The Ferrari 275 is a series of front-engined V12-powered grand touring automobiles with two-seater coupé and spider bodies produced between 1964 and 1968

Sweden is not the first country that comes to mind when thinking of automotive nirvana, but Paris-based auction house Artcurial has found a treasure trove there that it is putting to auction in Monaco this week. The main feature is a selection of beautiful Porsche 911s from the pre-1997 switch to water-cooled engines: there’s something for every Porsche aficionado, at almost every budget. There are some deliciously specified examples being sold on behalf of a Swedish collector with impeccable taste. It is also cleverly marketed as a no-reserve auction, with some eye-catchingly low estimates: a surefire way to attract interest. Go, enjoy, but beware of overpaying in the heat of the no-reserve moment.

Matthieu Lamoure from Artcurial says:

This W Collection, owned by Staffan Wittmark, is exceptional because it represents the culmination of a man’s lifelong passion for creation. As European importer of the ready-to-wear brand Gant and the brand’s artistic director, he studied design and put together the models in his collection with a rare aesthetic sensibility. His 26 Porsches, presented in the sale, work by color pair, for example, and by model. He defined the codes of his collection by growing up on the streets of Stockholm with a taste for line and design excellence. For this reason, three major brands have marked his passion: Porsche, Ferrari and Mercedes. For him, the lines created by Pininfarina for Ferrari represent the pinnacle of aerodynamic elegance.

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The Mercedes 300 SL Gullwing is a two-seat sports car that was produced by Mercedes-Benz from 1954 to 1957 as a gullwinged coupé and from 1957 to 1963 as a roadster

The second important parameter of this collection is that Staffan Wittmark has decided to entrust his collection to the market, with no reserve price. He is turning the page like a collector who has reached the end of one project and is ready to start another. We will therefore start the auction at 50% of the low estimate, allowing all buyers to try their luck. What’s also exceptional is the condition of the cars. They are either fully restored, like the 9 Ferraris certified by the Ferrari factory, or the Mercedes 300 SL Gullwing and Roadster.

The Mercedes-Benz 300 SL was capable of reaching speeds of up to 263 km/h (163 mph), earning it a reputation as a sports car racing champion and making it the fastest production car of its time

Read more: BMW XM Review

To find 44 cars offered by a single owner gives the ensemble a wonderful provenance. and in such restored condition is a rare element in any collection.

Quality, provenance, exclusivity and passion are the watchwords of this fabulous sale!

The designation “SL” is an abbreviation of the German term “super-leicht,” meaning “super-light,” a reference to the car’s racing-bred lightweight construction

The current exhibition at Lucca Hue-Williams gallery “Albion Jeune” are paintings from saudi-arbian artist Alia Ahmad

Lucca Hue-Williams, London’s coolest young gallerist, reopens her Albion Jeune gallery with an exhibition by emerging Saudi artist Alia Ahmad which transposes a vibrant colour palette on her homeland’s desert landscapes

“Thought to Image” is intriguing as an ode to Saudi Arabia’s deserts and its rapidly growing metropolises. Ahmad’s work is a tribute not just to modern, rapidly developing Saudi but to an ancient land that is both rediscovered and lost in today’s rapid development.

Alia Ahmad aims to investigate the balance between natural elements, such as light and plants, by painting them even more explicitly.

It is also a sellout show for one of the world’s most exciting young gallerists, who is developing a reputation for discovering and nurturing talent from around the world. Ahmad herself, gently and wittily subversive, was at the opening herself.

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The Albion jeune art gallery is located at 16 -17 Little Portland Street in London

Her use of colour and texture is just as fascinating, particularly where the trees (or long objects) are rooted. These maximalist shapes and colours certainly give a sense of busyness; just that of a major, populated city. However, these colours are not particularly telling of the buildings’ rather monotonous, gray and urbanised design. In using this style, Ahmad simultaneously captures the modern denseness and the cultural history of Sadu; these colours take from the embroidery from Saudi, an ancient tribal weaving craft by the Bedouin people.

Read more: Leading MACAN, Indonesia’s first contemporary art museum

Lucca Hue-Williams, the owner of the Albion Jeune art gallery in London, at the exhibition opening evening

MACAN, in Jakarta, is Indonesia’s global standard contemporary art museum

Fenessa Adikoesoemo and Venus Lau are at the helm of MACAN, Indonesia’s premier contemporary art institution, founded by Fenessa’s father art collector, Haryanto Adikoesoemo. They speak with LUX Leaders & Philanthropists Editor Samantha Welsh, about their mission to foster cultural engagement across the ten nations of Southeast Asia, to further enhance MACAN’s reputation, and to elevate the perception of Indonesian contemporary art to the rest of the world.

LUX: Fenessa, why was your father’s focus drawn to collecting contemporary art?

Fenessa Adikoesoemo: He started collecting in 1992 after he visited a collector friend’s house in Bali. He saw how art can transform a home and made it feel more alive, so he began exploring the idea of acquiring art for his own house. He started with a lot of impressionist art. Unfortunately, when the financial crisis hit in 1997, he had to sell his beloved art collection.
When he started collecting again in 2001, the prices of impressionist works had gone through the roof. That was when he was introduced to contemporary art, and he fell in love with it. He feels that contemporary art is more in touch with our current times—a reflection of the world we live in today, capturing the essence of modern issues, societal trends, and cultural shifts.
On a more personal level, art has had a profound impact on my father’s life. It has served as a source of inspiration, fostering his own creativity and providing a sense of calm amidst life’s challenges. Engaging with art has taught him to appreciate different perspectives and embrace the beauty of diversity. He strongly believes that by engaging with art in general, including contemporary art, we can better understand and navigate the complexities of our world.

LUX: How is MACAN rolling out art education to extend the country’s cultural ecosystem?

FA: When we established the museum in 2017, we knew that we wanted to share art and make it more accessible to the public. We also knew that we wanted to focus on art education, especially for the younger generation. Our programs are rolled out to leverage the transformative power of art. By engaging with art, we encourage critical thinking and reflection, nurturing a community that values creativity and embraces the richness of cultural diversity.
Museum MACAN’s art education initiatives are designed to cultivate a cultural ecosystem that encourages mutual respect, understanding, and appreciation. Through our programs, we aim to promote dialogue and introspection, creating a space where diverse perspectives are welcomed and celebrated.
With the help of technology, we have reached educators from all over the country, giving them the resources and tools to teach art to their students and ensuring our programs can be easily integrated into the national curriculum. At year end 2023, the museum team was working with 736 schools and 3,162 educators from 23 provinces across Indonesia, and our programs have been accessed by more than 272,000 children and students.

