The Plaza Athénée’s effortlessly chic, light-filled La Galerie

In the first part of our luxury travel views column from the Autumn/Winter 2022 issue, LUX’s Editor-in-Chief Darius Sanai checks in at the Hôtel Plaza Athénée in Paris

Many hoteliers I respect have told me that the highest priority, when creating a landmark new city hotel, is not the architecture or the name of the chef running the kitchen, but engaging and attracting the local community. A great city hotel should feel like a private club. This is partly so that the public spaces are filled when business travellers and tourists are thinner on the ground, but also because any discerning traveller wants to feel they are going where the insiders go. 

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This philosophy drove the success of Ian Schrager’s first boutique hotels in the 1980s, and continues thanks to the panache of today’s hoteliers. It has also driven the world’s great hotels since their inception: what were the original Ritz and Savoy, if not gathering places for the great and good? Urban tribes may have diversified and expanded now, giving a greater spread of aspiration, but the principles remain. Conversely, it is dispiriting to arrive at a new hotel in a new city to find that everyone else there seems to be as foreign and clueless as you are. 

One of the hotel’s peerless Eiffel Tower views

All of this brings me to the Plaza Athénée in Paris. You are welcomed into the marble-lined lobby and can take a peek at the outdoor atrium, one of many areas designed by interiors star Bruno Moinard. And you get a frisson that you have truly arrived in Paris because its Le Relais restaurant is the work, play and cutting place of the Parisian elite. If you want to form a new political grouping or gather key players together for a new deal, this is the place where your plan will likely be hatched, matched and dispatched. 

Having said all that, arriving in my suite, it wouldn’t have mattered if the hotel had only ever housed tourists. The living room of the suite, on the corner of avenue Montaigne, looks directly down the street, across the river, to the Eiffel Tower. Like the best views, it changes through the day, dusk and night to create a different illusion. By day, the tower is a glowering metallic structure. At night, illuminated and with lasers pointing from it as if it’s a gun turret in an old video arcade game, it feels otherworldly. 

The charming La Cour Jardin, designed by Bruno Moinard

The furnishing in the suite is determinedly classical. So much so that it has very much come back into fashion. You have a reception room big enough to hold a cocktail party for 30; there is a baby grand piano in the anteroom and bathrooms for guests of the hotel’s guests. 

Read more: Hotel of the Month: The Lygon Arms, the Cotswolds

My favourite moment? After dinner, a glass of Louis Roederer champagne at an outside table on La Terrasse Montaigne. For an evening, at least, I could have been a member of a Parisian “grande famille”, enjoying a nightcap at their local bar. Altogether a priceless experience at the Plaza. 

Find out more: dorchestercollection.com/en/paris/hotel-plaza-athenee

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Image courtesy of Rosewood Hong Kong

Adrian Cheng is a leading tastemaker, founder of cultural-retail destination K11 MUSEA, art collector and investor in innovative companies. Here he outlines brands catching his eye for 2023

Jewellery

Image courtesy of K11 MUSEA

Brands that bring creativity and self-expression to the mainstream always attract my attention. That is why I find L’ÉCOLE School of Jewelry Arts interesting. Starting in Paris and now expanding into Hong Kong (at K11 MUSEA, above) and Shanghai, their studios provide amazing courses for people wanting to learn and create jewellery in all forms.
lecolevancleefarpels.com

Fashion

Image courtesy of Keystone Press/Alamy

Like many others, I’m watching Schiaparelli (above, in 1978), to see what happens next. Having met creative director Daniel Roseberry and hearing about his love of savoir-faire and mixing old and new, I’m really excited to see how he continues to evolve the brand. I have a feeling there are many exciting things to come.
schiaparelli.com

Image courtesy of Reuters/Alamy/Benoit Tessier

AMI Paris is a brand to keep an eye on as it rapidly expands. I love its mix of casual and chic – it’s so great for everyday wear. The brand has a mission to make luxury fashion accessible and that really resonates with me, too. I’ve also been very impressed with its collaborations with Moncler and Eastpak.
amiparis.com

Retail

Image courtesy of Stephen Grant/Alamy Stock Photo

I’m a huge fan of Arbikie’s whisky (above), which is grown, distilled and bottled on a Scottish family farm with a 400-year history. The distillery is fairly new, and it is making waves because of its ‘field-to-bottle’ approach. Sustainability is very important to me. Plus, the flavour is second to none.
arbikie.com

Image courtesy of Keystone Press/Alamy

I’m always on the lookout for what’s hot in the tech industry. I’ve been really impressed with the London start-up VITURE. The brand’s VITURE One are XR smart glasses with a virtual screen so you can discreetly stream and game while wearing. They are super lightweight (and look just like classic sunglasses, which I like). I am a sucker for anything that combines fashion with technology.
viture.com

