spectacular exterior complements the welcoming contemporary chic of the interior.

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The 92 rooms (and 15 apartments) are decorated with a sophisticated rustic charm, the spa features a 24-metre indoor-outdoor pool, and the jazz bar, in its own converted building, is hugely atmospheric. The greatest revelation is in the restaurants, in the former cognac warehouse itself, headed by Sébastien Broda, who earned a Michelin star for Le Park 45 in Cannes. There is a real Soho House vibe (not surprisingly, since owner Javad Marandi also owns the legendary Soho Farmhouse in Oxfordshire in the UK), with the cuisine both light and delicious – the memory of a super-umami fish pot au feu at Saturday brunch remains with us still.

Read more: The problematic stereotypes cast by the male nude in art

Luxury contemporary interiors of a hotel lobby

The hotel’s decor is casual contemporary luxe

A luxurious hotel bedroom with rustic interiors

The guest rooms have been carefully incorporated into the original structure of the buildings

Luxury spa swimming pool with sun loungers

The indoor/outdoor pool in the spa

While it’s tempting not to leave the hotel, the experiences on offer in the area are compelling, from cycle tours along the river to driving to picnics in the local vineyards in a vintage car supplied by the hotel. Then there’s the serious business of tastings at the celebrated local cognac houses, such as Martell, Rémy Martin and Courvoisier, or sampling the wines of the great Bordeaux châteaux not far to the south.

For more information and to book your stay visit: chaismonnethotel.com

This article was first published in the Winter 19 Issue.

Picturesque setting of a house on the edge of a river in Autumn

The Cognac region offers bucolic summertime relaxation and historical sites aplenty

A salad arranged artistically on a black ceramic plate

A chef working in industrial kitchen

Chef Sébastien Broda in the kitchens, and one of his dishes that use locally sourced produce and that are served in the hotel’s Les Foudres and La Distillerie restaurants

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A sommelier in the act of pouring wine into a table of glasses
Gaggenau formal dinner layout with black table dressing

The scene of the 2018 Gaggenau Sommelier Awards ceremony gala dinner, held at the Red Brick Art Museum in Beijing

More than sheer knowledge of wine, it takes dexterity, impeccable service and the ability to inspire the diner to be a top sommelier, as the finalists of the 2018 Gaggenau Sommelier Awards in Beijing discover. Sarah Abbott, a judge at the final, describes the peaks of that fine wine world

We are watching Kei Wen Lu about to extinguish a candle. He pinches – does not blow – the flame out. I breathe a secret sigh of relief, and discreetly tick my scoresheet. Beside me, fellow judges Annemarie Foidl, Yang Lu MS and Sven Schnee mark their scorecards.

A sommelier smells a glass of red wine

Kai Wen, one of the 2018 finalists

Such is the assessment of elite sommellerie. Kai Wen won the Greater China heats of the Gaggenau Sommelier Awards, and he is now performing the “decantation task” in the grand final, in Beijing. He faces a room of Chinese and international press, and the relentless gaze of we four judges.

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For this task, there are 40 elements on which our young finalists are judged. Decanting seems straightforward, perhaps: open a bottle, pour it into a decanter, leaving any sediment behind, and serve a glass to each of your four guests. It is the attention to tiny details that transforms the everyday to the excellent, and the exigent to the sublime.

This task has been created by judge Yang Lu, Master Sommelier and Director of Wine for the Shangri-La Group. Yang has passed the toughest sommelier exam in the world and knows what it takes. Mentor and hardened veteran of elite sommellerie, he challenges these young recruits with his relentless eye for excellence.

Two men and a woman stand in front of Gaggenau sign and sleek metal cabinet

From left to right: David Dellagio, Mikaël Grou and Emma Ziemann, three of the finalists, in front of Gaggenau’s wine storage cabinets

The guéridon must be wheeled smoothly to the right of the host. The bottle must be eased from the shelf and placed gently into the wine basket. You must remove the capsule foil cleanly, and the cork smoothly, without disturbing the bottle in its cradling basket. Ah, but have you remembered to light the candle before you’ve uncorked the bottle? And to wipe the bottle lip with a clean napkin before extracting the cork? And have you assembled those napkins on the guéridon before you bring it over? Kai Wen’s hand is steady as he decants the wine over the lit candle. The room is eerily silent, a camera man is panning up close, and Kai’s every move is magnified for audience and judges on TV screens.

Yang has set traps. He has planted dirty glasses. And he has set out two different vintages of the requested wine. One ‘guest’ decides that she doesn’t fancy the red wine. Can she have a glass of sparkling wine instead? Contestants will lose six marks if they pour the sparkling before serving the other guests their decanted red. More points are ripe for deduction for forgetting the side plate or to offer to remove the cork, or for unequal pours. And for puffing out that candle.

Kai Wen is friendly, focussed and diligent. He avoids most of the traps and completes the decantation within the scarce nine minutes.

Read more: How politics trumps science in the GMO debate

Despite the rigour and specificity of the marking scheme, the personal style of each contestant comes through. Emma Ziemann is the Swedish finalist. Confident and authoritative, she impresses by greeting the judges as if in the theatre of a busy service. She holds our eye, and sails through the decantation, coping well with a dastardly technical question from Yang – designed to put the contestants off mid-pour – about the Saint-Émilion classification.

The pressures of time and occasion are merciless, and most evident during the blind- tasting challenge, in which contestants must taste, describe and identify seven wines and drinks. All identify the Daiginjo Sake without problem, but the old stalwart of French crème de cassis liqueur stumps several. These non-wine beverages are served in opaque black glasses, masking any colourful clues.

A sommelier in the act of pouring wine into a table of glasses

Mikaël Grou, the eventual winner of the 2018 Gaggenau Sommelier Award

South African finalist Joakim Blackadder shows relaxed charm and cool humour. Mikaël Grou, the French finalist, excels. Engaging and poised, he tastes, describes and correctly identifies five of the seven wines and beverages within the allotted twelve minutes. Mikaël impresses for the range and precision of his technical vocabulary, and for his enticing, consumer-friendly descriptions.

All instructions from the judges are spoken and may be repeated only once. It is easy to miss a critical detail. Young, enthusiastic Zareh Mesrobyan is the British finalist. Originally from Bulgaria, he works for Andrew Fairlie’s renowned eponymous restaurant in Scotland. Annemarie Foidl, head of the Austrian Sommelier Association and our chair of judges, gives the instructions for the menu pairing task: Zareh has thirty seconds to read the menu, and four minutes to recommend one accompaniment for each course. “Please include one non-alcoholic beverage and one non-wine beverage.” Zareh seems to love the task. He does triple the work, giving not one but three creative and detailed pairings for each course. Sadly, he cannot gain triple marks.

