lakeside hotel
lakeside hotel

The Lakeside building of La Réserve Eden au Lac Zurich which dates back to 1909

The venerable Eden au Lac, one of the landmark lakeside hotels in Zürich, was recently taken over by the flamboyant La Reserve group, and transformed into a luxe-chic destination for every destination. LUX checks in and samples the champagne on the rooftop

The Wow Factor

The rooftop terrace of the Eden. Sitting on a corner table, wearing a light gilet against a cool breeze blowing from the Alps. The rosé champagne you are drinking has a pedigree related to the hotel: this is no ordinary house fizz, but a champagne made by Michel Reybier who owns both the La Reserve hotel group which the Eden belongs to, and some of the most prestigious wineries in the world, including Châte au Cos d’Estournel, and this champagne house, Jeepers. Sitting here, you are distinctly amongst the Zürich in crowd.

People Watching

Behind us, two paper thin American women were discussing travel, plans, deals, and their yoga routine. A gentleman from southern Europe wearing a rare Patek Phillipe, who would have looked very at home in the Yacht Club of Monaco, is sipping cocktails with a young lady. The people here are international, glamorous, wealthy, and wanting to show that they are here.

 

Follow LUX on Instagram: luxthemagazine 

Show me to my room.

Our room faced out from the front of the hotel, over the lakeside road and directly onto a park and the bathing area of Lake Zürich. A small balcony was an excellent place for breakfast with a view of the forest of hills on the other side of the lake. The opera house is almost next door: this is a very centrally located hotel. The bed with the centrepiece of the room, with the bathroom behind. here it is all about high quality material finishes and details: the wood marquetry is exceptionally beautiful, reflecting the craft traditions in the nearby Alpine forests but presented in a contemporary way, with plenty of shiny metals and exquisite accessories from the glassware to the in room amenities.

green tiled kitchen, chefs

The street level Eden Kitchen which features all day dining

Come dine with me (and other things)

We loved La Muña, the rooftop Japanese Pacific restaurant and bar, which has been designed as an imaginary yacht club by Phillipe Starck. As well as the
superb quality of drinks (as one would expect from this group), the maki, sashimi and ceviches were exquisite. When the weather was less good, we dined inside: no views, but a chic cosiness and intimate style.

 

Find out more: lareserve-zurich.com

 

This article first appeared in the Autumn/Winter 2023/24 Issue of LUX

Share:
Reading time: 2 min
bedroom with view of safari

LUX recommends our top hotels to check into this year. Compiled by Olivia Cavigioli

Glenmorangie House, Ross, Scotland
For a retreat into the Scottish Highlands, whisky distiller’s Glenmorangie House is the place to go. The brand just recently celebrated 180 years of craftsmanship, their single malt distilled and encompassed by the idyll of the Highlands, ‘Glenmorangie’ translating to ‘Valley of Tranquility’ in Gaelic.

Situated along the coastline on the Easter Ross Peninsula, the house is a a stone’s throw away from the distillery so guests are immersed in the whisky making process and the land from which it is crafted. Designer Russel Sage brought the brand’s protected Tarlogie Springs to the Tasting Room, and the barley fields to the guilded Morning Room, curating the hotel with the Glenmorangie story in mind.

The brand hosts an exclusive weekend, ‘A Tale of Tokyo Experience’, in collaboration with drink connoisseurs Joel Harrison and Neil Ridley, where guests can experience the mythologies of two whiskey making cultures. Celebrating Glenmorangie’s new whiskey, marrying Japanese processes and flavours with the classic Highland drink, the weekend offers a cocktail masterclass and Kintsugi cup-making, a touring of the distillery, and unique dining experiences by design of Head Chef John Wilson, as guests will partake in both a Scottish Highland diner and A Tale of Tokyo inspired tasting menu.

22nd-24th March 2024, at £950 per room for a two-night stay in a Standard Room or Cottage.

colourful living room

Find out more: glenmorangie.com

 

The Lana, Dubai – Dorchester Collection

rooftop pool with view of dubai

The Lana Dubai Rooftop

For a culinary whirlwind, Dorchester Collection’s first Middle East location, The Lana Dubai, is one to watch. Set to open in February 2024, the hotel is something of a gastronomical meeting of the minds in the countless dining experiences. Celebrated chefs Martín Berasategui, Jean Imbert and Angelo Musa create four distinct concepts out of the eight restaurants The Lana hosts. Accoladed with twelve Michelin stars, Martín Berasategui develops Jara, a love letter to Basque cuisine and the first of its kind in Dubai.

For modern Mediterranean cooking and cocktails, guests can flock to Riviera by Jean Imbert, who has also created High Society, an after hours lounge located on the rooftop of the hotel. Angelo Musa’s Bonbon Café will bring French patisserie with his own avant-garde approach to The Lana.

Designed by Foster + Partners, the hotel is bound in bright vistas, positioned along the Dubai Canal, a vantage point from which guests can revel in the city’s famed sunsets. The Lana’s spa, and 225 rooms and suites, with interiors designed by Gilles & Boissier, brings together the contemporary and traditional, in Dubai’s trademark style.