Image courtesy of AJL Photography Ltd/Rosewood Phuket

Asaya Wellness is a concept by Rosewood Hotels that the group is expanding across its properties, including Hong Kong. It combines therapies, meals and experiences to support physical and mental wellbeing. I may be biased, as Rosewood is family-run, but its Chi Nei Tsang treatment in Phuket, Thailand is mind-blowing.
rosewoodhotels.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

One of the hotel’s garden suites

The Jumeirah Carlton Tower is a London legend, recently lovingly refurbished. In an unmatched retail location in Knightsbridge, can it regain its 1960s glamour? Darius Sanai checks in to our Hotel of the Month

It’s peak pre-Christmas shopping season and the Jumeirah Carlton Tower is a short stroll from Harrods and Harvey Nichols and basically inside the Sloane Street branch of Hermès, preferred by locals to the Bond Street boutique for its more thoughtful buying. It’s also a dash from the Hyde Park Winter Wonderland.

What’s the lowdown?

Fashion week tribes all have their favourite hotels, and it’s safe to say that until the pandemic, the Jumeirah wasn’t on their radar. It was more old-fashioned luxury where international visitors sipped tea in the lounge while their kids came back from shopping at Hermès next door. All that changed with the biggest refurbishment in the hotel’s 60 year history, which happened during the lockdowns.

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Everything from the bar, to the public areas, to the restaurant, spa and rooms, has been recreated with a contemporary eye. That in turn refocusses attention on the standout points the hotel always had, but which became lost as its original star faded. It’s in Knightsbridge, right on Sloane Street, but overlooks a peaceful garden square and has views across the city from all sides, unlike any of its competitors. It has the biggest and best indoor pool in London, and, did we mention, it’s right next to Hermès?

Al Mare Restaurant

The new Italian restaurant, Al Mare, takes the superstar corner position on the angle of Sloane Street. It’s a big, light, airy, New York midtown type of space, and it’s been transformed into a casual chic venue with just the right mix of both, like a grown up Soho House. We recommend one of the booths by the window, and picking from the imaginative and light options from the menu, like tuna tartar with oscietra caviar and ponzu – though there is plenty of comfort food also (we enjoyed a rigatoni al tartufo after a long night out).

You don’t need to go out though, as the hotel’s bar has been pole-vaulted into the top tier of London bars courtesy of an all-star bartending team and some very original cocktails, and relaxed, cool decor.

Getting horizontal

Our suite had a view along the length of the garden square, where we could see locals walking their dogs and children, from a great height: and across the rooftops to the whole of London, from the Battersea Power Station to the City. Even more striking were the bespoke touches: a Berluti shoe polish kit, slippers and products all monogrammed for us, as were the pillowcases. Delightful and very relaxing.

Read more: A tasting of Dalla Valle wines with the owners

Even more relaxing were the new poolside cabanas, replete with an excellent selection of magazines (including LUX). Given the conservatory feel of this huge indoor pool, on a sunny day in February you could settle down and pretend you were, well, somewhere sunny.

The spa and swimming pool

Flipside

Staying at the Carlton Tower doesn’t have the bragging rights of nearby hotels like the Berkeley or the Lanesborough, but we feel that is going to change quite fast.

Rates: From £750 per night (approx. €900/$1,000)

Book your stay: jumeirah.com/london/the-carlton-tower

Darius Sanai

The Clos de Tart buildings and vineyard rising directly behind the local village

A celebrated winery is acquired by one of the titans of the luxury industry. After a subtle transformation, Clos de Tart emerges with refreshed ancient buildings and upgraded winemaking. Darius Sanai visits François Pinault’s flagship estate in Burgundy. Photography by Martin Morrell

In the heart of the little village of Morey-Saint-Denis in eastern France, next to the old church and across the road from the boulangerie, is a very old, important-looking building with an archway entrance and an arched window set high in the facade, a cross-shaped window above. The village ends at this building, and beyond it are rows of vines, striped laterally across a hillside rising to a forest above.

The cross above the arched window, a reminder of the Cistercian nuns who ran the estate for centuries

This building is the winery of the Clos de Tart, a name close to the hearts of wine lovers, who for centuries have prized the Grand Cru Burgundy red wine made here in the vineyard behind. The vineyard itself is a monopole, an area owned by one single owner, itself a rarity in Burgundy, where patches of land are often split into strips for different owners.