Fenessa Adikoesoemo is the chairwoman of the museum and Venus Lau is the director.

LUX: Please tell us how this integrates with the Children’s Art Space and why early years’ engagement with the arts is so important?

FA: Museum MACAN’s commitment to promoting dialogue, creativity, and diversity of thought extends to our youngest visitors through tailored programs and interactive experiences. These values are integrated into the Children’s Art Space. We create a nurturing environment where children are encouraged to express themselves freely and think creatively, interacting with art in a different way.
For example, for our upcoming exhibition, CARE by Patricia Piccinini, which will open in May, our education team has come up with ideas for the Children’s Art Space that reflect on Patricia Piccinini’s ideas about care as a natural instinct that transcends species. Incorporating role play and spatial exploration to explore different love languages and acts of kindness, the experience aims to encourage curiosity, kindness, responsibility and acceptance, with an emphasis on kinship and kindness as an important element of care that can be nurtured in every child.
Early exposure to art is essential because it lays the foundation for a lifetime appreciation of creativity and cultural understanding. Art serves as a tool for exploration and self-discovery, empowering children to develop their unique voices and accept different viewpoints and can help them cultivate essential skills such as critical thinking, problem-solving, and empathy. By engaging with diverse artistic expressions, children learn to appreciate the beauty of diversity and recognize the value of collaboration and cooperation.

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LUX: What is your wish for MACAN’s legacy for Indonesia?

FA: I hope Museum MACAN can serve as a timeless beacon of cultural enrichment and inspiration, leaving a profound and lasting impact for the next generations, inspiring them to embrace art and help build the country’s cultural vibrancy and identity for years to come. I envision a legacy where the museum becomes an integral part of Indonesian society and plays a pivotal role in shaping the country’s cultural landscape, where it serves as a hub for cultural exchange, innovation, and collaboration, contributing to the country’s artistic development and global recognition.

LUX: Venus, how does MACAN support the national cultural discourse and help to shape Indonesia’s relationship with the rest of the world?

FA: Venus Lau: Several key initiatives are at play. Museum MACAN provides public access to contemporary art, including artists never exhibited in the country. For example, we will open Care, the first major solo exhibition in Indonesia by Australian artist Patricia Piccinini this May. In addition, with a diverse range of exhibition programs by local and international artists, we are building a cultural dialogue between artists, providing perspectives for understanding contemporary art within Indonesia and positioning Indonesian artists within the global art scene.
Museum MACAN also contributes significantly to art education, the institution’s mission. Education is not a one-way track: we deliver art knowledge through the programs, and at the same time, we learn from our audience and collaborators, who share with us their precious points of view that allow us to rethink art’s role in societies outside the box of the art world.
The educational aspect is vital for nurturing talents and encouraging critical thinking. The museum also serves as a space for dialogues and discussions on contemporary art and broader cultural (and social-political) issues. We host talks, workshops, and events that unite artists, curators, scholars, and the public. These dialogues and exchanges of ideas are essential in fostering a deeper understanding of Indonesia’s cultural identity and its relationship with the global art world.

LUX: What is the vision for MACAN’s programming across exhibitions and cultural activations?

VL: We aim to showcase diverse contemporary art practices to reflect the richness of artistic expressions and cultural perspectives. This diversity (perhaps our Indonesian archipaelago of 17,000 islands may be a good metaphor) allows visitors to encounter a huge variety of artworks, from traditional to experimental, and local to global perspectives. The museum presents inclusivity and celebrates the diversity of voices within the art world by presenting such exhibitions. Additionally, cultural activations at Museum MACAN are designed to encourage dialogue and interaction, inviting visitors to engage with art in different ways or even dimensions; for example, along with our exhibition by Patricia Piccinini, we are presenting a multi-sensory project at our Children’s space (all age groups are welcome!) that adds multiple dimensions of sense to the context of the exhibition.

Exhibition of Agus Suwage “The Theater of Me”

LUX: How are contemporary artists in Southeast Asia exploring issues that concern our future generations?

FL: I think I may speak from my personal experience instead of for all the artists in the region (or any region), as every artistic practice has its own individual epistemological and affective cosmos. From the dialogues I have had with the SE Asian artists, issues including Asian diaspora, archipelagic thinking, spectralities and technologies, ecologies, and non-binary thinking are terms brought up pretty often. There are also a lot of discussions on how globalisation, urbanisation, colonisation, and decolonisation reshape the ideas of modernity and traditions. There are also practices of artists in the region exploring the concepts of non-Western futurism and technology (and its mythologies), which are themes rethinking the ideas of temporality and futures.

Read more: Magnus Renfrew on Singapore’s Art SG Fair

LUX: How will MACAN continue facilitating cross-cultural dialogues through contemporary art across Asia?

VL: Through targeted exhibition and education programs that initiate multi-disciplinary diversities, we encourage collaborations and foster cultural exchange. We are constantly initiating educational programs—organising workshops, talks, and digital programs to engage with our audience, locally and internationally. Through these efforts, we aim to actively contribute to a more form of connectivity and culturally enriched contemporary art landscape across Asia.

Agus Suwage is one of Indonesia’s leading artists whose practice emerged in the lead up to the tumultuous social and political changes in Indonesia in the mid-1990s

LUX: Finally, what influence does Indonesia have at the regional level in enhancing the cultural emancipation of the Global South?

VL: Speaking from our museum’s perspective, through our initiatives at Museum MACAN, we embrace archipelagic thinking and engage with diverse interests among the new generations. The museum’s approach reflects Indonesia’s rich cultural diversity, serving as a model for celebrating traditions and fostering creative expression.
We’ve learned the importance of inclusivity and dialogue from the museum’s audience. By showcasing diverse contemporary art and facilitating cross-cultural conversations, the Museum could inspire similar regional initiatives. This approach empowers the Global South to assert its cultural narratives and perspectives on the global stage, contributing to a more equitable and enriched cultural landscape.

www.museummacan.org

In the heart of the countryside of Provence lies Terre Blanche, a luxury resort with two renowned golf courses and an oasis for growth biodiversity. Now celebrating its 20th anniversary, Darius Sanai speaks with the Vice-President of Supervisory Board, François Vaugoude, on how on how the resort has been a sustainability pioneer since the early 1990’s, educating its guests and making instrumental environment change in the region.