The Hotel is now open as of February 1st, now taking bookings. Rates start from £735 per night.

hotel resort in Dubai

Find out more: dorchestercollection.com/dubai/the-lana

 

ROAR Africa’s ‘Greatest Safari on Earth’

beautiful landscape

ROAR Africa’s ‘Greatest Safari on Earth’, is  a pilgrimage through some of Africa’s most iconic destinations, as ten guests can become intrepid travellers over twelve days, going from Zimbabwe’s Victoria Falls to the Okavango Delta in Botswana, to Kenya’s Great Migration and ending ceremoniously in Rwanda.

The African odyssey will bring guests to the most splendent views amidst natural phenomenons, such as Victoria Falls, one of the seven natural wonders of the world, upriver from which guests will reside at the Matetsi, where they can immerse themselves in 55,000 hectares of protected wilderness.

Along the Okavango Delta in Botswana, guests will have the  opportunity to see Africa’s ‘Big Five’; lion, leopard, elephant, rhino and buffalo. Guests will stay at the Xigera property, described as a ‘living gallery’, showcasing design inspired by the Delta, and works by the continent’s most celebrated creatives. After a few days in the Mara North Conservancy in Kenya, where guests will have experienced the breadth of wildlife from walking safaris to a hot air ballon ride along the Mara river, the trip ends with guests coming into intimate contact with the world’s last wild mountain gorillas at Rwanda’s Volcanoes National Park.

Two trips will be taking flight in 2024 aboard the ‘beyond first class’ Emirates A319 Executive Private Jet, with carbon credits matched to emissions.

August 10-22 2024 and August 25 – September 6 2024 are the two trip dates. Limited to 10 guests each and $148,000 per person.

bedroom with view of safari

Find out more: roarafrica.com/emirates-gsoe

 

Suvretta House, St. Moritz

snowy landscape with hotel

The Suvreta Hotel

Nestled in the valley of the Upper Engadine, St. Moritz, Suvretta House offers storybook winter-scapes and a plethora of Alpine activities to its guests. The resort sits in a natural park two kilometres west of St. Moritz, untarnished by the bustle of winter tourism, promising luxurious refuge in the snowcapped Engadine, with a private ski lift providing direct access to the slopes for guests who wish to embrace the winter sport season.

Bathed in the history and culture of the region, guests can expect elaborate horse-drawn sleighs reminiscent of Schlitteda custom, where young couples would go on rides together. Other attractions include opera and culinary festivals, horse races on the frozen St. Moritz lake, and overwhelming views to accompany a Savoyard lunch from the Suvretta House mountain restaurant ‘Trutz’.

You’d however be remiss to not take advantage of the 350km of ski runs available to guests, along with 220 km of cross country skiing trails, through sunlit valley floors or the illuminated night courses. The resort has even adopted curling, with its own unique Curling Guest Club and natural ice-curling field. Guests can also follow in the footsteps of former world champions who have skated on the Suvretta House ice rink, returning to the elegance and respite of the Alpine castle.

Winter season runs from 8th December 2023 to 1st April 2024. Rooms start at CHF 630. 

hotel living space

Find out more: suvrettahouse.ch

Share:
Reading time: 4 min
woman laying on colourful floor
woman laying on colourful floor

A Dream you Dream Alone, by Maryam Eisler, 2021

An elegant, aloof figure lies, sprawled, blanketed in stripes, formed of shadows from a gazebo above. Here’s a glimpse into Chief Contributing Editor of LUX, Maryam Eisler’s continual exposition of the Sublime Feminine. In the murky hinterland between body and landscape – in what she calls ‘dreamlands made real’ – Maryam captures chimerical states and synaptic, elusive moments. By Isabella Fergusson

Maryam’s black and white photography toys with shadow and light in ways in which the body seems to hover between corporeal and architectural form. Figures hide. Bodies are touched by their landscape’s shadows, by wooden planks, by leaves, by music scores. They turn away, evasive; hands and arms are little seen: bodies are distilled to Barbara Hepworth-esque forms – to the curve of a lower back, the stomach, the spine. There is a sense of holding back, of retaining mystery, of stretching beyond the body to landscape. In Peaks and Troughs, curves of bodies are hit by light with such exquisite abstraction as to resemble vast mountains, or perhaps a close-up of a cluster of smooth pebbles.

Peaks and Troughs, by Maryam Eisler, 2019

‘I often search for inspiration in literature, poetry and in the arts’, Maryam says. And, if Hepworth looked to music, and Rothko wanted to raise painting to ‘music and poetry’, Maryam, in a modern take, lays bare the parallels between photography and music. Music scores leak into the photography itself, both literally, and in the way that a mathematical precision of composition provides access to dreamlike, hazy worlds. In A Cry for Freedom, a nude figure seems almost tattooed by the shadows of musical notes, nodding towards a subliminal synaesthesia.

naked body with musical notes projected onto back

A Cry for Freedom, by Maryam Eisler, 2023

Such philosophy spills into colour. Constructed forms – trees, crosses, doors – stick out against bright blue skies. Balconies are distilled to rectangles, pentagons, triangles, punctuated by rich pinks and blues. A palm tree shoots playfully out of a wall, structured by Crayola coloured, stripy joints. Perspective is maintained and fundamental, and yet simultaneously flat and geometric. They combine playful, Hockney bravado with a serious, almost cubist, interest in perspective.

a grid of various very colourful pictures

Linear Emotions – Palm Springs, by Maryam Eisler, 2023

Intimate Landscapes prods the metaphysical questions at the core of the Sublime. In light and lines, shadows and shapes, Maryam’s self-reflectively titled series, ‘Linear Emotions’, confront their own process. How does one conjure up inner dreamlands through geometry? Where does the body end and the landscape begin?