Read more: Artist Rachel Whiteread on the importance of boredom

The structure of sommelier competitions is well-established around the world, and ours includes many of these classic elements. But Gaggenau is looking for that extra spark, so Annemarie has devised a new task called Vario Challenge, after Gaggenau’s new wine storage units. Built into the stage wall are several wine storage units, calibrated to different temperatures. Each contestant must work their way through a delivery of twelve wines, describe each wine to the judges as if to a customer, and put the wine in the correct cabinet. Swiss finalist, Davide Dellago, excels, wheeling between judges and Vario with grace, and summing up the style and context of each wine with wit and confidence.

The world of sommellerie can seem elitist and arcane. The cliché of the stuffy sommelier
persists, rooted in an increasingly faded world of starched cloths and manners, and of
knowledge used as power, not as gift. As Yang Lu says to me later, it’s critical that sommeliers retain their love for and connection with customers. They must work the floor. Taking part in competitions is a means to an end, not a job in itself.

And what is that end? After a gruelling day of competing, our six finalists worked the floor at a gala dinner. Here is the theatre where sommellerie performs. And this was quite a production. The Red Brick Art Museum, a young, bold architectural venue in Beijing’s art district, was a hip, stylish space. Banqueting tables were dressed in silver and late-season flowers and berries, evoking autumnal birch and harvest bounty. It was time for our young sommeliers to serve not clipboard-wielding judges, but honoured guests.

A chef and assistant plating up dinner in the kitchen

Chef André Chiang plating up for the gala dinner

Our finalists presented six wines with six courses, to each table. The menu was created by André Chiang, the Taiwanese-born, Japanese-raised and French-trained chef, who won two Michelin stars for his Singapore restaurant, Restaurant André. Thoughtful and visionary, Chiang is a revered superstar of contemporary Asian culinary culture. So, the pressure was on.

Sommelier talks guests through wine choices

South African finalist Joakim Blackadder

The finalists had been given just two hours on the previous day to taste the wine with the judges and acquire the facts they needed to tell their wine stories with conviction and colour. All the wines were Chinese. Just five years ago, matching exclusively Chinese wines to food of this nuance, precision and individuality would have been a tall order. Big, gruff, blundering Cabs were the rule. But the ambition and accomplishment of Chinese winemaking today has soared, and these were excellent matches. So it was that our contestants were able to tell a new story of Chinese wine to guests. Of six different styles, of six different grapes, and from six different regions.

Grace Vineyard Angelina Brut Reserve 2009, an intricate and sabre-fresh, champagne- method sparkling, was served with the pure, enticing first course of braised abalone with green chilli pesto and crispy mushroom floss.

They presented Kanaan Winery’s mineral, elegantly aromatic 2017 Riesling with the softly textured, seductive second course of asparagus, caviar broken egg and non-alcoholic Seedlip Garden 108 herbal spirit.

Read more: PalaisPopulaire & Berlin’s Cultural Revolution

Contemporary Chinese wine is inspired by European traditions, but the deeply traditional aged 2008 Maison Pagoda Rice Wine thrilled our sommeliers with its tangy, nutty intensity. Both strange and familiar, it recalled old Madeira or Oloroso, but with a deeper, salty well. It was superb with the dark marine crab capellini, laksa broth and curry-dust sea urchin.

There is one dish that Chef André never removes from his restaurant menu (I suspect, having tasted it, for fear of riots). European culinary tradition and Asian technique come together in this dish of foie gras jelly, black truffle coulis and chives. Part jelly, part mousse, this intelligently decadent dish was paired with the delicately sweet, honeyed 2014 Late Harvest Petit Manseng from Domaine Franco-Chinois.

The first and only red of the evening was perfumed and confidently understated. 2015 Tiansai Vineyards Skyline of Gobi (yes, as in the Gobi Desert). This scented, floral and plush syrah/viognier was a surprisingly successful pairing with chargrilled Wagyu beef.

You know that a wine culture is developed when signs of an iconoclastic counter-culture peek through. Our final wine of the night was, in essence if not in name, a natural wine. Bottled in one-litre flip-top bottles and made from the too often dismissed hybrid grape vidal, the 2017 Mysterious Bridge Icewine was as wild and fresh as the mixed-berry jelly dessert with which it was served.

Our sommeliers told these stories. They blossomed in service, freed from the heat of their earlier competition but also strengthened by it. They delighted our guests with their own delight in these new discoveries. This is the calling of sommellerie – to notice, describe and share the beauties of wine with new ideas of what is beautiful.

In the end, Mikaël Grou was victorious. But, as fellow judge and head of Brand Gaggenau, Sven Schnee said, each of those young sommeliers were winners. They, and we, were touched by this experience of Chinese history, culinary culture and pure vinous potential.

Discover more: gaggenau.com

This article was first published in the Winter 19 Issue

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Gallery installation shot showing work by Sarah Morris
Gallery installation shot showing work by Sarah Morris

Sarah Morris installation shot, ‘Machines do not make us into Machines’, White Cube Bermondsey © Sarah Morris. Photo © White Cube (Ollie Hammick)

Standing in front of one of Sarah Morris‘ expansive architectural grids is a challenging, giddying experience. Confronted with a maze of colour and geometric shapes, you’re struck with a sense of panic: What are you looking at? How do you see it all at once, or make sense of it as a whole? This anxiety, or perhaps desire, is at the core of the American artist’s work as she plays with the viewer’s sense of visual recognition. Incorporating a wide range of references from the structure of urban transport systems to the iconography of maps, GPS technology, as well as the movement of people within urban environments, Morris’ work is best understood as an expanding and evolving network of visual, social and political connections.

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Her exhibition at the White Cube (and her first in the UK in six years), Machines do not make us into Machines presents a new series of ‘Sound Graph’ paintings, which use the artist’s sound files as a starting point for their composition. Recorded fragments of conversations are abstracted into hard-edged geometric shapes that appear in vibrant, fluctuating patterns that seem to move before the gaze.

Sound graph abstract painting by artist Sarah Morris

Sarah Morris, ‘The Building looks like a ship’ [Sound Graph], 2019 © Sarah Morris. Photo © Tom Powel Imaging. Courtesy White Cube

Image of a white dome with a golden spire and pink smoke in the sky behind

Sarah Morris ‘Abu Dhabi’ [still] 2017. HD Digital. Duration: 67 minutes, 54 seconds © Sarah Morris. Courtesy White Cube

The exhibition also includes a selection of her films. Most notably, Abu Dhabi (2017) – a layered and fragmented exploration of the city’s psycho-geography. Her first ever sculpture What can be explained can also be predicted (2019), is comprised of modular, glass tubes of various heights and colours, arranged on a gridded marble plinth in the appearance of a miniature city. There’s a lot to contemplate, so much in fact, that it is deserving of more than one visit.