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The Clos as we know it was founded in 1141 by winemaking Cistercian nuns, who ran it until the French Revolution in 1789. Their manual press, carved from wood like a giant olive press, is a highlight of any visit to Clos de Tart. The estate became even more celebrated in 2018, when it was bought by the Pinault family through its holding company, Artémis Domaines. Owners of Château Latour and Christie’s auction house, the Pinaults are also the second most powerful force in the luxury-goods group through a majority ownership of Kering, the group owning Gucci, Saint Laurent, Balenciaga and many other premium brands.

Views of the vineyard

Four years after the estate changed hands, I am sitting with Frédéric Engerer, CEO of Artémis Domaines and the man in charge of all the Pinault’s wine holdings, in an upstairs room in the winery, above a little courtyard, facing the vines. A refurbishment of the winery buildings has just been completed by Paris-based über interiors architect Bruno Moinard.

Details from the refurbishment by Bruno Moinard

The highlight of this gentle revitalisation is a tasting room on the upper floor of the main building, with windows looking out to the vines and trees beyond – a contrast to Burgundian lore that dictates that even the best wines are tasted in a damp, dark cellar with a view only of barrels.

Details at the estate

We are speaking ahead of a little concert planned at the winery that evening, featuring an octuor (octet) of musicians drawn from the Berlin Philharmonic and leading orchestras in France, an elegant celebration of the completion of the works. The Clos de Tart estate is another jewel in the crown of the Pinault family.

The refreshed cellar, photographed by Isabella Sheherazade Sanai

Quite aside from its holdings in luxury goods and art, its wine group now comprises one of the great estates of Bordeaux, in Château Latour; two Burgundy estates (Clos de Tart and Domaine d’Eugénie), the leading white-wine estate in the Rhône (Château Grillet) and a highly respected champagne house, Jacquesson. What next for Artémis Domaines, I ask?

The vat room containing the precious vats of Clos de Tart’s red Burgundy wine

After a raised eyebrow and a shrug, Engerer offers a little hint. “In Burgundy, we are so happy to be here in Clos de Tart, but we have only red wine with both Burgundy estates, so rebalancing the two colours a bit would be amazing. In the Rhône it is the other way around – only white…”

Views of the vineyard and the restored buildings at Clos de Tart

We should keep tuned for developments, it seems. Lovers of Clos de Tart should be in for a treat because the aim is to make one of Burgundy’s great wines – albeit one that doesn’t achieve the prices and desirability of its most famous labels, like La Tâche or a top Grand Cru Chambertin – even greater. But Engerer also wants to speak about the wine being made now.

Aspects of the revitalised tasting room and Old Press Room

Ever methodical, he first talks about the potential of the raw materials: the grapes grown in the 18.5-acre rectangle that is the Clos de Tart vineyard, just above us. At the foot of the slope, he says, “you have this reddish soil, it’s not very deep and there’s a lot of limestone underneath. And this makes the wines very delicate, very complex.

The tasting room and Old Press Room are a pinnacle of the estate’s elegantly simple renovation

There’s probably more complexity on the north side and a bit more structure on the south side. But even with those north/south differences, you move up the hill and the slope becomes much steeper at mid-point, and then you have deeper soil, and that’s where the sun heats the vines more and gives you a style that is richer, deeper, generally ripening a little bit earlier, with more muscle. And the muscle is even stronger when you go south than when you go north.”

Modernisation of the historic interiors by Bruno Moinard,

If that all sounds a little mind-boggling, it is, and Clos de Tart’s new guardians are in the process of working out just what potential they are sitting on. Engerer says a key development in the revived winery is the ability to make wines from small individual parcels of vines in the different positions in the vineyard, all the better to judge the balance of the final blend.

Viewpoints of the historic interiors, refurbished by Bruno Moinard

For the wine lover, the difference is in the tasting. Clos de Tart has always been a great Burgundy. But that evening, after the magical concert and as a sunny evening turned into a deep blue night, guests tasted some of the great vintages of the past, including 1990 and 2005.

A selection of vintages of Clos de Tart Grand Cru wines

We were also given a tasting of the first vintage made by Engerer’s team, headed by winemaker Alessandro Noli: the 2019. Just three years old, this should have been shy and immature compared to the past greats, but it just seemed like a more layered, more precise, more delineated and more delicious progression of the same elements.

Read more: A Tasting of the World’s Greatest Champagne Houses

Apparently, as the team understands the natural resources they have on their hands more with each year, things will only get better. In the meantime, we are more than happy to settle for a few cases of the 2019, ideally sipped over a rendition of Mendelssohn by eight talented musicians from the Octuor Éphémère, with the slopes of the Clos de Tart as a background.