LUX: How did Terre Blanche come about?

François Vangoude: Between 1978 and 1980, there was a desire to develop the site on which Terre Blanche now sits. At the time, Golf was more of a pretext for town planning and therefore there weren’t all the provisions. There was no internet, there were no regulations on water, there were no impact studies and raising awareness about ecology was not a priority like it has become today. The site therefore benefited from considerable building rights, and with the construction of the golf course there was more than 90,000 square meters of surface area to be built.

When the authorities later realised that the surveys and impact studies had not been carried out, the project came to a complete halt. Dietmar Hopp, a German business and golf enthusiast, had built a golf course in Germany and proposed creating something that brings sports, nature and development together, rather than creating a city within a city. The authorities gave the go-ahead, and we opened the grounds in June 2000.

Le Chateau Golf course

LUX: Was there a sustainability strategy at the time?

FV: Yes, Immediately, I’ve been passionate about sustainability for years, being someone from the countryside and from the sea. I’m also an architect so urban development has always been a passion of mine as well. From the outset, our philosophy was to think about how we could do something sustainable because our objective was to operate long-term. Since 2000, I’ve been involved in the design of our various projects, as I’ve overseen the whole program since its conception and now its management.

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Our guiding principle on the development of Terre Blanche is that all infrastructures that are useless above ground are buried underground. All the infrastructure needed to manage and distribute water is underground. It maintains the permeability of the soil and it’s better for the quality of the resort as a whole because having a view of a forest or green spaces is much better than having a view of a car park, for example. The car park did cost a little more but at the end of the day, the cars are sheltered, there’s more security, and we don’t have to resurface every ten years using petroleum-based asphalt.

The design of our driving range follows the same principle. The Albatros Golf Performance Center is a semi-underground driving range. As a result, you play out of the summer sun, and you’re sheltered from the rain in winter.

LUX: Is what you do, in terms of your sustainability strategy, important to your clients?

FV: Admittedly, in the years 2000-2010, what we were doing was very good but there wasn’t the heightened sensitivity we have today around climate change and the environment. People are now beginning to understand that biodiversity and climate are about the survival of future generations. Everyone now understands and wants to preserve but the term ‘preservation’ doesn’t work for me.

I think ‘to preserve’ is a negative idea as it just means to protect what exists. I think that today we need to take a much more proactive approach and we need to be contributors to the development of biodiversity. That’s what we do. We now have the participation of our customers.

The Infinity Pool at the Terre Blanche resort

I’m not going to say what country these people come from, but there are people who can’t stand to see an ant or mayflies. So, we get our customers involved and we organise events to show them what we do, especially as golf today is all the rage.

Golf is a big consumer of water, but we don’t use drinking water, we use natural water. The natural cycle is respected, which means that since 2000 we have been pumping water from the Saint-Cassien lake, just five kilometres from our property.

We have financed networks and pumping stations so as not to use drinking water. We’ve had a policy from the outset of asking ourselves what Terre Blanche will be like in ten, fifteen, twenty and even thirty years’ time.

LUX: Is it important for you to do a bit of customer education, or is it more something that exists and if customers are interested, they can ask?

FV: It’s something that needs to be understood and accepted. For example, a golfer wants to find his ball on the course. We only mow once a year, at a very specific time, with a cutting height to avoid destroying everything on the ground. The golfer’s first reaction is to say, “Well wait a minute, you’re saving on maintenance and I’m losing more of my balls.” Then we explain to them why we’re doing this. We’re preserving the nesting period of birds on the ground, invertebrates, insects, and honey plants. Then they say, “Ah yes, you’re right” and they accept that we need to implement these kinds of provisions, and they become supporters.

Another example is unfortunately, we have quite a high mortality rate of trees that are not from the region and that have been brought in and can no longer withstand the rising temperatures and lack of water.

So, when the tree dies, we leave them in place and let them rot. The first reactions I received were, “You leave them there because you don’t have time to pick them up.” We then explain that if you leave a log in a given place, six months later you’ll have a profusion of animals. To motivate them too, we’ve set up an application, that’s also managed by the naturalist organisation on site, in which people can take a photo of an unknown plant or insect and upload it onto our application.

The organism is automatically geolocated on the network and it’s passed on to our naturalist society. At the end of the year, we have a census of everything discovered on Terre Blanche and whoever has made the most observations, with the most interesting organisms, wins a prize. This motivates people to take part. It’s not just on golf courses and in the forest, but under a stone near the Terre Blanche resort.

LUX: Is there a focus on art in the hotel too and do you link art and biodiversity?

FV: There is an art collection at the hotel, but it is not something we shout about. It’s known through word of mouth. The collection is for our guests to enjoy. We have a press book about the works of art that are on display, which is available upon request. Guests can follow a route to see the artworks around the property if they want to. As the works are scattered throughout nature, we naturally create this intersection between nature, biodiversity, and art. When I tell people that we have over 300 works of art and they ask where they are, I tell them to open their eyes. That’s what biodiversity is all about as well. It’s about taking an interest.

LUX: Are there any other plans you have for biodiversity?

FV: We have a huge number of developments on the resort. We’re creating an atlas on biodiversity to monitor the species, fauna and flora that exist on Terre Blanche. We did a first census in 2018, and another in 2020 and 2023 to see what changes there have been in relation to all the measures we’ve implemented on Terre Blanche.

I went to see the Mayor of Tourrettes and asked him why we weren’t doing this at a commune level. It makes sense to do it on a much larger scale. The hope is to demonstrate to them that Terre Blanche has become a zoological wildlife park and not just a resort for the wealthy. It’s about showing we are well ahead of the game, and that they too can contribute to the preservation and expansion of biodiversity.

LUX: Do you organise biodiversity events?

FV: Absolutely. We organize events and golf tournaments focusing on biodiversity, with workshops for people to ask questions and help them understand. We’ve put up information panels all over the resort to educate people.

These aren’t the kind of information panels you buy in the shops, but ones we’ve put together explaining how the watering system works, how the lakes work, what’s in front of them etc. It helps to open people’s minds.

We explain why we’ve installed bat shelters and nesting boxes. Instead of watching TV and looking at a tablet, we buy nesting boxes in kit forms for the kids to build their own nesting boxes, like Lego, and they install them themselves afterwards. Once you’ve captured the children’s’ attention, the parents are right behind and they follow.