A woman in pink spinning against a bright blue sky with some trees

The Astonishing Light of Your Own Being, by Maryam Eisler, 2024

‘Feeling is my true north’, says Maryam. And one can feel that here – her grace and control, her search for what is, in her words, ‘true or fantastic. Nostalgia for bygone times. Passion. Romance. Heartache’. Dancing between delicate quiet and bold colour, Maryam ‘offers a glimpse into these dreams and into this multi-faceted exploration of the Sublime Feminine’.

man watching woman dive into pool

Poolside Watching, by Maryam Eisler, 2023

 

Maryam Eisler’s exhibition, ‘Intimate Landscapes’, will be showing at Mucciaccia Gallery Project, Rome, via Laurina 31, from 10th February – 16th March 2024

 

See More: https://www.maryameisler.com

Share:
Reading time: 2 min
Man and woman holding rubbish from ocean

Man and woman holding rubbish from ocean

Marcus Eriksen is at the cutting edge of research and raising awareness about the interaction between natural ocean phenomena with microplastic pollution. Trudy Ross speaks with him about the issues, challenges and possible solutions.

LUX: What inspired you to start 5 Gyres and dedicate your work to addressing plastic pollution in our oceans?

Markus Eriksen: In 2003, I made good on a promise to myself to one day raft the Mississippi river. I grew up near the river, and always dreamed of doing that, but when I did, I saw an unending trail of plastic pollution, flowing down America’s greatest watershed out to sea. Within a month of returning from the river, I landed a job working with Captain Charles Moore, the man who discovered the great Pacific garbage patch. Three years later, I proposed to my wife Anna Cummins while we were aboard Captain Moore’s research vessel in the middle of the north pacific garbage patch. From there, Anna and I began the 5 Gyres Institute with the goal of researching the world’s oceans to answer some big questions. How much trash is in the global ocean, where is it accumulating, what is the impact on other living things, and what can we do about it?

LUX: Could you explain what gyres are and how they relate to the issue of plastic pollution?

ME: Oceanic Gyres are normal features of the ocean defined by large-scale circulating currents. There are 11 oceanic gyres, with five of them being the subtropical gyres. That’s where floating plastic trash accumulates. The currents are driven by wind, and in the northern hemisphere they rotate clockwise, while in the southern hemisphere they rotate counterclockwise. The subtropical gyres create high-pressure systems in the middle, where the wind and waves slow down and trash accumulates. Those are what we call the garbage patches, but I would call them a Plastic Smog instead.

LUX: You have done an enormous amount of work combating the use of microbeads. Can you tell us more about this and why it is such a crucial part of your mission?

ME: In 2012, I worked with a colleague, Sherri Mason, to document floating plastics in the great lakes. What we found were abundant microbeads, which was the first evidence of microbeads documented in aquatic habitats. The publish paper became the foundation for a national campaign to rid consumer products of microbeads. We work with dozens of organizations, sharing videos, photos and press releases. We worked with Tulane law school in New Orleans to produce sample federal legislation to ban microbeads. Soon we got two senators to put a federal bill in front of President Obama, which he signed into law the 2015 Microbead-free Waters Act. We went from science to a policy solution in two years. This provided a great example for everyone worldwide about how powerful we can be when we work together toward a single goal. That successful campaign still gets referenced today as we work to eliminate single-use plastics everywhere.

LUX: You recently published a study revealing a global estimate for plastic in the oceans. How did you go about conducting this research and what did you find?

ME: We published this study in early April that identified 170 trillion particles of microplastics in the global ocean. It was a 40 year trend analysis which showed an exponential increase of plastic in the ocean since 2005. This is largely due to the fragmentation of new and older plastic items, the introduction of over 5,000,000,000 tons of new plastic in the last 15 years, And an unfortunate trend in very weak international policies to address the problem. The most recent policies of the last few decades have been voluntary and focused on recycling and Cleanup. Policies back in the 70s and 80s were more preventative in nature and they were legally binding. Right now we are working hard to ensure that the current debate about the UN global treaty on plastic kind pollution is about prevention and will be legally binding. We can’t have a weak international treaty.

To answer your question about how we did this research, we combined all of our data of sea surface sampling over the last decade with every other publicly available data on the planet. We then used our oceanographic models to extrapolate the data to the broader ocean environment. This gave us plastic particle abundance estimates per ocean basin, and collectively the whole planet.

Each data point is collected by dragging a net across the ocean surface for a specific distance, using a net with a known width. That gives you a particle count per unit area. That becomes the data that we used to feed our ocean graphic models. The fun part is that we get to sail around the world to collect this data.

 

Follow LUX on Instagram: luxthemagazine

 

LUX: How can we ensure we are holding companies and producers responsible for their contribution to the problem?

ME: This gets very tricky. We need smart international policies that are preventative in nature, and embrace something called extended producer responsibility (EPR). EPR is about holding product and packaging manufacturers, responsible for the entire lifecycle of what they make. That means setting design standards so that items are easily dismantled and easily recyclable, and it also means keeping Plastic out of packaging as much as possible.