Find out more: www.clos-de-tart.com 

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Alice Audouin at the Art of Change 21 office

The Paris-based polymath has spent nearly 20 years enabling an ecosystem in which art and environmental concerns meet in meaningful and magical ways. Alice Audouin tells LUX about supporting a new generation of artists who invite us to consider nature via work of intense imagination. Interview by Anne-Pierre d’Albis Ganem

LUX: How would you describe yourself?
Alice Audouin: I work in contemporary art and sustainability as a curator and consultant. I’m also chair and founder of the not-for-profit organisation, Art of Change 21, which supports emerging eco-conscious artists via exhibitions and prizes. We bring artists to each COP conference; for COP26 in Glasgow, 2021, John Gerrard created Flare, about the ocean burning.

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LUX: What are you up to as a curator?
AA: In September 2022, I curated an exhibition in Brussels at the Patinoire Royale Galerie Valérie Bach, connecting art and environmental issues, and a major show of Lucy + Jorge Orta, marking their 30-year anniversary. My last show was ‘Biocenosis 21’ in Marseille. We showed 14 global artists at the world’s biggest biodiversity meeting.

Views of ‘Novacène’, Lille, 2022

LUX: And there is the superbly titled ‘Novacène’.
AA: Novacene is a book by the late James Lovelock, the scientist who proposed the Gaia hypothesis, which was the first time scientists had said Earth is a kind of living creature. We were inspired by his predicted utopia of the Novacene, a new era of cooperation between nature and human, aided by technology. It follows the current geological era, the Anthropocene, during which human activity has changed the climate. We have created a group exhibition that runs till 2 October at the Gare Saint Sauveur, Lille. Our 20 artists include Julian Charrière, Otobong Nkanga and Zheng Bo. ‘Novacène’ looks at ideas in technology, interspecies relationships, energy and agriculture – a kind of new world I designed with my co-creator, Jean-Max Colard.

LUX: You also contributed to Art Paris 2022.
AA: I was invited to be a guest curator on art and the environment. It was a chance to show how, for the new generation of artists, the eco crisis is not just a theme but part of their world.

LUX: Was this momentum there when you began?
AA: I started my work in 2004 at UNESCO with ‘The Artist as a Stakeholder’, so I’ve been doing this work for 18 years. When I began I had 100 artists and it was difficult to find artists who considered global or environmental issues, but now I have 2,500 artists in my database. I was in a position to witness change, which I think came to the art market maybe five years ago.

Alice Audouin with curator Alfred Pacquement at the Art Paris Art Fair, 2022

LUX: What is the artist’s role in the eco crisis?
AA: I don’t like to say artists should have a role. Their role is to be artists. But many conceptual artists, or artists who deal with their epoch, will cross environmental issues. Of these, many like to bring awareness, even solutions. Lucy + Jorge Orta purified water in Venice, pushing the idea of art with pieces that propose solutions. When they sell a drawing about the Amazon, the collector receives a certificate of a kind of moral ownership of 1sq m of forest. So they consider biodiversity as well as buying a drawing.

LUX: The artists involve people.
AA: Helping us think about our era – how we consume, our relation with time, resources, values, geopolitics – is very big now. Noémie Goudal works with paleoclimatology and proposes we reconnect our short individual time on Earth with long geological time. That’s important, because her art is also one solution to our relationship with nature.

LUX: Should artists not use plastic?
AA: We will see a revolution in materials. Tomás Saraceno, Gary Hume and our patron Olafur Eliasson are finding solutions to making – and moving – art. In-situ production is growing, too. For ‘Novacène’, two artists in Asia with complex installations gave us guidelines and we made them by distance. But I want to add caveats: if we over-reduce the means of artists’ production we will just have dead wood from a forest. If you say concrete is bad let’s drop it, you lose works. So we are in a transition period, as we look for green alternatives.

Views of ‘Novacène’, Lille, 2022

LUX: Tell us about biomimicry.
AA: It’s the idea nature provides and inspires. New art materials, such as mycelium mushrooms and algae, come from biomimicry. Chloé Jeanne, a laureate of the 2021 art prize I did with Ruinart, creates eco materials that are a kind of living creature. It involves the idea of care that, again, a collector continues. Eco design further explores how to create not only from the living but with the living. Tomás Saraceno’s Hybrid Web sculptures, for example, are co-created with spiders; Olafur Eliasson talks of interconnection. Many artists’ utopia now is not to work alone and compete, but to be together to create and cooperate.