Find out more: terre-blanche.com

Terre Blanche Hotel Spa Golf Resort is celebrating its 20th Anniversary, marked with a series of activities and experiences that highlight the resorts commitment to eco-responsibility. The resort is now open for the season. 

Magnus Renfrew has twenty years’ experience in the international art world, the last decade of which have been spent in Asia

Magnus Renfrew knows about art fairs in Asia. He co-founded Art Hong Kong (now Art Basel Hong Kong) and has launched numerous other fairs in the region. He speaks with LUX about Art SG, the fair he and his partners launched in Singapore as a hub for Southeast Asia, the Asian art market, and the future of art fairs

LUX: Do you think Singapore will become an art and/or cultural hub for Southeast Asia? Why did you choose Singapore rather than (for example) Bangkok, Jakarta, or KL?

Magnus Renfrew: Each city is unique with individual strengths and spheres of influence. Singapore is the gateway to Southeast Asia and as the de facto hub for the region, which has a population of 650 million people nearing the size of Europe, so logic dictates that it too should host an international art fair to serve a region that has some of the fastest growing economies in the world. What’s more, Southeast Asia has a diverse and exciting range of cultural ecosystems, and we want to bring together these communities alongside the international art world. Singapore has exceptional infrastructure and transport links, great hotels and restaurants, English is commonly spoken, Mandarin is commonly spoken. All these factors make it an exceptional place to host a major international art fair.

Furthermore, Singapore has a strong local art scene, with local galleries and considerable government investment in art and culture, which sees an active interest in growing the ecosystem in the city. The city’s cultural landscape is developing rapidly with world class museums such as the National Gallery of Singapore, Singapore Art Museum, alongside a growing cluster of commercial galleries, and an increasingly engaged community of collectors. We saw the successful launch of our inaugural edition last year, and I am excited to see the fair continue to develop against this exciting backdrop.

The case for Singapore is continuing to build as it gains greater importance geo-economically, geo-politically and as the Asia centre of wealth management. Singapore is in the ascent in every aspect and culture will inevitably be a part of that story.

LUX: You have significant fairs in Japan and Taiwan. What is the secret of a successful art fair in East Asia?

MR: It is important to have a solid premise for the fair, to identify the natural catchment area, to focus on who the fair serves, and to build domestic and regional support from all stakeholders – the government, galleries, collectors, and institutions. There are no shortcuts and it takes time to build.

What are the differences between Art SG and Art HK at a similar stage?

MR: The overall context of the art market in Asia is of course very different and the collector base across Asia has developed out of all recognition. In a very short space of time ART SG has successfully been able to attract a geographically diverse audience from across Southeast Asia and beyond. The context for ART SG is very different. When we started ART HK there were few institutions and an art scene heavily focused on auctions – it is arguable that ART HK played a significant role in building the case for Hong Kong as a cultural hub and in encouraging collectors to understand the importance of the gallery system. Singapore’s art scene is much more established than Hong Kong was when we launched, with a vibrant gallery scene and exceptional institutions, as well as a pro-active private collectors and foundations. This was reflected in the extraordinary diversity and quality of offerings during Singapore Art Week.

ART SG has its own distinctive identity as an important meeting point for collectors and art lovers from Southeast Asia and around the world by bringing together the best of regional and international galleries and artists, alongside dynamic programming to deepen understanding of its cultural context.

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LUX: Second year of Art SG saw some galleries (Perrotin, Zwirner, Esther Schipper) not return – why? Will they be back?

MR: Galleries have a host of different reasons that play into their decision making including their own programming. Pace is going to be opening their space in Tokyo this year, so they will be participating in Tokyo Gendai for the first time. Perrotin has chosen to do Taipei Dangdai and Tokyo Gendai this year. A number of galleries who chose to sit out ART SG this year visited the Fair and expressed how impressed they were with the quality of attendance, the buzz and the energy. I would anticipate that we will be working again with those galleries in Singapore and elsewhere in the future.

Southeast Asia’s leading international art fair (ART SG), attracted 43’000 visitors in 2023.

LUX: How did this year’s edition do, commercially?

MR: We are delighted by the response to the second edition of ART SG. Throughout the fair’s four days, galleries reported speedy and sustained sales, with works placed in major private and institutional collections. Galleries highlighted an enthusiastic response from both established and emerging collectors from all corners of the world, with many noting that ART SG had provided a great platform for meeting new collectors.

A snapshot of reported sales include: Thaddeaus Ropac sold a work by Anselm Kiefer for EUR 1.1 million, alongside works by Lee Bul, Miquel Barceló, Jules de Balincourt, Alex Katz, Oliver Beer, Mandy El-Sayegh, and James Rosenquist; Sundaram Tagore sold a range of works by Hiroshi Senju, Jane Lee, Miya Ando, and Zheng Lu for a combined total of over USD 1 million; White Cube sold works by Tracey Emin, Jessica Rankin, and Darren Almond, among others for a combined total of GBP 1.5 million; Waddington Custot sold two sculptures by Barry Flanagan, including a work sold for USD 680,000 to a Chinese resident of Singapore, an installation featured as part of PLATFORM by Ian Davenport sold for USD 360,000 and two sculptures by Yves Dana, including a work for sold for USD 92,000 to a collector based in Singapore; Lehmann Maupin sold a number of works, including a painting by David Salle sold for USD 250,000 to a prominent family collection in Singapore, alongside multiple works by Lee Bul and Kim Yun Shin for prices within the range of USD 200,000 – 300,000 and USD 60,000 – 90,000 respectively; Johyun Gallery sold a number of works, including a painting by Park Seo-Bo for USD 250,000 and multiple works by Lee Bae for prices in the range of USD 50,000 – 180,000 each; The Back Room placed an installation by Marcos Kueh featured as part of PLATFORM to an institution in Singapore with a price range between SGD 50,000 – 100,000; First-time participant Sabrina Amrani sold three works by Carlos Aires within a price range of USD 27,000 – 60,000 to private collectors in Singapore; Asia Art Center sold a number of key works by Li Chen and three works from Ju Ming’s Tai Chi Series, all of which have been acquired by private collectors, with a total value of around USD 600,000; Waterhouse & Dodd sold four works by Duncan McCormick to private collectors in the UK, South Korea, Italy and Hong Kong for a combined total of USD 150,000; albertz benda reported a sold-out presentation of three new paintings and four mixed-media watercolours by Australian painter Del Kathryn Barton to a Chinese collector on the opening day; Carl Kostyál reported a sold-out booth of Indonesian artist Atreyu Moniaga, with works priced at USD 18,000 each; Harper’s sold a painting by Eliot Greenwald for USD 40,000 and a painting by Marcus Brutus for USD 32,000; and MAKASIINI CONTEMPORARY sold works by Nir Hod and Jacob Hashimoto for USD 68,000 and USD 40,000 to private collectors in Singapore and Belgium respectively.