One big part of EPR is ensuring that manufacturers are using recycled plastic when they do. Right now recycling fails worldwide because manufacturers are not obligated to use recycled materials. Because virgin plastic is so cheap, no one buys recycled plastic in huge volumes. This is why recycling United States covers at less than 10%. It’s a system that is not set up for economic success. While corporations like to boast about the technical recyclability of what they make, they avoid discussion of the economic reality of making a recycling successful. To solve this problem, we would need smart legislation that requires a high percent of post – consumer recycle plastic used in all new products.

LUX: What does it mean for a plastic to be biodegradable? If I buy food in biodegradable plastic packaging, am I still contributing to the problem?

ME: Yes and no. The issue of bioplastics has become quite confusing, with some false advertising and misleading uses of terminology. First, bio-based and biodegradable packaging are very different materials. Bio-based simply means you are taking modern plants to make conventional plastics, like polyethylene and polypropylene, instead of using fossil fuels. It’s the same stuff. Biodegradable plastics are very different, but the word biodegradable means different things for different people.

Polylactic acid, or PLA, is a common form of biodegradable plastic, and has been advertised to be biodegradable by many packaging manufacturers. Most of the time it is labeled as compostable, but in the fine print states that it’s only compostable in an industrial composting facility, not in your backyard or on the side of the road. But in reality, industrial composting facilities are now rejecting PLA, because your it is not biodegrade in a meaningful time frame. Industrial composting facilities, make their money from selling compost, and PLA contaminates their compost. Unfortunately, industrial composting facilities are now rejecting every type of biodegradable plastic on the market, but things have changed.

There is a novel type of biodegradable plastic called PHA and PHB, which actually do degrade quickly, but only if they are in a thin film form. This is important because in our research we have found that thick items, like the handle on a biodegradable plastic fork, can stick around for more than a year. But, a thin film made from PHA or PHB will degrade in a couple of months in a rich composting environment.

In our recent study, we put 22 different products made from biodegradable materials into six different settings and tested their degradation over a year and a half. We were really impressed with some of the new thin film packaging that’s available.

LUX: Can you tell us about your TrashBlitz project and what you are hoping this will achieve?

ME: Trash blitz is a program that works with cities to survey their entire region to get a good idea of what kind of plastic packaging are the biggest pollutants. We give the cities the data, put together in a nice report, which they can use to present to their city Council or local plastic manufacturers. That data allows them to address plastic pollution locally. We’ve done this in many cities, like Denver, Colorado, and Austin, Texas, and most recently we did this in national parks. In each case we provide the data they can use.

Interestingly, we find that most cities have the same list of top 10 types of packaging that are the biggest polluters, like cigarette butts, bags, straws, cup, lids, bottle caps, etc.…. We hope that this bigger picture view of the biggest polluters can affect national legislative policies to illuminate single use plastics.

man on beach with ocean in background

LUX: You mention having a solution-based approach at 5 Gyres. What are the most important solutions to plastic pollution we need to be looking at as a society right now?

ME: We favor smart legislative policies. What seems to always work is when the private sector and political leadership work together on preventative solutions. This might mean getting rid of single-use plastics, like the way school districts are getting rid of Styrofoam trays in their cafeterias. We’re also seeing cities eliminate plastic straws, plastic bags, and cutlery from local restaurants.

We also favor innovators and entrepreneurs that discover new materials, new ways of designing products and packaging without plastic, and novel business practices that show how a reuse economy can work. There are some interesting new Bioplastic materials that I think can be a replacement for many thin film applications. We are also seeing some novel, business practices, like the company “Vessel” that provides stainless steel coffee mugs and beer cups that a city can circulate through different restaurants in coffee shops.

LUX: You have said that you are hopeful that plastic pollution is a problem we can solve. Do you ever find yourself losing hope or being disheartened working on these issues?

ME: Overall, I am more optimistic pessimistic, because I meet so many young, innovators and entrepreneurs. They’re trying to make solutions work.

I feel pessimistic sometimes when I see how much effort the polluters put into fighting legislation and resisting changing their packaging, products and business models. They are happy to saddle cities with the cost of managing wasteful forms of packaging. They will spend many millions on consultants, lobbyist, and PR campaigns to unravel the work of the many nonprofits trying to find solutions.

LUX: Will we ever live in a plastic free world?

ME: We will, if we want to. What I know is that the plastic out in the world today will likely be buried and become a permanent fixture of the geologic record. If we can focus on stopping to add more plastic trash to the world, then nature will in time bury at all.

We may never be a plastic, free world, because the material is useful in many applications. It’s used in many industries, technologies, makes cars and airplanes, more lightweight and efficient, but it is the single-used plastic problem that we need to address right away.

 

https://www.marcuseriksen.com/education

 

Online Editor: Isabel Phillips

 

Share:
Reading time: 9 min

Pioneering entrepreneur and philanthropist Nachson Mimran has a show of his black and white photography at the Leica Gallery in London’s Mayfair. Compelling for many reasons, says LUX Editor-in-Chief Darius Sanai

A Native American with a feather har holding his fist up in a black and white photo

Manari Ushigua – leader of the Sápara Nation, in Naku in the Ecuadorian Amazon; photograph by Nachson Mimran in March 2018

Through my years of commissioning photographers, across art, fashion, travel and portraiture, for LUX and Condé Nast, it has become evident that photography is a two-way lens. The image a photographer (or image-maker, as some prefer) captures is of them, as much as it is of their subject. Send two photographers on a similar mission, and you will see very different results.