‘Machines do not make us into Machines’ runs until 30 June 2019 at White Cube, Bermondsey, London. For more information visit: whitecube.com

Follow Sarah Morris on Instagram: instagram.com/sarahmorris

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Asian model stands in desert setting wearing a bikini and jacket

graphic banner in red, white and blue reading Charlie Newman's model of the month

Portrait of Asian model Grace Cheng

Model and entrepreneur Grace Cheng. Instagram: @gracepcheng

LUX contributing editor and model at Models 1, Charlie Newman continues her online exclusive series, interviewing her peers about their creative pursuits, passions and politics

colour headshot of blond girl laughing with hand against face wearing multiple rings

Charlie Newman

THIS MONTH: 24-year-old Taiwanese/Chinese model Grace Cheng was born and raised in the suburbs of Los Angeles. She has appeared in numerous fashion campaigns and walked for the likes of Bottega Venetta, Moschino and Marc Jacobs. A year ago, she launched oatmeal company Mylk Labs by reinvesting her modelling earnings. She chats to Charlie about healthy eating, handling success and future ambitions.

Charlie Newman: Were you passionate about fashion and food as a child?
Grace Cheng: Not at all! I was a tomboy and never wanted to be a model, even though I stuck out as a lanky, tall girl. The most fashion I experienced was shopping every weekend at the mall! Never did I cook either – this was something I grew into when I was around 19.

Charlie Newman: So how and when did you get into modelling?
Grace Cheng: I was scouted at 17 and started modelling at 18. I never wanted to pursue it despite the many relatives and friends who told me I should, being the lanky, tall girl that I was and am! I had no idea what to expect and it kind of just fell into my lap but I’m glad it did because I’ve grown so much as a person since then.

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Charlie Newman: And then your career rocketed very quickly! Tell us about your experience of rising to success.
Grace Cheng: There’s no question I find it hard: all of the travelling, long e-commerce days and tons of castings that never come into fruition. Travelling is something I struggle with especially since I’m someone who loves being organised and prefer a set routine. My mindset has always been “nothing in life is easy” so I knew I had to put in the work. I have friends who send me screenshots of ads or campaigns that I’m featured in, it’s always so fun to be spotted and that makes it all worthwhile.

Charlie Newman: Whilst modelling full-time you were also studying at USC – how did you balance those two commitments?
Grace Cheng: Yes! I studied business and graduated in 2016. It was really hard to balance if I’m being honest. If a young girl were to tell me they want to skip college for modelling, I’d advise against it even though it’s tough. I was commuting from home and hour and thirty minutes drive one way, and took classes twice a week. They were 10 hour days so I could bang out all my classes in one go and model for the other three days of the week. I’d be studying and doing homework during my lunch and snack breaks during my jobs too! The hardest week I had looked like this: 10 hours of school on Tuesday and 3 midterms, then go to LAX airport to get on a red eye fly out to Philadelphia, arrive 6am on Wednesday to shoot 10 hours, then head back to the airport to fly home, land at 1am, wake up at 5 am for another 10 hour day of school!

Asian model sitting on a white box in a white setting wearing a red dress and black hat

Instagram: @gracepcheng

Charlie Newman: You launched your company Mylk labs just over a year ago now. How was the idea born?
Grace Cheng: I was traveling so much for modelling and I just wanted my homemade, daily oatmeal. With my background in business, I knew I always wanted to start my own company but I just never knew what it was going to be. After my first fashion month in NY, London and Paris, I came back and knew oatmeal is what I wanted to create because it was all I could think about the entire time I was gone!

CEO of Mylk Labs holding a tower of three pots

Instagram: @gracepcheng

Charlie Newman: As a woman, how have you found the experience of setting up your own business and what advice would you give to others wanting to do the same?
Grace Cheng: It’s been so exciting, but a lot of work. It took one full year of planning, sourcing and putting everything together before execution. My advice is: make sure you’re passionate about what you do, keep pushing and don’t be afraid to explore outside the box.

Read more: Designer Piet Boon on avoiding trends

Charlie Newman: Have you found the fashion world to be supportive of your newfound project?
Grace Cheng: Yes, my bookers and everyone is very understanding and supportive of my company. I’ve still yet to bridge the two together, but rest assured, it’s currently in the works. I want to be able to serve wholesome, convenient food to those in the fashion industry. This includes educating young models on eating well and being good to their own bodies.

Charlie Newman: With so much conflicting advice surrounding healthy living, it’s very easy as a
consumer to get lost within it all. What advice would you give to anyone trying to change their eating habits?
Grace Cheng: Eat based on ingredients versus calories. I always read the label to see what’s in my
food before buying and eating it, unless it’s at a restaurant of course. Always focus on wholesome
and real food as that will always be best in the long run, rather than restricting yourself on calories or low fat foods and diets.

Charlie Newman: Your products are non GMO, wholegrain, vegan and free from gluten, artificial additives and refined sugar. Why do you think it has taken the fast food industry so long to catch up with health conscious eating?
Grace Cheng: Well, to be honest, there are so many good options now so I can’t say that the fast food industry hasn’t caught up exactly, but it might have taken even longer because our world moves on “trends”. It’s weird to say it like that but people will only start to acknowledge and try something once everyone else is doing it.

Charlie Newman: Is there a health food brand you particularly admire?
Grace Cheng: Sweetgreen here in the US! They are a chain of quick service salad shops and it tastes amazing, they’re always my go to when travelling. Sweetgreen inspires me because their ability to make healthy food accessible, affordable and most importantly, delicious!

Charlie Newman: Where would you like to see your business in 5 years time?
Grace Cheng: I would absolutely love to create new product lines! I hope to become more than an “oatmeal company”. My goal is to create a company that people can recognise and trust in their daily lives, to create a culture and community of people who show themselves love through mindful living and eating. Being mindful is similar to being aware and considerate. Whether that be overall in life or day to day habits like eating a meal or staying active for example.

Charlie Newman: Lastly, who’s your role model of the month?
Grace Cheng: Coco Rocha. She’s a model turned business woman. She has her own book of poses and started a modelling camp to teach aspiring models how to move comfortably in their own skin.