Read more: Shangri-La, Singapore, Review

LUX: Some collectors said to us that official programming for significant collectors was limited compared with early years of Art HK. How would you respond to this?

MR: Within ART SG’s bespoke VIP program, collectors were able to tap into a vibrant and dynamic line up of art events, openings, and after-parties to enrich their experience of the overall fair and art week, including private collection visits in collectors’ residences, artist studio visits, gallery openings, and more. Collectors were able to RSVP to openings and curator-led tours of private collection and foundation exhibitions such as Translations: Afro-Asian Poetics by non-profit collector-led foundation The Institutum, curated by Dr Zoe Whitley, director of Chisenhale Gallery, London, Rough, presented by The Pierre Lorinet Collection, and Chronic Compulsions presented by The Private Museum, as well as tours of major museum exhibitions at the National Gallery of Singapore and Singapore Art Museum. There were after-hours events including specially curated art parties at the National Gallery Singapore, ArtScience Museum, and Soho Residency, and a young collectors’ party at a spectacular new venue with views over the Singapore skyline. Our collector programming also offered immersive art and food dining experiences created especially for ART SG, such as Indochina by Senang Supper Club which featured two Cambodian artists discussing their art and non-profit initiative in Siem Reap over a curated menu from the Indochina region; a walking tour of cultural precinct Kampong Glam led by award winning cookbook author Khir Johari and Michelin-starred chef Ivan Brehm; and a four-hands Afro-Asian dinner which reflected the narrative and curation of the Translations exhibition. In addition to the official programming by the fair, there were also a number of gallery dinners, collector-hosted evenings, and karaoke nights and many other parties to round off the week.

LUX: What will you change about the fair for 2025?

MR: We will be doubling down on VIP outreach across our core constituency of Southeast Asia, Indonesia, Philippines, Thailand and also Vietnam, as well as markets with a resonance with Singapore, such as Australia, New Zealand, Chia and South Asia, and expanding the programming of the fair both within on-site and for collectors throughout the city. We will be working on more collaborations with privately owned museums and foundations, as alignment with collector-led initiatives that seek to make a difference is key to ART SG’s ambition to grow the regional ecosystem.

The Art SG 2023 showcased an assembly of leading galleries from the region and around the world

LUX: What is the main collector base for Art SG?

MR: There is an established base of sophisticated collectors in Southeast Asia and a younger generation of new buyers who are hungry to engage with contemporary art.

Singapore is also increasingly home to the region’s wealth base as demonstrated by the growing number of family offices opening here, as well as its emerging position as Asia’s tech capital. This together with established international businesses and entrepreneurs recognising the benefits of Singapore as the base for their pan-Asian operations, provides the context for a rapidly developing, forward thinking and affluent collector base, who are increasingly engaging with Singapore’s rich cultural landscape.

Thousands of VIPs attended the preview day of ART SG’s highly anticipated second edition. Strong attendance from both local and international collectors and leading figures from institutions, museums, and foundations, hailing from Indonesia, Thailand, Philippines, Malaysia, Vietnam, Australia, Japan, Korea, Mainland China, Hong Kong, Taiwan as well as Europe and the US. Notable visitors include:

Collectors

• Alan Lau, Hong Kong
• Albert Lim & Linda Neo, Singapore
• Alexander Tedja, Indonesia
• Alina Xie, China
• Andrew Xue, Founder of Pond Society, China & Singapore
• Belinda Tanoto, Founder of Tanoto Art Foundation, Indonesia
• Dato Noor Azman Mohd Nurdin, Malaysia
• Disaphol Chansiri, Thailand
• Ellie Lai, Taiwan
• Eric Booth & Jean-Michel Beurdeley, MAIIAM, Thailand
• Evan Chow, Hong Kong
• Han Nefkens, Han Nefkens Foundation, Spain
• Harayanto Adikoesoemo, Founder of Museum MACAN, Indonesia Iwan Kurniawan Lukminto, Founder of Tumurun Museum, Indonesia Jack Feng, China/Singapore
• Ji Dahai, Founder of Yalv River Art Museum, China
• Jim Amberson, Singapore
• Justine Tek, Director and CEO, Yuz Museum, China
• Kim & Lito Camacho, Singapore
• Kit Bencharongkul, MOCA Bangkok, Thailand
• Kulapat Yantrasast, USA
• Leo Shih, Taiwan
• Li Fan, Founder of Whale Art Museum, China & Singapore
• Mike & Lou Samson, Philippines/Singapore
• Nathan Gunawan, Indonesia/Singapore
• Nishita Shah, Thailand
• Patrick Sun, Founder of Sunpride Foundation, Hong Kong
• Pierre Lorinet, Singapore
• Pontiac Land Group, Singapore
• Rath Osathanugroh, Thailand
• Rudy Tseng, Taiwan
• Rvisra Chirathivat, Thailand
• Simon Cheong, Singapore
• Shunji Oketa, Founder of Oketa Collection, Japan
• Thomas Shao, Founder of the MetaMedia Group and the Shao Foundation, China TY Jiang, Les Yeux Art Foundation, USA
• Wu Meng, M Art Foundation, China
• Xiaoyang Peng, Founder of DRC No.12 space & The Bunker, China
• Yang Bin, China

Institutions

• Aaron Cezar, Founding Director, Delfina Foundation, UK
• Aaron Seeto, Director, Museum MACAN, Indonesia
• Derek Sulger, Co-Chairperson, UCCA, China
• Eugene Tan, Director of National Gallery Singapore and Director of Singapore Art Museum, Singapore
• Jessica S Hong, Senior Curator, Modern and Contemporary Art, Toledo Museum, USA Judith Greer, Director of International Programmes for Sharjah Art Foundation, UAE
• Lee Dong Kook, Director, GyeonGi Cultural Foundation and Gyeonggi Province Museum, Korea
• Mami Kataoka, Director, Mori Art Museum, Japan
• Pi Li, Head of Tai Kwun Contemporary, Hong Kong
• Sook-Kyung Lee, Director, The Whitworth, Manchester & 14th Gwangju Biennale Stefano Rabolli Pansera, Director, Bangkok Kunsthalle, Thailand
• Virginia Moon, Associate Curator, Korean Art, LACMA, USA
• Xie Siwei, Museum Director, Yuz Museum, China
• Xue Tan, Senior Curator, Tai Kwun Contemporary, Hong Kong
• Zoe Whitley, Director, Chisenhale London, UK

LUX: Will art fairs remain strong commercially in the coming decades?