Little girl in front of wire mesh in dress

A street art project in Libreville, Gabon; photograph by Nachson Mimran, November 2018

This becomes very apparent on viewing the images in Nachson Mimran’s debut show, Photographs from the decade that changed my life, at the Leica Gallery in London. Nachson, a contemporary renaissance man who is part creative, part philanthropist, part social entrepreneur, part philosopher and part tycoon, was not commissioned by anyone to create these images: they are a selection of photographs he took on his travels over ten years.

With his Leica Monochrom cameras (distinctive, niche, digital rangefinders) Mimran chronicled people and life everywhere from Bangladesh and Uganda to the Swiss Alps and West Africa, where he grew up.

trees behind a tribesman in Kenya looking at the camera

Tribesmen from Turkana, Kenya; photograph by Nachson Mimran, November 2022

Mimran is best known for his stewardship of to.org, a philanthropic, creative and entrepreneurial ecosystem making real change. (He is also one of the owners of the hyper-chic Alpina hotel in Gstaad.) The red thread throughout is Mimran’s empathy and humanity: those who know him might suggest he is a modern-day humanist, above everything else. Particularly striking, because, as this is a personal chronicle, Mimran never intended to create anything for public exhibition.

A father and daughter looking at the camera

Self-portrait of Nachson Mimran and his daughter in Gstaad, Switzerland; October 2022

A compelling show, and a window into the mind of someone who, in his own way, is changing the world.

Nachson Mimran: Photographs From The Decade That Changed My Life is on show at Leica Gallery, Mayfair, London until 11 February

leica-camera.com

Share:
Reading time: 1 min

Under the artistic direction of Natasha Ginwala, the recent Colomboscope showed how the Sri Lankan art festival has swiftly become a must-visit not just for aficionados of South Asian art, but for collectors globally seeking to channel exciting new art world perspectives from a region whose global significance is rising.

woman sitting on window ledge

Natasha Ginwala, artistic director. Photo by Victoria Tomaschko

Across venues throughout Colombo, the Sri Lankan capital, curators Hit Man Gurung, Sheelasha Rajbhandari, and Sarker Protick choreographed events and showcased the work of 40 eminent artists from Sri Lanka and the Global South, all themed around ‘Way of the Forest’.

Artwork of an eye with leaves

Zihan Karim, EYE (।), 2015, Video projection on installation. Photo by Fiona Cheng

Durjoy Bangladesh Foundation (DBF), as one of the festival’s lead patrons and cultural partners, supported four artists from Bangladesh to participate: Soma Surovi Jannat; Md Rakibul Anwar; Zihan Karim; Jayatu Chakma. There was a strong theme of sustainability and regeneration in their works.

woman with trees in background

Soma Surovi Jannat, artist.

Man posing with painting in background

Rakibul Anwar, artist.

black and white picutre of man head down

Zihan Karim, artist.

man standing next to painting

Jayatu Chakma, artist.

‘Urbanisation is accelerating deforestation, which removes the potential for forests to absorb carbon and put a brake on global warming. This creates political, economic and societal crises for people and harms our planet,’ says DBF’s founder, Durjoy Rahman.

poster of event with text on it

The Way of the Forest Poster

It was an intriguing way to see how art is leading the challenge against post-colonial legacies and bearing witness to the effects of climate change.

 

See more: https://www.colomboscope.lk/

 

Online Editor: Isabel Phillips

Share:
Reading time: 1 min
Male with arms crossed standing next to art
Male with arms crossed standing next to art

Petr Pudil, collector and founder of Kunsthalle Praha

A decade ago, an entrepreneur bought a decommissioned power station located in a prime position opposite Prague Castle. Investing some $40M together with his Family Foundation he regenerated this brownfield site and in 2015 relaunched it as the landmark Kunsthalle Praha, Prague’s first non-profit private institution. Samantha Welsh speaks with Petr Pudil about his passion for collecting, why he is dedicated to supporting contemporary Czech artists, and his vision for connecting the local art scene with international art movements.

big building with orange roof in sunshine

Former electrical substation, art institution Kunsthalle Praha

LUX: What is your background as an entrepreneur?

Petr Pudil: I am co-founder of BPD partners, leading family office in Prague. The BPD partners group actively seeks out companies with promising scientific and technological backgrounds. The priority is projects that bring new challenges regarding healthy economic growth and are in line with internationally recognised standards of social responsibility and sustainability.

Interior of building, empty space, white walls wood floors

The former power station redeveloped as Kunsthalle Praha

A stable part of the portfolio consists of long-term investments in biotechnology and chemistry, including investments in basic research, renewable resources, and the construction of environmentally friendly office complexes and residential properties.

 

Follow LUX on Instagram:luxthemagazine

 

LUX:  When did you become involved with art philanthropy?

PP: My wife, Pavlina, and I started collecting art almost twenty years ago. We have never seen it as a financial investment, but rather as a tool to understand the connections of the world and life through the lens of artists, which is an alternative and enriching perspective for me as a businessman.

man and woman standing next to each other in a living space

Pavlina and Petr Pudil, collectors and cultural philanthropists

By purchasing contemporary art, we also wanted to support living artists. The idea to build a new Kunsthalle in Prague came about approximately 9 years ago.