Read more: Artist Precious Okoyomon on Nature & Creativity 

LUX: When did your interest begin?
AA: I was far from nature as a child, and I studied art history and interned at a gallery. But then I studied environmental economics, after which I was hired by a bank for a sustainability project. They talked of stakeholders, and I thought why don’t you talk of artists as such? I knew climate change was huge and I believed it would manifest in contemporary art. And it did.

Find out more: artofchange21.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Perrier-Jouët Belle Epoque 2013

Champagne house Perrier-Jouët teamed up with the Rosewood Crillon and legendary chef Pierre Gagnaire in Paris for a series of evenings to remember on its 120th anniversary. You could almost smell the scent of the engraved wildflowers on the art nouveau bottles, says Samantha Welsh

In a world where luxury brands are digging up whatever tenuous historical links they can find to burnish their heritage, it was both reviving and exhilarating to be at the 120th anniversary of something very tangible. In 1902, botanist and artist Emile Gallé decorated a magnum of Perrier-Jouët champagne with a spray of Japanese anemones, to symbolise the stylish, floral freshness of the wine inside.

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The anemones became both the calling card of the champagne house, and a lasting symbol of the art nouveau influence on the flourishing Paris of the Belle Epoque, the first decade of the 20th century, when art and culture and gastronomy flourished in the French capital. In due course, Perrier-Jouët created its prestige cuvée – its luxury champagne – carrying the Belle Epoque name and the anemone engraving, and the rest is history, particularly for lovers of its poetic, natural, and complex yet subtle style.

Nature is at the heart of the champagne house’s narrative

Now, 120 years after Gallé first created his design, Paris is once again flourishing as a centre of arts, catalysed in part by London’s exit from the European single market. And nature is once again at the centre of the luxury narrative, as the value of natural capital and the importance of nature-based initiatives become increasingly apparent in an era of climate change.

Meanwhile, two things haven’t changed: Paris is still the world’s centre of gastronomy, and the Crillon, now the Rosewood Hotel Le Crillon and run by the sophisticated, Hong Kong based luxury hotel group headed by aesthete and entrepreneur Sonia Cheng, is still its most spectacular address.

Pierre Gagnaire and Boris Campanella

So it was apposite that we – champagne connoisseurs, art collectors, thought leaders and media – gathered together at the Rosewood Le Crillon to celebrate the 120th anniversary last week. At a dinner cooked jointly by Gagnaire and Rosewood Le Crillon chef Boris Campanella, we started by selecting our own, personal, Belle Epoque era glass from an array of beautiful vintage glassware arranged on a table. We then bespoked the engraving on our own personalised bottle of Belle Epoque, from a choice of anemones, petals, butterflies and bees. In terms of the celebration of biodiversity, Perrier-Jouët was exactly 120 years ahead of time. (It also owns the largest private collection of Art Nouveau furniture and collectibles in Europe.)

Celebrating the 120th Anniversary of Perrier-Jouët

The maison is very current as well, as the artist it collaborates with this year, Garrance Vallée, has created works showing the diversity and importance of nature, “Planted Air”, exhibited at a nomadic exhibition in Paris this month.

Read more: Thought leadership at the Cliveden Festival

None of this would have mattered had the champagne itself not been of the highest quality. But it was sublime, and the only challenge was – which do you prefer? As a standalone, one could only admire the purity, freshness, and breadth of the 2012 Blanc de Blancs Belle Epoque. But as a collaboration, when you have Gagnaire and Campanella in the kitchen, the pairing of the 2012 Belle Epoque Rose with dessert was, well, art.

Find out more: perrier-jouet.com

Entrepreneurs, historians, politicians and cultural leaders came together at the annual Cliveden Literary Festival, a weekend event that nourishes and inspires the mind, and the importance of informed perspectives

Literary festivals are proliferating: in the UK alone, there are more than 350 annually, one for each day of the year. But quantity does not mean quality; serious writers need to spend time on their books, not attending endless panel discussions. Last weekend our sister publication, the Oxford Review of Books, took part (courtesy of the hosts) in the Cliveden Literary Festival, the most bijou and sophisticated of British book events.

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Set in an imposing country house which historically played host to some of the world’s leading literary and society figures, Cliveden is as much a thought-leadership event as a literary one. Panellists and speakers included Michael Gove, the peripatetic British politician who is demonised by many opposed to Brexit, but who is also one of the most effective and thoughtful government figures of the past decades.

Michael Gove

The historian Andrew Roberts, now Lord Roberts, spoke about his new biography of Lord Northcliffe, the man who gave us the Daily Mail; visionary Oxford history professor Peter Frankopan was as compelling as ever; Brian Cox spoke about Succession (did we detect a little respect for his character, media tycoon Logan Roy, from the masterly leftwing Shakespearean actor?); entrepreneur Luke Johnson was scathing about governments and business; and Yana Peel, former Serpentine gallery director and now Chanel art suprema, extrapolated on contemporary art. Other topics included Ukraine, China and India (together), and the continuing significance of ancient Rome, on which author Robert Harris was compelling.