Follow Grace Cheng on Instagram: @gracepcheng

Discover Mylk Labs: mylklabs.com

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Reading time: 6 min
Painter Kenny Scharf pictured in front of his artwork

Kenny Scharf reenacting his emoji-like paintings’ emotions with ‘Scardey’ (above his head) and ‘Tribali’ on his side

American artist Kenny Scharf’s work straddles a line between pop-art, street art and neo-expressionism. Through surreal imagery and humour, he challenges the elitist boundaries of fine art. Granted exclusive access to his new LA studio, LUX editor-at-large and artist Maryam Eisler spoke to Scharf about cosmic donuts, emojis and his friendship with Keith Haring.

Photography by Maryam Eisler

Maryam Eisler: You posted on your Instagram page that you found the black hole (referring to your image of a donut suspended in space) long before the black hole was photographed! Tell me about that.
Kenny Scharf: Well, I’ve been making cosmic donuts for quite some time now. I was always intrigued by this theory that the universe was shaped like a donut. I love the way donuts look….so it seemed so natural to do donuts in space! So when I saw the new blackhole image, I said ‘Uhhhh that looks like a donut!!’ I couldn’t help it.

Maryam Eisler: So I cannot help but ask you the question: where do we end up? In the donut’s hole or do we keep sparkling like its sprinkles?
Kenny Scharf: I don’t really know…maybe it’s even more sparkly in the hole!

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Maryam Eisler: Would it be fair to say that you invented the emoji?
Kenny Scharf: I guess I did. I’ve been doing it [referring to the round paintings] for 40 years before the actual internet came about.

Maryam Eisler: So copyright on the emoji?
Kenny Scharf: Yeah I need to get a penny every time someone uses those emojis. Actually I have my own emojis app. It costs two dollars!

Maryam Eisler: You’ve never been about definition, have you? And pretty much spanned across all mediums…
Kenny Scharf: I’m always wanting to break boundaries. If there’s a border, I’m going to go outside of it. You can’t keep me in. That’s against my…everything!

Artist studio belonging to Kenny Scharf with one of his pop art paintings on a round canvas

A view into the mezzanine of Kenny Scharf’s LA studio space

Maryam Eisler: Talk to me about New York in the 80s and the confluence of art, fashion, music, and the night clubs.
Kenny Scharf: When I moved to New York in the late 70s, there weren’t a lot of places artists could show their work or even make their work. There were so many young kids like myself who moved to New York with ambition. There were musicians and writers and people in fashion too. So nightclubs were a great venue to do your thing. Not only were nightclubs a place where you could make and show art, but they were also our livelihood. So we worked a couple nights a week and that was all you needed to pay your bills for the whole week, and you were then free to make your art. So New York became a place where you could move to, as a young artist without money, and find your way and meet other artists. It was this whole community that was just there. I feel very lucky that I arrived at that moment in time. But, I think the nostalgia for the 80s is more about the late 70s’. Because by ‘82, people started dying. I was just in my 20s and I was spending most of the latter part of the 80s going to hospitals and funerals and saying goodbye to friends and people. It was just beyond a nightmare.

Maryam Eisler: From Studio 54 to Club 57, tell me about it.
Kenny Scharf: Studio 54, I only went into once. Everyone knows it was a famous disco, a happening place. But my kind of group was more Punk-rock, New-Wave, downtown and very anti-uptown.

Read more: Artist Sassan Behnam-Bakhtiar on the rise of interest in Iranian art

Maryam Eisler: East Village right?
Kenny Scharf: Yeah. At that time, Manhattan was very different with different parts to it. We hardly ever went north of 14th street, and the uptown people never ventured down to our neighbourhood. Club 57 was an amazing place and it did get its spotlight recently. There was a show at the MoMA that highlighted it. It was just this kind of moment. I don’t know if that kind of gathering place exists anymore, now that everything is online and internet-based. It almost harkened back to Berlin or Paris before the war and to these moments where artists got together and created with and for each other, always testing new ideas.

Artist Kenny Scharf painting an abstract composition of flowers

Kenny adding his final touch to an untitled painting depicting a flower arrangement

Maryam Eisler: A form of inner salon of some sort?
Kenny Scharf: Exactly. And the thing that was so good in retrospect, even though we were all dying to be famous and whatnot, was that we had each other to test out whatever we wanted to do. It was very inspiring. You were able to do whatever you wanted to do in the safety of this audience before you went out into the big world. A chance to incubate ideas.

Maryam Eisler: Would that idea of safety and sanctuary translate into your own Cosmic Taverns?
Kenny Scharf: Yes, that idea is definitely about safety and sanctuary. In fact, the very first one I did was around ‘82 and I was living in an old ramshackle townhouse in the middle of Times Square. Keith Haring was my roommate. It was on 6th Avenue and 42nd street. There was so much madness on the street surrounding us that I would create these environments inside, using artificial things – mostly plastic garbage and appliances and stuff which I would find on the street. And I would create this very chaotic artificial environment that actually acted as a refuge. Let’s call it artificial nature for urbanites!

Maryam Eisler: The idea carries on today. I see it here in your studio. It seems like you still work with found objects, recycled plastic and disused garbage ….
Kenny Scharf: I’m obsessed. I’ve been obsessed with garbage all my life. When I first moved to New York in the late 70s, the whole city was garbage. Nobody was picking it up. Everything I needed for my new life was there on the streets: I found my furniture, my clothes. This whole New Wave scene … we were all wearing 50s clothes because we all found them in the garbage! I feel like trash is such an indicator of the society that we live in. Not only does it show a lot about who we are, but I love the idea that these objects were actually used by somebody, and that they have this whole story and life that I don’t know about. And of course, there’s also recycling and the fact that we are drowning in our own garbage!

Artist studio with huge painted canvases and paint brushes

A view into the ground floor of Scharf’s studio

Maryam Eisler: From garbage to accessible artistic content, philosophically speaking?
Kenny Scharf: Yes. Philosophically, I’ve always been a proponent of accessibility. When I moved to New York in the late 70s, Conceptual and Minimal art were in fashion. I just didn’t like it. It felt too elitist and I don’t want to be elitist. I’m always staggering this fine line because I want to be in museums, that upper echelon of where art is shown, but I don’t like the idea of alienating anyone either. And I mean Joe Blow on the street who may have never read art history or gone into a single museum before! I would like to get those people interested in art and maybe inspire someone with an uplifting message. My language is the language of art so I don’t want to turn off the art-educated either!

Read more: Why you need to see the Luc Tuymans exhibition at Palazzo Grassi

Maryam Eisler: Isn’t art, at the end of the day, about interaction and connection?
Kenny Scharf: Yes, and communication. I have a message. You have a show in a major museum and you are going to get a certain amount of people to go and see it. You do a mural in a high traffic spot on the street, and you’ll get the same number of people, if not more, seeing it every day. I also love the idea that art goes beyond boundaries. Most people think that art belongs on a wall in a gallery or a museum. I think it should be everywhere. I often like to think about ancient civilisations, the Greeks and the Egyptians, and how they infused art into their everyday objects the same way I do. I really believe that by doing this, you elevate your daily existence.

artist Kenny scharf poses in his studio with a sculpture

‘I’ve been obsessed with garbage all my life!’