LUX: How does Czech fit, historically, within the Central Europe art canon?

PP: The Czech lands and later Czechoslovakia have been in cultural contact with many European centres in the past centuries, naturally with Vienna within the monarchy, with Munich, and later in the 20th century, with Paris. As Václav Havel said, Prague has been a cultural crossroad of Europe for a thousand years. Our country is a natural part of the cultural and historical development of Central Europe.

LUX: What was your founding idea for the Kunsthalle Praha?

PP: We founded Kunsthalle Praha as a non-profit and non-governmental institution whose mission is to bring art to the lives of as many people as possible, with a focus on the younger generation. The second part of our mission is to connect the local scene with the international art environment.

LUX: What collaborations and sectors have you enjoyed shining a light on during these two years?

PP: I will highlight two moments. Since opening, our building has seen over 210,000 visitors, with the majority being younger than 35, which is a great result. And then, the introductory exhibition “Kinetismus,” which was created through a curatorial collaboration with Peter Weibel and ZKM Karlsruhe.

Art light installation in gallery

Inaugural exhibition November 2022, Kinetismus, photo by Vojtêch Veškrna, Kunsthalle Praha

It was an highly innovative exhibition that involved demanding research and, at the same time, became very popular with the local audience.

LUX: Vaclav Havel, Nobel Prize satirist and first democratically-elected president of post-soviet Czech and Slovakia, is a symbol for many of the trust vested by the people in literature to say the unsayable.  Was the samizdat movement art activism or covert propaganda?

PP: Currently, there is an exhibition at Kunsthalle Praha titled “Read” by Elmgreen & Dragset, where part of the exposition is about Czech samizdat literature.

Man walking between bookshelves

Installation ‘Point of View’ 2024 at exhibition ‘READ’ by Michael Elmgreen and Ingar Dragnet

Samizdat was neither activism nor covert propaganda. It was driven by the simple desire of people for information and literature that was denied to them. Naturally, such “forbidden fruit” had a much wider audience than the dissident Charter 77 led by informal leader Václav Havel.

LUX: How has Kunsthalle Praha been received by your peers in the contemporary art ecosystem?            

PP: Kunsthalle Praha is bringing another platform for the presentation of contemporary and modern art to Prague, as well as a space for trans-generational dialogue between different communities. Our goal is to collaborate with other institutions, which we have been successful in achieving so far. We perceive the cultural institution ecosystem as a collaborative, rather than competitive, environment.

LUX: You are an innovator and serial entrepreneur, where else is your focus?

PP: Surely, it is a sport. I try to engage in some physical activity every day, and running, in particular, is an addiction and a way of mental regeneration for me.

LUX: How do you see your foundation evolving as a platform for sustainability in art?

PP: We have sought to apply sustainability principles already during the renovation of the building. It is not a new construction but the revitalisation of a contaminated brownfield in the historical center of Prague. We are preparing an ESG report and striving to exceed our regional peers in all aspects of ESG metrics

Read more: Lazard’s Jennifer Anderson on the Evolution of ESG Investing

LUX: What one tip would you share with a young collector wanting to make a difference?

PP: It is not easy at all to find distinctiveness, it is actually a very ambitious goal. If you want to build a unique, distinctive collection, I would focus on new, digital media. Everyone knows that the digitisation of society must be reflected in art, but we still don’t know how art will respond to this phenomenon, and we certainly don’t know yet how to collect such art.

 

Online Editor: Isabel Phillips

Share:
Reading time: 4 min
green vineyard with tree and building and sun

Picasso, Miro, Dali, Richter, Braque: supreme Bordeaux Chateau Mouton-Rothschild has had them all, and many more, create its wine label over the decades. Candice Tucker speaks to Julien de Beaumarchais, from the owning family of the esteemed first growth, about the latest label artist, Chiharu Shiota, whose work adorns the excellent 2021 vintage

LUX: How has your relationship with art changed through the process of commissioning these label artworks?

Julien de Beaumarchais: Before the passing of my mother, Baroness Philippine de Rothschild, in 2014, I spent more than 15 years working in the market for Old Master paintings and drawings, the creators of which had been dead for a very long time. So it was a radical change for me when, after 2014, I became responsible for the artists who would illustrate the label for our next vintage. I found myself in contact with famous people with strong personalities who were very much alive, accompanying them throughout their creative adventure for Mouton. From Miquel Barceló to Shiharu Chiota, it has been quite a voyage of discovery into all the diversity and complexity of the leading names of contemporary art.

wine barrels with lights and under the tunnels

Château Mouton Rothschild Winery. Photo by Alain Benoit

LUX: Can you illuminate the relationship of the family with this particular artist Chiharu Shiota? How do you choose your artists?

JB: The choice of the artist is a family affair, made in consultation with the other two owners of Château Mouton Rothschild, my sister Camille Sereys de Rothschild and my brother Philippe Sereys de Rothschild. The artists are chosen first and foremost because we like their work and that they are world renowned. My mother, the late Baroness Philippine de Rothschild (1933- 2014) used to give the following answer to this question, which still holds true today: “I have no particular method or five-year plan: my choice is based on my enthusiasm for an artist’s work. I always establish a personal relationship with them, which often turns into friendship, because I deeply love the art of the painter I ask, and for me each work is an expression of the artist’s love for Mouton and its magic.”