Merve Emre, Sebastian Barry, Ben Okri and Susie Boyt

Thought leaders should not all think alike, and the sessions were enlivened by disagreement: Johnson challenging Gove over government policy (a clear win for Johnson in terms of commercial logic, but Gove has been a world-class debater for four decades, so we will call it a draw); and an unidentified audience member challenging the always-erudite Frankopan on a point he made about Elon Musk.

Edward Enniful

The audience at Cliveden is as high-powered as the panellists, and while we can’t identify the questioner, he looked as though he ran numerous corporations through his private equity fund, and enjoyed a good yacht in the summer. For those amazed at the temerity of a mortal challenging the Oxford University Professor of Global History, it turns out both of them were right: Frankopan had correctly quoted a decision announced the previous day by Musk, but the audience member was more up to date, as Musk had reversed his decision that morning.

Brian Cox

At the end of each day, rows of chauffeur-driven cars lined up at the grand driveway of Cliveden to whisk audience members home, while panellists and some guests stayed at the grand country house, amid its parkland. There is no filler at the Cliveden literary festival, no second-raters, no random poetry recitals, no childrens’ entertainers. The founders are graduates from Oxford and Cambridge, an author and a historian, and their intellectual focus is evident.

Read more: Audemars Piguet Contemporary’s Paris Debut

Perhaps a little more consideration could have been given to the hottest topic in thought leadership today, enterprises that are attempting to change the world for good (or “profit with purpose”). And it is all a little friends and family, a little cliquey – in one session, all three panellists, the moderator, the audience member asking a question and this writer observing from the back, were all contemporaries at Oxford. But that is where the power and influence lies, and they come to Cliveden.

Wesley Kerr, Tina Brown, Robert Hardman and Camilla Tominey

In a world where this is too much information and too little thought, Cliveden is a thoughtful curation of the right kind of information, from the people who create it. There is nothing else quite like it, and for maximum enlightenment we recommend booking early for this boutique festival in its idyllic setting next year – and we have told the organisers that they need to do more festivals, perhaps in Paris and New York.

Darius Sanai

Find out more: clivedenliteraryfestival.org

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet

Samantha Welsh enjoyed a preview of Audemars Piguet Contemporary’s first superscale commission in Paris, ahead of the new Paris+ art fair this week

For the last decade, the world’s oldest family-owned watch manufacturer has been projecting its legacy and engaging with new audiences through art patronage. Plus ça change, you might say. But in true Audemars Piguet fashion, ‘To break the rules you first have to master them’ and the curators select challenging artists who provoke discourse, promote engagement, assemble an ecosystem. Lending support from inception through development to exhibition, APC nonetheless confers on its artists full rights of ownership to their work and this artistic licence produces ground-breaking art.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

In Andreas Angelidakis, APC turned to an LA-trained architect-turned-artist of Norwegian-Greek heritage who is gay and takes a playful approach to excavating shifting perspectives and societal dichotomies.

Follow LUX on Instagram: luxthemagazine

In an artful curation of artist with venue, APC opted for Espace Niemeyer, former HQ of the French Communist Party and oeuvre of futurist architect, Oscar Niemeyer. Venue and exhibition are a conceit, Angelidakis’ installation being a reimagined Temple of Zeus of artefacts nestled matryoshka-doll fashion inside Niemeyer’s structure, itself a UFO-like 11 metre high dome, accessed via an excavated trench to basement level.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

All this is a metaphor for the visitor’s immersive deep-dive into the personal memories, experiences, mythologies of the artist. Angelidakis points to the subversion of truth through rumour, encouraging us to discern propaganda, celebrate diversity, embrace change.

Andreas Angelidakis, Center for the Critical Appreciation of Antiquity, 2022, Commissioned by Audemars Piguet Contemporary. © Courtesy of the artist and Audemars Piguet.

The visitor regresses, childlike, into kaleidoscopically spotlit multi-worlds of ‘let’s pretend’, learning through play by interacting with outsize art-devices. A quasi story-time on the book-chair, a lesson in apocryphal urban myth (or is it reality) conveyed through the story of the stylite and the column, roomsets of soft-play ruins, a fairground mirror revealing us as others see us, and windows onto VR.

Read more: PAD returns to Berkeley Square

Emerging, blinking, back onto an ordinary Paris street, APC shows us that like mechanical watches, art tells you about more than what you see. Both need emotional intelligence and experimentation to be successful.