Maryam Eisler: Your emojis are a form of hieroglyphic art, right? Image after image, you try to describe a state of mind, an emotion, a space, a place …. There’s an emotive aspect to your art.
Kenny Scharf: Yes. Communication, feelings, history… Art that I love is art that emotionally gets to me, and I want to convey the same thing to people. I want people to feel.

Maryam Eisler: I love your lack of concern about the monetary value of your art in a world dominated by the $ sign . You paint cars and give them away as long as they’re not resold for gain!
Kenny Scharf: Yes, I’ve done 250 cars. We take pictures. People have crossed the line only two or three times in the past. Not cool.

Kenny Scharf painting on the side of a truck parked by a brick wall

One of Scharf’s 250 painted cars, utilitarian artworks which he creates for free, with the promise that they are never to be sold for gain

Maryam Eisler: From Cosmic Taverns to Flintstone’s cavern. Where did it all start?
Kenny Scharf: The Jetsons and the Flintstones? Back in the early 80s, when I was trying to figure out how to get myself out there, I realised nobody in the gallery world was going to be interested in me if I just told them ‘Hey I make art! Come and see.’ My whole group was in the street and we met all these graffiti artists with incredible paintings on subway cars; they used the whole city as their canvas basically. Around the Times Square show in ‘81, a lot of downtown, Punk, New Wave art-types like myself, met with all the uptown Bronx graffiti artists, and there was this very interesting cultural mix moment. I had a studio at PS1 and I lived in the East Village so I used to ride my bike at two in the morning down from the 59th street bridge to the East Village and bomb the walls the whole way down. I thought that I wanted to do something that was very personal to me in many ways, the Flintstones! Not only because I grew up with them but because conceptually I love the idea of the Flintstones representing the past and the Jetsons representing the future. And everybody knows who they are. I wanted to do something that people already connected with but that was also part of me. And at one point, the past and the future collided and created mutants which were my own characters.

Artist Kenny Scharf standing by an entrance sign to bedrock city

‘Conceptually I love the idea of the Flintstones representing the past and the Jetsons representing the future. And at one point, the past and the future collided and created mutants which were my own characters.’

Kenny Scharf round paintings in his studio

Maryam Eisler: So I haven’t brought up Keith Haring and Jean Michel Basquiat purposefully. Could you give me one word, one anecdote or a wonderful memory for each?
Kenny Scharf: I mean I have so many memories. I met Keith and Jean Michel in 1978, basically my second week of arrival from LA to New York. And we all had this instant connection. It’s like when you meet somebody and you don’t really know why you are so attracted to them and vice versa. I met Jean Michel and introduced him to Keith. The three of us were a little bit of a posse. I used to go around with Jean Michel and Keith and draw and paint on the street. One of my first memories was when I went to this apartment where Jean Michel was living; it was just about a block away from where I was living, and I saw these collages he had on the wall and I was just blown away. I swear I almost fell on the floor. It was one of those moments when you see something and there is so much energy coming off this piece of paper that it literally floored me. I’ll never forget that moment.

Maryam Eisler: Can you share your last memory with Jean Michel?
Kenny Scharf: Of course. With Jean Michel, our relationship was not easy. It started off very close and then he kind of turned on me. We had this very volatile relationship where I didn’t know which Jean Michel I was going to get on any particular day, and actually, it was the source of a lot of stress for me. I really cared for him a lot, and he could be really difficult. So in the late 80s, all that amazing explosion from the early 80s, had a little backlash where that kind of expression was not ‘the thing’ any longer and Jean Michel, as always, really took everything to heart and he was just really down. There was this moment where I remember connecting with him on the street, where he could look at me not as competition and an enemy anymore and realise that we were both on the same side of the line; he let down the guard. We had this special moment. I didn’t know he was about to die.

Maryam Eisler: I read the book The Widow Basquiat. It seems like he did that uncertain thing to everyone?
Kenny Scharf: He did it to the ones he cared about. He was always testing. He was really…very…disturbed. He really was.

Maryam Eisler: A sign of artistic genius, perhaps?
Kenny Scharf: Yes, I know.

Pop art version of the american flag by artist Kenny Scharf

Untitled 2019 by Kenny Scharf

Maryam Eisler: What was your last memory with [Andy] Warhol?
Kenny Scharf: Right before he went in for the gallbladder surgery, I remember having a similar thing as I did with Basquiat – not that we ever had any down times because Andy was always great to me. He was always very supportive. But I remember…I dunno maybe he wasn’t feeling well or something. I remember I was in a restaurant and there was an emotional connection where I really felt something strong with him. Then I went to Brazil a week later and actually Keith [Haring] was with me when we found out about his death.

Maryam Eisler: And lastly, with Keith?
Kenny Scharf: I was the last person to be with him. So I was sitting with him and he wasn’t able to talk anymore. There’s no way I cannot cry, talking about my last moments with him. He was very agitated and I just told him ‘I know you can hear me’; I also told him that he should just calm down and relax because I was with him. And as his body relaxed, I said ‘You know you’re going to live on forever.’ I was telling him everything I believed and felt….It was really hard…losing my best friend.

Maryam Eisler: For you personally, to perform the act of creation, do you have to be at an emotional high or low? Are you really that happy-faced person?
Kenny Scharf: Sometimes. All the emotions, I am. I am a happy person. I’m an optimist despite a million things that are freaking me out. My feeling is that if I’m not an optimist, then I will kill myself. So I force myself to be optimistic no matter how I may be feeling inside. I take the stance and I do it. Because I’m here and I want to make the best of it. Now, I have grandkids and I’m really freaked out about the world they’re inheriting, so I have no choice but to be an optimist for them.

Maryam Eisler: Speaking of the world, one word on Trump?
Kenny Scharf: Piece of shit. Or just shit. Everything about what he represents is the antithesis of everything that I believe in. I’ve always felt that way all the way back to the 80s. I actually met him ten years ago, and I was so freaked out by his lack of normal decent connection. He was just so creepy. The whole thing nauseated me so much. The day of the election I couldn’t stop crying. I cried for a week. It was devastating and here we are two years later, and I still cannot believe this has happened. His name and the word President do not go hand in hand.