A long time ago my mother told me she had been fascinated by one of Chiharu Shiota’s works, shown alongside those of other young artists, at the Galerie Daniel Templon in Paris. For her, on that day, Chiharu Shiota really stood out, and the future has proved her right. The artist’s fame has grown with the passing years, as has the number of exhibitions of her works around the world, and I in turn have been fascinated by her striking, captivating installations. Chance played an important part too: in 2019, on the occasion of a visit to Château Mouton Rothschild, the director of the Mori Art Center in Tokyo offered me a copy of the magnificent catalogue of the great Chiharu Shiota retrospective at the Mori. Leafing through it, I said to myself “One day I will ask Chiharu Shiota to create an artwork for Mouton”.

 

Read more: Prince Robert de Luxembourg on Art & Fine Wine

 

LUX: Which artists do you wish you had secured in the past, who are now either unavailable or dead?

JB: That’s a very hard question to answer: there are so many wonderful artists we would have liked to work with, but there is only one a year. Those missing from the list who died before we were able to ask them include Louise Bourgeois, Cy Twombly, Vieira da Silva and, more recently, Sam Szafran in 2019… But the most important thing is to focus on the artists to come.

 

LUX: How do you feel the context of the artwork by Chiharu Shiota is influenced by the wine and the vineyard?

JB: When I discovered Chiharu Shiota’s artwork for Château Mouton Rothschild, I was fascinated by her vision, so close to the world of wine, especially in the relationship between humankind and nature. Indeed, the human figure is a fragile silhouette facing nature, gorgeous and generous but seemingly dominant, in the same way that the vinegrower is exposed to the unpredictable power of the vine. Yet the four threads that link them, symbolising the four seasons, show that the grower is also capable of channelling it and guiding it towards the ideal of a great wine. I really love this bright red colour, one of her trademarks, so reminiscent of a fabulous cluster of grapes or of new wine running out of the vats…

Plus, Chiharu Shiota said of his visit to Château Mouton Rothschild: “When I visited Château Mouton Rothschild, I was very inspired by their relationship with nature. They depend on the weather and do not interfere with mother nature. They accept the conditions in which the grapes grow. I think Mouton is holding on to the balance of human and nature.”

a label for wine with an artist image on it

Château Mouton Rothschild 2021 Vintage label by Chiharu Shiota

LUX: Can you further speak to the wider context of art in untraditional spaces, which these commissions exemplify?

JB: It is true that nowadays artistic creation is to be found on a wide variety of media, and sometimes in highly unexpected places. But art on wine labels is not exactly untraditional, at least not for us, and we seem to have set an example for others. However, Mouton occupies a unique position for two reasons: it was the first château to feature labels illustrated with an original artwork (Jean Carlu in 1924), and after that to have asked the greatest names in contemporary art to create an artwork for the label.

 

LUX: Do you think people buy the wines because of the labels?

JB: Yes and no. Château Mouton Rothschild’s success is due above all to the quality of the wine. But art lovers or admirers of a particular artist who has created an artwork for a label may acquire a certain bottle for that reason, or else a wine collector may want to buy a specific vintage to complete their collection of Mouton Rothschild with illustrated labels.

 

Follow LUX on Instagram: luxthemagazine

 

LUX: Would you be able to share about the vineyard’s involvement in the artists process and their work for this commission?

JB: It is very important for us that the artist should come and spend some time at Château Mouton Rothschild, to get a feel for the place, a better understanding of our history, our terroir and the way we make our wine. The visit is often a source of inspiration.

Artists are not given any particular instructions when they create a label for Château Mouton Rothschild: they have entire creative freedom. That being said, many artists have chosen to base their illustration, each in their own way, on subjects related to Mouton, such as the ram and the vine.

There is a long and impressive line of artists who have contributed to these labels, with public access to the original works.

vineyard in yellow light and sky

Château Mouton Rothschild estate. Photo by Alain Benoit

LUX: Can you tell us more about how you may hope to amplify this exhibition?

JB: The exhibition amplifies itself, since a new work is added to the collection each year! But more than amplify, what I would like most is to diversify, in terms of both creative techniques and the geographical origin of our future artists.

Find out more:mouton-rothschild

Share:
Reading time: 6 min
Blue car going fast on a road

We drive the ultimate incarnation of Aston Martin’s four wheel drive SUV supercar

A blue SUV car driving on a road in the country side

The Aston Martin DBX707 offers a luxury nexus of dynamics, effortless style and performance © Max Earey

Not many of the glamorous supercars from what some people refer to as the golden age of motoring have remained. You can’t buy a new Jensen, Bizzarrini or De Tomaso now. One brand that somehow managed to overcome many bumps its historical road, and remain proudly independent – rather than simply a brand extension of a large conglomerate – is Aston Martin. After teetering on the brink of extinction in the 1980s and 90s, the company is now going through something of a golden era of its own, with the hyper wealthy fighting to get hold of the astonishing Valkyrie hypercar, and the Vantage and DB12 sports cars now appealing to new generations of young, affluent professionals and enthusiasts.