Find out more: www.audemarspiguet.com/adreas-angelidakis 

Studio detail with glitter tondo. Photo by Maryam Eisler

LUX’s Chief Contributing Editor, Maryam Eisler, visits Peter Dayton to photograph and interview the East Hampton-based artist at his studio. Here, Dayton speaks about the intention and ideas behind his artworks as well his relationship with Peter Marino and Chanel

Maryam Eisler: What lies behind the eye candy, the glitz and the glitter?

Peter Dayton: I feel like I’ve reached a kind of pinnacle where it’s just about incredible celebration. And, it’s interesting to me because I don’t always want to make work that looks really good. And somehow this glitter thing, which really shouldn’t have worked, is in fact working. By taking everything out of the picture including figuration, I feel like I’ve really got something that has a lot of meaning.

Right Blue Wave, 2022. Left Magic Carpet Ride, 2022. Photo by Maryam Eisler

ME: What’s even more interesting is that you are not staying shy of beauty, something we don’t see much of in the art world these days.

PD: We’re in a new art world. And, you know, to me, beauty is the law. I do it intrinsically. It just happens. I’ve always been a little left of centre because of that, and it just isn’t on the surface. It’s deep. Peter Marino saw immediately that I had a gift for this ‘beauty thing’ and he just took me under his wing. That’s how and why my association with Chanel has been so great.

The Rockets, 2016-2018. Photo by Maryam Eisler

ME: Has the act of ‘glittering away’ all day every day scared you in any way?

PD: It’s a little scary. Yes, because I’ve been spending the past 12 months just doing glitter and, you know, there are bills to pay. But I do feel like there may be a super happy ending to all this. Or, better yet, a happy beginning!

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ME: I was taken by your choice of words and thought association; you said ‘It’s time for celebration!’ This is a positive outlook, also rare these days.

PD: Well, the negative is so real right now, but let’s face it, this isn’t like the bubonic plague. You know, I don’t want to intentionally make people happy, but I do want to give them a chance to choose happiness. So, I make these paintings. The time feels right for it.

Studio wall detail, Too Many Planets, 2022. Photo by Maryam Eisler

ME: I’m also interested in the idea of space and place. I know you’ve been coming out to the East End [of Long Island] since 1975 and started living and working here full time in 1988. Have things evolved a lot since then?

PD: Yes, there’s been a lot of evolution out here. On a personal level I got married and started a family. And East Hampton as a town has certainly evolved – it used to be dead in the winter. As an artist it was total evolution. I’d been studying art since I was 12 and then ditched art to play punk rock. I basically reinvented myself as an artist out here after living in Paris for couple of years making music.

Portrait of the artist. Photo by Maryam Eisler

I also happen to love de Kooning, and I love Pollock; I love the idea of all that is anchored here- even before I was aware of all this, when my mother moved here all those years ago and when I started coming here from Boston where I was studying at The Museum School. I always thought, ‘my Lord, this place is beautiful.’ And then I understood the special light that’s out here. I think De Kooning called it ‘double light’. It relates to when the sun reflects off the water, back up into the sky! I don’t harp on it, but, you know, it is very important.

Noland, 2014

ME: In your work, I see surfboards. I see flowers. Where do they coincide?

PD: Good question! The flowers started because I had been doing music professionally for ten years, and then I burnt out completely. I went to Paris for six months to find myself and I stayed for three years. And it was fabulous. And I did find myself. ‘Myself’ was somebody who wanted to grow old in his studio, making pretty pictures – but pretty serious pictures too.

Too Many Planets, detail 2022. Photo by Maryam Eisler

The ‘flower’ phase started because I thought to myself, I missed the eighties. It happened by chance. There was a construction site behind my mother’s house. I saw a big dumpster. I went to the dumpster and I looked in. There were hundreds of House and Gardens from the 50s, and I thought, ‘Oh, wouldn’t that be so weird if I made flower collages out of old magazines and seed catalogues’? In a way it was this kind of totally ‘immature-ish’ thing you know, the kind of craft that grandma would do at the kitchen table. So I made one. And that’s when I first showed that work with Paul Morris in 1994 in Chelsea when the area was just starting. There was a really big splash about the work and it went really well. That’s also when and where I met Bob Colacello and where Peter Marino came in. Bob was so supportive right away. The show was more successful than I could have imagined.

Camellias for Chanel, 2005. Photo by Maryam Eisler

ME: Historically, with the collages, there was a process of appropriation of others’ images which when rearranged, became your own. With these new glitter paintings, however, it’s your own hand at play.