MR: Art fairs always have and will continue to play a crucial role in the art market.

The recent edition of ART SG saw 45,303 visitors across four show days, hailing from Indonesia, Thailand, Philippines, Malaysia, Vietnam, Australia, Japan, Korea, Mainland China, Hong Kong, Taiwan as well as Europe and the US – in increase from the 43,000 visitors who attended the inaugural edition. The strong international attendance from leading private collectors, as well as directors, curators, and patrons from international museums and institutions at ART SG is a testament to the importance and appeal of the fair as the region’s leading fair.

Meaningful dialogues and insightful conversations were held alongside the Fair at ART SG 2023

LUX: Will Art SG help awareness of SE Asian Art grow on the global scene, or is that not the point?

MR: Definitely. As Southeast Asia’s leading art fair, ART SG invites the world’s leading collectors and art leaders to experience Singapore and all that the region has to offer, but also encourage a new generation of emerging collectors to be inspired by the rich diversity of art the region.

ART SG 2024 saw a strong line-up of Southeast Asian galleries making a dynamic debut at the fair, as well as some of the most significant galleries from across the region, featuring both established and emerging Southeast Asian artists. Some of the highlights include FOST Gallery (Singapore) which presented a a significant showcase reflecting recent contemporary art practice in Singapore and Southeast Asia, including Donna Ong, Eng Tow, Ian Woo, Wyn- Lyn Tan, as well as Elaine Roberto-Navas and Luis Antonio Santos; Gajah Gallery (Singapore, Jakarta, Yogyakarta) which showed renowned artists from the region including Suzann Victor, Yunizar and Uji “Hahan” Handoko Eko Saputro; and BANGKOK CITYCITY (Bangkok), whose first-time participation featured a new installation by Tanatchai Bandasak, large-scale paintings by street artist Alex Face inspired by significant political movements in Thailand, and works by renowned Thai artist Korakrit Arunanondchai featuring his classic motifs of denim, fire and mythical imagery, among others.

artsg.com

Since 1829, Champagne Bollinger has been making gwines, expressing the aromas of the fruit in all its dimensions.

James Bond’s champagne house of choice released the latest iterations of its new top-end champagnes amid glitz and glamour in Paris. Masha Nosova secured an invitation

The evening took place at the Bucherie in the Latin Quarter, originally an amphitheatre for medical students in the 17^th century.

The cuvees served were La Grande Annee and La Grande Année Rose 2015. Bollinger uses oak barrels for fermentation, unusually for champagne, which creates richness, weight complexity and depth A tangible connection to this legacy was brought to life as Gaël Chaunut, the in-house head cooper, demonstrated the centuries-old art of barrel-making, a process as intricate as it is timeless.

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Charles-Armand de Belenet is the managing director of Maison Bollinger

The themes of ‘wood’ permeated throughout the evening, from the meticulously crafted canopy of 9,500 paper pieces, reminiscent of a forest, to the exquisite gastronomic journey curated by Two Michelin-starred Chef Olivier Nasti, masterfully incorporating elements of nature into his tantalising creations and transporting us on a journey of flavours. His venison tartare with Osciètre caviar and citrus ice with petals complimented effortlessly alongside La Grande Année, while the tender game of Alsatian hunts presented with a colourful quintuplet of sauces, found its perfect match with La Grande Année Rosé 2015. A mystery wine, which later revealed itself as the Grande Annee 1989 was paired with a 28 month aged Comte.

Read more: A tasting of Drouhin’s fine Burgundies

The Maison Bollinger event took place in a beautiful house in the heart of Paris

Champagne-bollinger.com

The new BMW XM is the first high-performance car from BMW M GmbH with an electrified drive system

BMW’s sporting flagship promises to be the best of its luxury SUV division, combined with the best of its racy M division. Does it deliver?

Many large SUVs are dramatically imposing, aggressive vehicles that look like they are as likely to declare war on Mars as get you to your destination. Which is fine if you are a certain type of person or in a certain mood. But not always.

The BMW XM is certainly a large SUV. It is also a kind of flagship of the company’s range, combining, in an adaptation of their own words, the best of its SUV division (X) with the best of its sports division (M).

It doesn’t need a racing driver to tell you that a huge, tall wide vehicle is not necessarily best suited to a racing purpose; and nor is a racing car mush suited to carrying several people wearing Etro and Patek Philippe and Off White around in comfort.

But in the manner of an athletic rugby forward, or a centre back, the XM carries off that blend of athleticism and muscle.

Unique exterior design twinned with luxurious interior that showcases the ‘M Lounge’ concept

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What is particularly interesting about the car is that while it looks dramatic and striking, it manages not to look aggressive. Perhaps because of its hybrid nature, it gives off an element of futuristic electric vibe.

It’s also great fun to drive, even in town. BMW have somehow managed to endow it with responsive steering, and very flat cornering, it feels astonishingly agile for a car the size of a small hotel. Like all hybrids, it is very relaxing to drive an electric mode, and when the engine kicks in, you get an overlay of sound.

The nature of the sound divided our passengers: Some thought it sounded cool and racy, others said that such a sophisticated looking car should be seen and felt rather than heard. It’s not as noisy as a Lamborghini SUV, but it’s much louder than a Bentley Bentayga or Rolls-Royce Cullinan. Happy medium or compromise? Probably in the eye of the beholder.

Read more: Porsche 911 Carrera GTS Review

What sure is that this is a magnificent long-distance vehicle. Back seat passengers get smart, detachable branded leather cushions. (even the plug-in charging cables in the boot/trunk are housed in a rather striking leather overnight bag), there is masses of legroom and a feeling of a huge amount of space and light in the car, and also that the rear seats are well designed, unlike in some of these vehicles where you end up sitting very upright. A journey between London and Oxford was devoured in one gulp without anybody noticing the in between.