Maryam Eisler: You are now back in LA , your ‘home’? You left the concrete for greener pastures and blue skies, with a much more laid back attitude and even more space? And, of course, your family.
Kenny Scharf: I love it here. I was bouncing back and forth between LA and New York but when my grandson was born I realised that I didn’t want to be away anymore. I am completely in love with my grandkids. Obsessed in fact. I never realised how great being a grandpa was actually going to be.

Kenny Scharf’s solo exhibition ‘blue blood’ runs from 2 May to 28 July 2019 at the David Totah gallery, New York City

Discover Kenny Scharf’s portfolio: kennyscharf.com

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Reading time: 15 min
Abstract vibrant painting by Sassan Behnam-Bakhtiar.

‘Love Ritual’, 2018/19. Oil on canvas. Sassan Behnam-Bakhtiar.

This year’s edition of artmonte-carlo brings international galleries to the Côte d’Azur. We speak to Saint-Jean-Cap-Ferrat resident and artist Sassan Behnam-Bakhtiar about the fair and the rising interest in contemporary Iranian art

artmonte-carlo returns to the French Riviera for its fourth-edition with a select list of prominent international galleries, including Kamel Mennour, White Cube and Victoria Miro to name but a few. This will be artist Sassan Behnam-Bakhtiar‘s first time participating in the fair at Dusseldorf-based gallery Setareh’s booth, alongside contemporary Iranian artist Reza Derakshani. The booth will also feature works by Gregor Gleiwitz, Hans Hartung, Imi Knoebel, Markus Lupertz amongst others.

Based in Dusseldorf with three locations, Setareh Gallery presents a global selection of contemporary and modern art. Established in 2013, the gallery is anchored in the Rhineland whilst operating internationally.

Known for his vibrant, abstract mixed-media paintings, which draw on ancient Persian motifs, patterns and landscapes, Behnam-Bakhtiar celebrates a complex cultural identity and not only invites new perspectives on the region, but also explores themes of a prosperous way of life, human evolution, the universal language, eternal feelings and Self, history, present and future. His work awakens a strong sense of experiencing positive emotions and transcendence, while accessing its audience’s psyche to bring about locked knowledge, intuition and human sensitivity.

Follow LUX on Instagram: the.official.lux.magazine

‘It is not a surprise that Iranian art holds its own league due to the vastness and richness of the Iranian culture and heritage,’ says Bakhtiar. ‘Even though the contemporary Iranian art scene has faced many challenges throughout the last few decades due to the political climate on Iran – unfortunately affecting its artists, gallerists and art institutions – Iranian artists due to the quality of their work and their profiles internationally have managed to perform in an outstanding manner, being represented by leading galleries internationally, holding important museum and gallery exhibitions.’

Abstract painting by Sassan Behnam-Bakhtiar

‘Mini Lovers’, 2017. Oil on canvas. Sassan Behnam-Bakhtiar

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

Behnam-Bakhtiar’s own work has been steadily gaining an international presence since his emergence on the art scene back in 2009. A recent sale Christie’s sale in Dubai, U.A.E, Dubai, U.A.E, saw his painting ‘Eternal Spring, 100 x 73 cm’ surpass its estimate of USD 6,000 to 8,000 to sell for USD 12,500, whilst ‘Hunting the Dawn, 199 x 224 cm’ by Reza Derakshani sold for USD 112,500, both nearly doubling their estimates.

Bright pink abstract painting by artist Sassan Behnam-Bakhtiar

‘Psychedelic Wholeness’, 2017/2018. Oil on canvas. Sassan Behnam-Bakhtiar

Abstract colourful painting of flowers

‘Flower Garden’. Sassan Behnam-Bakhtiar.

Bakhtiar will be unveiling a new collection of works at the fair and is looking forward to exhibiting in a country that he feels a deep connection to. ‘As a somewhat local artist living and working in the neighbouring Saint-Jean-Cap-Ferrat while having roots in the principality from a very young age, it is nice to be representing the arts of the region in a fair of this calibre,’ he says.

artmonte-carlo runs from 25 to 28 April 2019. For more information visit: artmontecarlo.ch

To view more artwork by Sassan Behnam-Bakhtiar visit sassanbehnambakhtiar.com or follow the artist on Instagram @sassanbehnambakhtiar

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Reading time: 2 min
Abstract artwork of microbe type shapes floating in a colourful background
Colourful illustration of corn cobs against a pale green background

Art by Grace Crabtree

Genetically modified organisms have courted controversy since they were first developed. Mark Lynas’ new book explores the surprising extent to which politics has trumped science in the GMO debate, says Shannon Osaka

When Mark Lynas slouched onto the stage at the 2013 Oxford Farming Conference, he looked decidedly uncomfortable. After all, the British environmentalist and science writer — known for his well-researched and detailed books on climate change — was about to face his peers in a format best resembling a confession. ‘My lords, ladies, and gentlemen,’ he began. ‘For the record, here and upfront, I apologise for having spent several years ripping up GM crops.’

Lynas wasn’t speaking metaphorically. In the late 1990s, dressed in a black hoodie and clutching a machete, Lynas took part in ‘direct actions’ against geoengineering, in which he and his fellow activists dodged police and landowners to destroy GM crops. Their call to action was a milieu of anti-corporate sentiment, anti-capitalism, and resistance to the modification of nature. In advance of one early action, Lynas wrote on a flyer: ‘Huge corporations…are using genetics to engineer a corporate takeover of our entire food supply. There is still time to stop them.’

From the beginning, the producers of genetically modified organisms (GMOs or GMs for short) – including such unsavoury companies as the US-based Monsanto – have been embroiled in a war of attrition against environmental activists. Those ideologically opposed to genetic modification spent the late 90s and early 2000s planning protests and spreading misinformation about the dangers of the new crops. They called GMOs ‘Frankenfoods’. They demonised the scientists and researchers who developed them.

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And they were overwhelmingly successful. In 2005, a Gallup poll found that a third of the US population believed that crops made with biotech posed ‘a serious health hazard to consumers’. By 2015, over half of the countries in the European Union, including Germany, France, and Italy, had enacted bans against the cultivation of GM crops. While GMOs are still grown today in the United States, their spread has been slowed or halted in Europe, Asia, and Africa.

To date, however, the deleterious effects of GMOs remain merely speculative. Ninety percent of scientists think that genetically modified foods are safe. The American Medical Association, the World Health Organization, the Royal Society of London, and many other science organisations worldwide have stated that GMOs are safe or, at the very least, not any more dangerous than organisms developed through conventional breeding methods.

It was the realisation that his position was not only unsupported by, but in fact the antithesis of, the scientific consensus that led Lynas to his emotional confession before the Oxford Farming Conference. It also led him to write Seeds of Science: Why We Got It So Wrong on GMOs (2018), a book that is at once memoir, polemic, and technology explainer; it is at times frustrating and at other times revelatory.