PD: The cut-up method borrows. Taking pictures from a source that you shouldn’t be taking them from and turning it into something – in my case, into something that was weirdly beautiful.

Surfboards by Barnett Newman, #4 New Generation

ME: And if it’s good enough for Chanel, it should be good enough for most! Tell me about your relationship with Chanel over the years.

PD: It’s been great. Peter [Marino] was collecting my work early on and doing things with private clients and for himself, too. He’s been supportive all the way. It must have been at least 12 years ago that he contacted me and said, ‘I want you to do the interior of the elevator for the 57th Street Chanel store’. And I’m saying,’ sure, I’ll do that’. So I made a map card of all these small Camelia collages. I showed that to him and that’s how he designed it. And then I did one in Beverly Hills. And I think that one is still going. I also did one for the Peter Marino Foundation recently, which is amazing as it’s permanent.

Studio detail, Northwest Coast Surfboards, and glitter paintings. Photo by Maryam Eisler

ME: It seems like you are highly influenced by the lifestyle of this area, in particular anything that has to do with surfing. You then associate your ‘surfboards’ with known art world figures. Please tell us more about this.

PD: I feel like all the artists from the early 50s all the way to pop art were acting with a lot of swagger and they were just doing these minimal paintings that were so challenging. And I have always equated them with surfers, those who go out there by themselves and ride these giant waves. So, I just put the two together. What they did was like a sport. And very physical. And there’s also the American cultural idea of surfing. I’m not a ‘surfer’ but I am a water person. I boogie board and belly board and all that stuff. There’s also that idea of great freedom in the water.

Portrait with glitter paintings. Photo by Maryam Eisler

ME: And it all started with Barnett Newman?

PD: Yes, when I saw his painting in the Met, ‘Concord’. There are two pieces of actual tape, which I think he left in the painting. But if he didn’t, he taped it off and pulled it off. I forget. And I said, ‘Oh, my God, that’s the stringer on a surfboard’. Because every surfboard in the centre has a piece of wood running through it for stability so it doesn’t snap in half easily; and I just found that fascinating. So, I went ahead and made one exact copy of the painting, kind of green, and put his name on it. And I remember Robert Rosenblum was alive then. And he said, ‘Boy, these are really odd, Peter. I kind of see what you’re doing, but I’ve never seen this before’. And I thought to myself, ‘Well it must be cool!’

Surfboards by Barnett Newman, custom made decal, 2008

ME: Who are your other icons?

PD: Gene Davis. Which is the striped one, he did multi-coloured geometric stripes on canvas. I’ve also done Ken Nolan and Frank Stella. In all cases, I’ve done a facsimile of their works and superimposed their names into the actual surf decal. Dewey Weber is placed in the same script as Barnett Newman. So when a surfer sees that detail, he goes, ‘Oh my God, Dewey, Who’s Barnett Newman?’ Because I also equate the artists in their large studios in Soho all by themselves, smoking cigarettes, staring at these giant paintings with guys in California, making surfboards in their garages; they’re all kind of doing the same thing. Even though one is super high culture and the other is not, they’re kind of the same thing.

Surfboards by Gene Davis, 2007, collection Carl Bernstein

ME: But that’s what Warhol did- marry high and low culture so seamlessly.

PD: They come together. They always do.

Read more: An Interview With KAWS

ME: You were once part of this band called ‘La Peste’ out of Boston. Music is a different form of expression, but it’s still part of your own language, your identity…two complementary worlds, would you agree?

PD: Yes, I still have the guitar to prove it! And there’s great new interest in my band, maybe even a double album coming out next year on a label in Brooklyn. It’s really exciting. It’s been 45 years …

Studio Wall. guitar with glitter. Photo by Maryam Eisler

ME: Talk to me about your relationship with Peter Marino. He’s been a patron of your work.

PD: Peter’s a genius and it’s a privilege making work for his projects. He’s incredibly knowledgeable about absolutely everything that has to do with art, architecture, music – a total renaissance man. I’ve never met anyone who knows that much and can articulate it in front of you at any given moment. He’s a patron to a number of artists and his support has been so important to me. Working with him is great because he gives me great freedom to do what I want to do and that’s all an artist could ask for.

Studio work table with glitter and brush. Photo by Maryam Eisler

ME: A final comment from me: I could practice yoga in front of your paintings and just wonder with my eyes. Such serenity!

PD: Thank you. I think the glitter is here to stay, for the world to enjoy. Even though the refraction of light is so busy, there’s a certain calmness to it all. That’s probably what you feel. So I invite you to sit back, relax and lose yourself in it all day!

Find out more: peteredayton.com