Times have changed, though, and every car company, however sporting its origins, needs to have in its portfolio a type of car that would make its own historic racing drivers cringe. The SUV, a type of big, high, spacious and powerful vehicle, is, arguably, more relevant than a sports car for a new generation of newly minted in countries which are nearly acquiring wealth themselves. Often for good reason: a place with a challenging road infrastructure, or conversely with newly laid roads in a straight line grid, it’s not a place to enjoy a low-slung, hard, riding, agile, high-performance sports car originally aimed for the track.

 Follow LUX on Instagram: luxthemagazine

That’s where the versatile SUV comes in, and our example of Aston Martin’s own take on this kind of car is in keeping with its history of making cars that stand out. Ours was in bright orange, with a lavish, black and orange accented cabin. The shape may be very different to a classic sports car, but for the moment anyway, one key element remains: a roaring V8 engine with 707PS under the bonnet. This type of engine, which emanates a compilation of wonderful cacophony, depending on how hard and fast you are driving it, is perfect for a sports car where you want to get to that point on the sweeping road where you can push it between 5000 and 7000 rpm.

For a huge SUV, it certainly has the power and the thunder, although arguably, this kind of engine will be less missed an SUV with everything goes electric, than it will in other cars which positively encourage high performance driving.

black car interior

With 900Nm of torque, this SUV provides a sports car acceleration and high speed

What is a DBX also has his sharpness – in its looks but also in the way it handles, something that is always a challenge for these big cars with high centres of gravity. It is an SUV that actually enjoys being aimed down challenging driving roads. Perhaps not narrow twisting lanes, as it’s quite big and wide, but it would be very much at home on the broad, sweeping curves of Bavaria or southern Tuscany.

There, you can revel as the engine tears through its different tones as it approaches the top of its rev range, rushing you forward ever faster – this is a very speedy car, although all luxury SUVs now are, whether electric or petrol powered. And then, back in the urban environment in which most of these cars spend most of their time, it’s back to being a menacing and rather fun designer tool.

And what about Aston Martin‘s natural home in the stately home-lined lanes of England? We would recommend a different combination if your life is based there: one of Aston Martin’s gorgeous convertible sports cars for high days and holidays, and a 50-year-old rusting Range Rover for the winter months. That way you will stay true to the aristocratic values of this fabled British brand.

 

Read more: Audi TT RS Review

 

Find out more: Aston Martin DBX707

Online Editor: Isabel Phillips

Share:
Reading time: 3 min
Bar with lots of drinks and lights and chairs and mirror
We check in to the Principe di Savoia, a palace hotel offering grandeur and glamour for anyone visiting Italy’s fashion capital, Milan
outside of a hotel with green plants and blue sky and balcony

Le Principe di Savoia is a grand palace building in central Milan

The trend among contemporary hotels to integrate the bar (and sometimes a dance floor) into the main reception lobby area was started by the original boutique hotelier Ian Schrager back in the 1980s. It accelerated with the development and corporatisation of hotels like the W hotel group, in the ’90s and 2000s, and now whether you are in the Alps or LA, you are likely to be greeted by a receptionist standing next to a bartender.

And while this works for a certain category of oriented hotel, where the vibe is more important than the room and everyone is invited, a good hotel bar needs its own space and should be a unique and compelling concept, not a funky alcoholic addendum to a reception desk.

red and yellow sofas under wood ceiling in lavish, carpeted room

The presidential suite encapsulates the classic grandeur of this Dorchester Collection property

Nowhere makes this more clear than the Principe di Savoia in Milan. We arrived after a delayed flight and a traffic-filled entrance into Italy’s biggest city. It was too late to go for dinner, but we did crave a little atmosphere, rather than just room service. A quick change in the room, and then we went into the Principe Bar, a grand room located in pride of place at the centre of the ground floor at this Milanese palace.

Follow LUX on Instagram: luxthemagazine

A luscious sweep of a room, with perfectly dimmed lighting, the whole place is focused on the showpiece bar counter. We were immediately swept into another world, a universe where everyone is glamorous, drinking a Bellini makes you Sophie Loren. Not that you should really drink a Bellini, with a list of decorative gastronomic cocktails at your disposal: a particular favourite was an Indian Summer 22, with Chrysanthemum gin, Monin Paragon White Penja Pepper cordial, homemade cordial, Teapot Bitter, and a garnish of flower powder.

Bar with lots of drinks and lights and chairs and mirror

Le Principe Bar is a place in which to get lost with friends and disappear into a world of gastronomic, cocktail-inspired glamour

The Savoia is a proper palace, an imposing building right on the edge of the old city centre of Milan. Arriving there, whether it is the cocktail hour or not, is dramatic as you sweep up a flower lined driveway and are whisked into the hotel by a phalanx of door people. And across the big square in front of the hotel is the city’s finest park.

Read more: Hotel Crans Ambassador, Crans-Montana, Switzerland Review

Our suite had rich art deco panelling, high ceilings, dark floral drapes, a marble-clad bathroom and a sense of utter still in the heart of a great city. Walking down into the lobby from your suite, you feel you need to be imperious, as if this hotel expects a certain standard of style – although the attentive and delightful staff (this is a Dorchester Collection hotel) certainly wouldn’t bat an eyelid if you came down in a onesie.

But if you’re that kind of person, maybe you won’t appreciate the classic chic of this true Grande Dame.

Find out more: dorchestercollection

Share:
Reading time: 2 min
Page 17 of 153« First...1016171819203040...Last »