It is also timely. In an age that has been called ‘post-fact’ and ‘post-truth’, trust in science is on a decline amid a deluge of internet-spread misinformation, partisan politicking, and privately-funded denialism. A BBC documentary in 2010 declared that science was ‘under attack’ and the March for Science, founded last year in response to the inauguration of Donald Trump, attracted 100,000 participants in Washington, D.C. alone. On both sides of the Atlantic, doubt has spread on every scientific question from the veracity of anthropogenic climate change to the safety of vaccines.

Amid such conflict and uncertainty, Lynas’ recantation seems hopeful: a triumph of reason over emotion, of evidence over partisanship. But the real story is more complicated. As [Shawn] Otto explains in his lengthy and thorough The War on Science (2016), scientific reasons for supporting one position or another all too easily bleed into ideological ones – whether the issue is conservative opposition to climate change or liberal distrust of GMOs. Yes, Lynas changed his mind: but was he motivated by fact or ideology?

*

The story of GMOs begins with a misnomer. All organisms that we eat are, in one way or another, ‘genetically modified’. We have crossbred similar species of plants and animals to select for particular, idealised characteristics. That’s why carrots are orange, large, and sweet rather than small, white, and woody. That’s also why we have domesticated dogs that range in size and shape from the dachshund to the Great Dane.

But it can’t be denied that GMOs have an extra ick factor. Genetically modified organisms, in the sense that we use the word today, contain genes that have been extracted from some other, often completely unrelated, organism. Donor DNA which codes for a particular useful protein is removed and implanted into the recipient, imbuing it with the superpowers of (in the case of food) pest or herbicide resistance. This type of genetic engineering is cool, but also frightening. As Lynas said in his conference speech, ‘This absolutely was about deep-seated fears of scientific powers being used secretly for unnatural ends … We employed a lot of imagery about scientists in their labs, cackling demonically as they tinkered with the very building blocks of life.’ There’s something about modifying the genome itself that smacks of technological overreach.

Abstract artwork of microbe type shapes floating in a colourful background

Art by Grace Crabtree

It doesn’t help that GMOs are a poster child for the corporatisation of farming. Monsanto, a multinational conglomerate formerly based in St. Louis, Missouri, was one of the first companies to produce and commodify genetically engineered seeds. (Monsanto no longer exists as an independent entity: in June 2018, it finalised its sale to German chemical giant Bayer). Lynas traces how Monsanto engineers stumbled upon a highly potent, surprisingly safe herbicide called glyphosate, which the corporate eventually dubbed ‘Roundup’. Combined with a soybean genetically modified to resist glyphosate – aka the ‘Roundup Ready’ soybean – Monsanto could sell farmers seeds and herbicide simultaneously, ensuring a steady stream of profit.

Although the company touted its ethical bona fides at every opportunity, its business practises looked suspect. GM crops had promised to help the environment by removing the need for toxic herbicides and pesticides – but Monsanto’s first big biotech release required an herbicide: one that was produced only by Monsanto. The company had also pledged to reduce poverty in developing countries with its new crops. But it aggressively patented its products to lock out competitors, and seemed to seek a kind of monopolistic control over the world food system

Lynas and his fellow activists exploited this narrative to the best of their ability. Companies like Monsanto, they argued, were ‘playing God with DNA, and using customers as guinea pigs’. In one press release from 1997, Lynas claimed that under the biotech company ‘the natural world is being redesigned for private profit’. In these communications, multiple forms of GMO opposition were intertwined and blurred. Were Lynas and his colleagues worried that ingesting GMOs would cause illness, disease, or death? Were they reacting to the commodification of agriculture, food, and nature – a long-standing environmentalist raison d’etre? Or was it a purely philosophical opposition against human technological hubris?

The answer matters. The recent twist in Anglo-American politics has created an illusion that all science denial emerges from the right. Denial of climate change has become a near-fundamentalist belief from pro-industry conservatives, while right-leaning religious groups and conspiracy theorists contradict evolution and (in some bizarre cases), the fact that the earth is round.

But, as Otto argues, distrust of science is equal opportunity. It affects thinkers on the left and the right, when science conflicts with dominant ideologies. The anti-vaccine craze, beginning in England with now-discredited physician Andrew Wakefield, began as a movement of well-educated liberals who inherited the holistic health fad of the 1970s. Other historical leftist anti-science positions have included fear of fluoride in tap water, or suspicion that mobile phones and microwaves can cause cancer.

One of the mysteries of GMO opposition, however, is how the same left-wing environmentalists who espouse a 97% scientific consensus on climate change ignore – or even criticise – the similar consensus on the safety of genetically engineered foods.

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Lynas was once one of them. Lacking a scientific background and propelled by green values, he wrote blithely in the 90s about the dangers of GM crops, with little empirical evidence beyond anecdotes shared among eco-advocacy groups. But over the next decade his focus changed. Inspired by what he saw as rampant rejection of global warming science (he once pied climate denier Bjørn Lomborg in the face during a book tour), Lynas started pouring over the research on climate change. He wrote two popular books explaining climate science: Six Degrees and High Tide.

In 2008, shortly after winning a science book prize for Six Degrees, he was asked by The Guardian to write an op-ed on GMOs. He was startled to find that he couldn’t locate any legitimate peer-reviewed sources to back up his usual claims that genetically modified crops could contaminate local environments, or that they led to the use of more hazardous chemicals in farming. ‘Facts are stubborn things,’ John Adams once wrote, and Lynas, overwhelmed, felt he was at a crossroads: all his environmentalist colleagues opposed GMOs. ‘I could betray my friends, or I could betray my conscience,’ he writes. ‘Which would it be?’

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In the end, Lynas prioritised his conscience. In the first half of Seeds of Science, he attempts to debunk every wrongheaded GMO belief he ever harboured, from claims that GM crops cause environmental devastation to the moral culpability of Monsanto. In some places, such as in his polemic against ‘fake news’ peddled by the environmental movement, his interventions are long overdue. In 2008, news outlets widely reported that thousands of Indian farmers had committed suicide because they couldn’t afford to pay Monsanto for genetically-engineered cotton seeds. The story was pushed by Vandana Shiva, a high-profile Indian activist who has called GMOs a form of ‘food totalitarianism’ and referred to the introduction of insect-resistant Bt cotton into the state of Maharashtra as a ‘genocide’.