Speaking of gulps, in the past an SUV of this size would have been planet-wearingly thirsty, but due to its engine efficiency and electrical assistance, the XM is remarkably frugal – more so than many cars half its size and power.

The high-performance Sports Activity Vehicle (SAV) is powered by a newly developed plug-in hybrid system delivering 653hp and 800Nm of torque

Criticisms? Apart from the size, which you have to be able to deal with f you are buying a car like this, the entertaining and sporty nature of the driving experience means that the ride is quite firm. Don’t expect a limousine here – for that you should look at this car’s I7 sibling. But if you can live with that, this is quite the car.

www.bmw.com

Iwan Lukminto at the Tumurun Museum in indonesia

Iwan Kurniawan Lukminto is VP of Sri-Tex, one of Indonesia’s original and fastest-growing textile manufacturers, which supplies product to garment factories across the world, manufactures uniforms for 33 nations’ armed forces, workwear for global corporates, and merchandise for a significant number of global fashion multiples. Lukminto speaks with LUX Leaders and Philanthropists Editor, Samantha Welsh, about art philanthropy and national identity in a post-colonial world.

LUX: You are a much-awarded textile entrepreneur, what do good governance and philanthropy share in common?

Iwan Kurniawan Lukminto: Well, the basics of any good organization, whether it is focused on society where philanthropy is key or on corporate shareholders where good governance is required, both need to promote accountability, transparency, and adhere to ethical conduct. Both aim to have positive impacts. At the end of the day, the basics are the same; the difference lies in the contexts and settings where they are focused.

LUX: What is it about art philanthropy that appealed, as opposed to other ways of giving back to communities?

IKL: Art has always been my passion. In art philanthropy, we focus on the arts, starting with Indonesia’s art scene, which I feel is still lacking support from both the government and the private sector, despite its good potential and quality. Indonesia, with its unique historical background and multicultural diversity, has much to offer, yet it remains under the radar of the international art scene. Thus, I aim to preserve and promote it, hence the birth of the Tumurun Museum.

Art philanthropy interests me particularly because it is enriched with human experience. It tells stories about the past, the present, and the vision of the future in creative, thought-provoking ways. In art, we catalyze the essence of knowledge, looking beyond science, mathematics, politics, etc., and translating it in the most aesthetic way. For example, consider how Alicia Kwade talks about mass and physics by placing a globe on a plastic chair.

In short, art intrigues and excites me, making me see outside and beyond the box. Thus, I want more people to have the same experiences.

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LUX: What was the founding vision for Tumurun Museum?

IKL: Tumurun aspires to be a flag bearer for Modern and Contemporary Indonesian art while remaining inclusive and receptive to global artists who dialogue, engage, and enrich its core collection.

LUX: How are audiences responding to its outreach programs?

IKL: The city of Solo is one of the art centers in Indonesia, focusing on performance art, while Yogjakarta city (around 100km away) is another art center in Central Java. The absence of an art museum in the region enhances our visibility and perception among our audience.

Iwan Lukminto founded the Tumurun Museum, Surakarta, in 2018 to house the extensive collection of modern and contemporary art amassed by the Lukminto family.

LUX: What was the art landscape when the so-called East Indies was a colony of the Dutch?

IKL: There are broadly two categories of audiences: the art community and those outside of the community. For those from the community, it is again subdivided into a few groupings: for those who are from the home community, such efforts are very much appreciated as curated narrations are not common in the scene, and any such effort would spark conversations for new findings and alternative perspectives, which is always positive. For those from the outside, outreach programs allow them a chance to come close to art that is not part of their daily life. Their appreciation might not be within the art historical context, but the joy and, more importantly, the curiosity of looking at something new, something beautiful, or even something strange are real.

LUX: How are artists developing new narratives from exotic ‘Utopia’?

IKL: During the 18th to 19th century, these Western artists were amazed by Indonesia’s tropical land and began recording all they saw and experienced with drawings and paintings. Then, Indonesian artists were directly taught by Western artists on how to draw and paint, strictly following the rules of Dutch School teaching with Romanticism style of portraiture or landscapes. This teaching persisted for generations until the 1930s, when the revolutionary era emerged, and artists began to oppose this approach to art-making.

Indonesia is not solely about beautiful landscapes and pretty people; we also face social issues such as poverty, discrimination, and genocide. Therefore, this group of artists shifted to freeform expression and discovered the true “Indonesian” identity in their paintings.

LUX: Is this shaping a new identity for the nation?

IKL: Indonesian modernist artists began to embrace nationalist “characters and elements” in their works, which was a direct critique of the colonial painters who, according to the modernists, were not depicting the real Indonesia. I don’t believe any art movement alone can shape a new identity for a nation. However, art always reflects the spirit of the time. After the WWII, with pro-independence movements rising all over Southeast Asia, the art of that era also reflected a desire for independence, respect for indigenous cultures and art, and the aspiration to be authentic Indonesians. This sentiment is not only evident in visual art but also in literature, music, films, and other forms of expression.

Read more: Hansjörg Wyss on his pioneering work in conservation

LUX: Can this benefit Indonesia’s international relations?

IKL: Yes. For centuries, art has been a tool for international relationships. Art speaks a language so gentle that many willingly listen, yet so powerful that it can incite nations to rebel. Regarding Indonesian art, it initially served as a promotional tool where the Dutch showcased the beautiful landscapes and cultures of Western Indonesia.

If this is referring to Tumurun, then I believe that as a private museum whose core collection aims to showcase a narrative of modern and contemporary Indonesian art within a local/Asian context and aspires to expand the dialogue to a global context, it would always be useful for the purpose of education, dialogue, and exchange. This contributes to a greater understanding and appreciation, which are the foundations of all foreign relations, between countries and, more importantly, between cultures.

LUX: What do you hope your legacy will be?

IKL: Tumurun originates from the Javanese phrase ‘turun temurun,’ which literally translates as “passing on from generation to generation,” standing at the heart of the founding principle of the museum. Committed to education, Tumurun collects, preserves, and interprets modern and contemporary art, and explores ideas across cultures and regions through curatorial and outreach initiatives. We hope that by standing proudly with our vision and mission, the collection could inspire more generations to come.

Tumurunmuseum.org

The stunning pool area of the Shangri-La Hotel in Singapore

The Shangri-La Hotel in Singapore offers a tropical sanctuary  in the heart of the city. LUX checks in

Singapore’s hawker food is the street food of legend and even features in gastronomic guides. But while the food is astonishing, the stress of getting a table is less so. And much as it is fun to be crammed in with others buzzing with the same experience, sometimes you crave peace. And you do need an appetite for the equatorial heat. We took our Singapore laksa with vintage champagne, in pure tranquillity, in a temperature-controlled garden room, looking over lush plantations, a lawn and a swimming pool. How? The Shangri-La brings the street food to the hotel guests, that’s how.

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At the Line kitchen pop-ups, real street-food chefs from guest hawker stalls, including Habib’s Rojak, cook in the hotel kitchens. It doesn’t replace the authentic experience, but having just landed from Qatar it suited us. After lunch, we wandered down to the huge outdoor pool to swim a few lengths before drifting into the spa for a restorative treatment. The Shangri-La is not among the newest of Singapore’s luxury hotels, but, as seasoned travellers know, newness does not always mean improvement.

The Hotel Lobby Lounge is equipped with a lot of green plants in the Tower Wing

Read more: Waku Ghin, Singapore, Review

A new developer might have been tempted to build over the rich tropical gardens, or make a smaller pool. There’s also the danger of design to social media. A space made to look good on Instagram is not always good to be in, and this is very true of bars, where bold shapes detract from the dreamy ambiance that makes a good bar. And the Shangri-La has a good bar. The Origin is dark, full of corners and has a long wooden bar for sitting at. We asked for a gin southside margarita, a hybrid cocktail of my own invention, and were pleased, although not surprised, that the bartender knew the ingredients.

The rose veranda has a high tea set menu, designed to continue afternoon traditions of luxurious tête-à-têtes over dainty sandwiches, delectable pastries and freshly baked scones served with clotted cream.

This joint effort was so delightful we had another. And another. In Singapore, you want a room with a view, and our suite had just that: high over the gardens and high-rises of the Orchard area. The room was conventional luxury, and all the better for it. To end the day, a charming wander through the gardens, then sitting poolside by a tropical fruit tree at midnight, bracing for another day.

Nestled within 15 acres of tropical landscaped gardens, guests are warmly embraced by the hotel’s distinct service and smiles.

shangri-la.com

Designed by award-winning Japanese designer Yohei Akao, the dining space integrates natural materials and intricate details, an ode to nature and heritage

Hidden away on the second floor, overlooking hundreds of croupier hands shuffling and dealing in the casino below, is Waku Ghin. LUX inspects the two-Michelin starred Japanese fusion restaurant in Marina Bay shopping centre, Singapore.

Past the suave darkness of the main area, with walls adorned with dark wood and striking art, and a bar teeming with sakés, is a private room, reserved for the chef’s omakase. One sits, cocooned by lighter wood panneling, at a table opposite the chef’s knives and metal, a stove, spices. The chef, in arm’s reach, sharpens his knives. His sous-chef – stick of fresh wasabi in hand, resembling something between a turnip and a thick leek – mashes it to its bright green pulp. The ancient Japanese ritual begins.

The chefs bring out a vast white polystyrene tray, as you see in fishmongers, with fresh fish. Abalone, twitching at the touch, Carabinero prawns, sea urchins, snapper, uroko. But fusion can be flimsy, and non-committal. Would we lose the natural juice of the French Royale oyster to the overpowering salt and spices of ginger and rice vinegar?

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A chemist’s nose follows these flavours and textures, balanced rather then strewn. As with the marinated prawn in sea urchin – the balance of sweet, almost fruity tastes is careful, rather than overbearing. It’s a visual pleasure, too, its orange body sitting boldly in a black shell.

Experience the new sushi omakase at the private Sushi Room customised for four where diners can get a taste of the finest regional delicacies of Japan

Black truffle and caviar are not attention-seeking but sit subtly alongside, with Oscietra caviar preserved at the very lowest salt-level. The carabinero prawn, vast and dealt with by some sort of saber and a dome, flashed in from of us like an elegant medieval duel. And fear not the fiery wrath of wasabi paste; fresh wasabi is a far milder and more succulent cry. (This makes resoundingly clear the sad fact that most so-called ‘wasabi’ consists solely of turnip and flavouring.) And it prods rather than murders its accompanying red marbled, tender and peppery wagyu sushi, slung elegantly across rice with a dip of citrus soy sauce.

After this we are presented the Amadai Uroko with Maitake Mushroom and Mizuna. The uroko, a type of Japanese tilefish with very thin skin, easier to pincer, puffs up immensely under the heat of the metal stove in front of us, under the expert hand of Executive Chef, Masahiko Inoue. And here is the freshness of the mushrooms; quiet, modest, delicious.

Read more: Rosewood Hong Kong review

Goodbye to the chefs – we are whizzed off to the dessert room, and eased slowly back to reality. One remembers than one is not in a cave in Mount Fuji but, overlooking chandeliers and Gucci, in Singapore’s shopping centre. After many courses, I manage one last one, of Mandarin Granita and White Rum Jelly, luckily unlike the English trifle, where jelly can be a tyrannical dictator. Alongside, the balance of sesame ice-cream and hojicha Chantilly (a type of Japanese green tea, served in puffs) provides a conversation of nut and herb, of temperatures, of colours.

For a more casual night out, the extended bar dining area features Chef Tetsuya’s timeless cuisine

Lest we forget the wines… after a deliciously dry saké at the bar, wines with notes of green apple, honey and lemon lended a staccato crispness, structuring and pierces these flavours, after a deliciously dry saké at the bar. From the Rhone, a delicious Julius Pylon 2021, made specially for Chef Tetsuya, served in a burgundy glass to elevate its spicy aroma, finishing with a glass of Pantelleria, the Sicilian dessert wine which cuts through dessert perfectly with a sort of Scott-Joplin hops of sweetness.

Japanese-born, Sydney-based Chef Tetsuya hinges on untampered fresh produce, Japanese umami and meditteranean herbs. Entering back into Marina Bay Sands, beyond the casino deck, beyond its twinkling lights, to Singapore’s skyline: it has, like Tetsuya’s fusion, that balance of careful, winking acuity.

Pair your experience with an extensive list of handcrafted drinks including bespoke brews from Isojiman and Masuizumi.

https://www.marinabaysands.com/restaurants/waku-ghin.html