But, as Lynas points out, all available evidence shows that suicides among Indian farmers are no higher than other countries in the developed or developing world – including Scotland and France. Journalists, including Lynas himself and New Yorker correspondent Michael Specter, travelled to Maharashtra and found no evidence of the massive suicide waves Shiva and anti-GMO campaigners pointed to. Lynas writes, ‘The Indian farmer suicide story is a myth, built … by those like Vandana Shiva with an ideological axe to grind and little concern about the true facts.’

In other places, however, Lynas seems blinded by his own enthusiasm. Eager as he is to debunk GMO fears, he conflates the connection between GMOs and health – a question that science can answer – with more philosophical oppositions. We can think GMOs are safe to eat, but still question whether humans should be modifying genomes in the first place. We can believe GM crops are safe for the environment, and still critique Monsanto’s patenting process and its monopolisation of the global food supply. When Lynas writes a chapter lionising the history of Monsanto, he sounds less like a rational man of science, and more like a man who has traded one ideology for another.

And while science itself may not be ideological, its interpretation, and the public’s belief in its findings, certainly is. Otto argues that the role of values and ideology in scientific trust has plagued communication (and democracy) for decades. The British philosopher and scientist Francis Bacon put it best when he wrote, in 1620: ‘…What a man had rather were true he more readily believes. Therefore he rejects difficult things from impatience of research … [and] things not commonly believed, out of deference to the opinion of the vulgar. Numberless, in short, are the ways, and sometimes imperceptible, in which the affections colour and infect the understanding.’

While Lynas initially wanted to believe that his change of heart was based on cold, hard, scientific facts, modern psychology has proven the opposite. Science communication is often based on an ‘information deficit model’; if only the public were more informed, scientists argue, they would accept findings from anthropogenic climate change to the safety of GMOs.

But the truth is more complicated. For example, on the issue of climate change, studies have found that greater scientific literacy actually increases polarisation. According to a 2008 Pew Research Center Study, highly-educated conservatives in the US are less likely to believe in climate change than their less-educated counterparts. Otto attributes this to an educational model overly focused on critique, combined with never-before-seen political polarisation. He writes, grimly: ‘We are inculcating the attitude of scepticism without teaching the skills of evidence gathering and critical thinking needed to discern what is likely true.’

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The problem is that in the human mind, values run hotter than evidence. Essential knee-jerk moralisms (like opposition to sexual taboos) and partisan ideologies, whether pro-corporate or anti-establishment, take centre stage in the battle for our minds. Psychologist Jonathan Haidt, author of The Righteous Mind (2012), argues that when faced by evidence contradicting a deeply-held belief, people ‘reason’, but not to find truth. Instead, they reason to support their emotional reactions. ‘If you ask people to believe something that violates their intuitions, they will devote their efforts to finding an escape hatch – a reason to doubt your argument or conclusion,’ Haidt writes. ‘They will almost always succeed.’

When it comes to the politics of science, a set of ideologies divide the public on controversies. Otto, with a chart that resembles a tuning fork, separates science sceptics into two broad camps. On one side, an odd couple of ‘old industry’ (oil, chemical, and agricultural companies) and ‘old religion’ have banded together to form right-wing anti-science. Otto calls it a ‘marriage of convenience’. ‘The fundamentalists needed access and legitimacy and the business interests needed passionate foot soldiers,’ he writes. Together, this right-wing group doubts the science of climate change, evolution, and reproductive health. On the other side, pro-environment liberals have joined with anti-corporate activists to question mainstream medicine, the safety of vaccines, and worry about the deleterious effects of GMOs.

This is certainly an oversimplification of a problem that is more granular than Otto lets on. Anti-science doesn’t split so neatly along partisan divides. (For example, while liberals tend to be the most active anti-GMO activists, many conservatives are suspicious of GM crops as well.) But his premise helps to unlock the puzzle of why climate change believers like Lynas are often also GMO sceptics. For an environmentalist, belief in science is not the tantamount value, but rather belief in preserving a particular vision of ‘nature’, one that is external to society but vulnerable to human influence. Within this worldview, anthropogenic climate change makes sense, but so do the dangers of genetic engineering. When value-centred beliefs clash with science – and with an increasingly entertainment-focused news media that, as Otto argues, is no longer a ‘marketplace of ideas’ but a ‘marketplace of emotion’ – consensus and evidence take a backseat to more heartfelt beliefs.

That’s a deeply troubling sign for a democratic society. Otto believes that science is essentially anti-authoritarian, that it relentlessly challenges received wisdom through a rigorous system of peer-review and hypothesis testing. What are we to do, then, when research shows that both the left and the right are unable to set ideology aside when facing scientific questions?

In the final few chapters of Seeds of Science, Lynas begins to understand the real reasons behind his change of heart. His polemic against anti-GMO activists gives way to a sincere exposition on the role of partisanship in science belief. His recantation came, he notes, on the heels of his acceptance into a community of scientists and science journalists, and thus into a new ideology (albeit one that placed science first). ‘Deep down,’ he writes, ‘I probably cared less about the actual truth than I did about my reputation for truth within my new scientific tribe … It wasn’t so much that I changed my mind, in other words. It was that I changed my tribe.’ It’s a dark takeaway from a book ostensibly written about the importance of facts and evidence.

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There are still reasons to oppose GMOs. One of Lynas’ friends, the Oxford-based environmental journalist George Monbiot, believes that the consensus that GMOs are safe changes little about the movement against them. ‘For me, it was all about corporate power, patenting, control, scale and dispossession,’ Monbiot told Lynas. In short, many of the villains countered by the environmental movement. Monbiot thus understands what Lynas initially ignored. Science can tell us about risks, benefits, and safety, but the decision about whether to genetically modify organisms (or, for example, whether to geo-engineer the climate to prevent catastrophic climate change), is a social and political one. It can only be made through use of all-too-human values and deliberation.

What is needed, then, is science as a platform, a foundation on which politics can be built. ‘Wherever the people are well informed they can be trusted with their own government,’ Thomas Jefferson wrote in a letter in 1789. At the end of his book, in a section optimistically titled ‘Winning the War’, Otto suggests science debates, a scientific code of ethics, journalistic standards for science coverage, and much more. He is a cheerleader for an evidence-based democratic society.

In the ‘post-truth’ era, where expertise is scoffed at and fact held in disdain, Otto’s scientific city on a hill seems a long way off. Humans that we are, we prefer narrative to evidence, linear stories to complex truths. We accept science when it aligns with our worldview; we doubt it if it does not. But, despite his flaws, Lynas represents the faint hope that under the right conditions we can change our minds. That, over time, the stubbornness of fact can – and might – outweigh the obstinance of ideology.

Shannon Osaka is a postgraduate student in geography at Worcester College, University of Oxford. She writes about technology, science, and climate change.

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