In the second of our winter season series on luxury hotels in Switzerland, LUX visits luxury gems in Geneva, Zurich and Lucerne, and destinations new and old high in the Alps. Next up: The Grace, St Moritz reviewed

No mountain resort in the world has the same quality or quantity of proper luxury legacy hotels as St Moritz – in fact the resort high in the Engadine Valley rightly claimed to have invented luxury mountain hotels in the 19th century. And it has remained that way ever since, with no additions to the luxury portfolio for many decades.

Until recently, until the opening of the Grace.

The new hotel, built just above the station and the resorts’ lake which is the home of some of the world’s most glamorous winter activities, has quite a challenge: to attract the attention of the super wealthy heritage crowd who have been coming, winter and (sometimes) summer, for generations, and are used to formal splendour of the existing portfolio, whilst attracting a new crowd of next generation wealth who have travelled more broadly than any of their predecessors and know what luxury looks like in Indonesia, Chile and Miami.

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Sweep into the Grace, and your first impression is that they are doing a pretty good job of it. There is, as in all these type of hotel, a big, high ceilinged lobby area with tall windows affording of view over the lake and forest, but it is not staffed by suited waiters, it has a more, contemporary private members club field, with art works on the walls and contemporary arts and design books on the tables. 

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Walk a few metres along and you get to the spectacular bar area, not a sideline here but a main feature with a long bar and tables arranged as if you are in a jazz club, which frequently you are – whilst we were there there was a modern jazz band playing all evening, a cleverly curated mix appealing to both generations. Far harder to do than to say it.

And that’s the beauty of the Grace. It’s not a hotel that has looked at its competitors and decided to do something oppositionally different, or hyper-contemporary to the point of being out of place. It is simply taking the mountain luxury specific to the area and moving it along.

The restaurant, relaxing in taupes and greys, looks out over the lake and the Alps; LUX enjoyed Hokkaido pumpkin, kingfish crudo with pineapple aguachile, and seabass in bouillabaisse sauce.

The rooms benefit from a few advantages of a new build: they are large and residential in feel, with big terraces and bathrooms, with more in the layout of the luxury apartment than a hotel and all the better for it.  

The spa, also newly built, is a standout with LUX enjoying a caviar balm treatment. Although we found the otherwise delightful 20m pool a little chilly at 26 degrees; we prefer a milder 29 degrees. 

We much admired the intriguing selection of art in public spaces – we feel there is a lot more potential here as St Moritz is becoming one of Europe’s art capitals – and a service style which is carefully calibrated not to compromise on old school Swiss quality, while dialling down on the formality. An excellent addition to the scene, and we will be back to the Grace.

https://www.gracestmoritz.ch

In the first of our winter season series on luxury hotels in Switzerland, LUX visits luxury gems in Geneva, Zurich and Lucerne, and destinations new and old high in the Alps. First up: the Four Seasons Geneva reviewed

In the world’s great cities there is a certain satisfaction that comes purely from being in the right location. That’s not necessarily the geographical centre of the city – we wouldn’t want to stay on Picadilly Circus in London or Times Square in New York. 

There is a physical location in each city that makes you feel that you are both at the heart of things and also looking at the best of where you are. That might be the Place de la Concorde in Paris; or Central by the harbour in Hong Kong.

In Geneva, arriving at the Four Seasons, you know you are exactly where you need to be.

The hotel faces across the point at which the banana shape of Lake Geneva, which extends east all the way into the Alps, contracts into the upper mouth of the river rhone, which then flows down through France all the way to the Mediterranean. Facing you across the waters is the old town of Geneva, above which rise the Alps and, on a clear day, the mighty Mont Blanc, the highest mountain in Western Europe, towering over you with its dome of snow year round. 

The feeling that you have arrived, with a capital A is emphasised by the greetings of the seemingly endless procession of staff as you come in, who magically know your name as they open the door for the first time. Four Seasons service at its best.

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Our room, a junior suite, looked out over the lakefront embankment to the view;  it had a lavish marble bathroom and a vibe that business leaders and aristocrats have been staying there for decades, if not longer. Even before Four Seasons took it over, the hotel was the city’s premier address.

Particularly attractive is that the embankment in front of the hotel is now pedestrianised, with the exception of cars to and from the hotel, meaning you don’t have to brave or hear the traffic between the hotel and the water.

Every city luxury hotel now needs to do so much more than provide comfortable rooms, a bar and restaurants and business efficiency. And while this Grand Dame of a building would not immediately be one that you associate with an urban resort, that is exactly what it is. 

Take the elevator to the top floor, wander down the corridor into the spa and up a staircase and you are at Izumi, a funky rooftop Japanese restaurant spread across two very casual, relaxing floors.

We visited in the cold season, but nonetheless on the roof there was a marquee with a pop-up Shabu-Shabu restaurant; all around it, in summer, the terrace becomes a lively cocktail bar with – an astonishing 360° view, across the city and lake to the Alps on one side, and to the mountains on the other. A special place, and on our evening, we headed downstairs to the light and vibey Izumi for a magnificent meal.

To start with, the hotel’s own all Chardonnay champagne, light, floral, rounded and so delicious that we decided to keep with it to match the meal. We loved the Jalapeño Karashi Miso, Quinoa Salsa, Sorrel Cress Chu Toro, the Black Cod tapas with Jalepeño miso, and the Tatsuta-age baby chicken.

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On our second night, we headed down to the bar, unusually in a light and airy salon-type room on the ground floor. This is a cocktail bar at its best – although it’s so popular you have to book – with slick service and some celebrated cocktails; and also a thorough bar menu, for an excellent evening with no need for dinner.

Almost equally memorable was breakfast, which took place at the Il Lago, usually the hotel’s gourmet Italian restaurant. This was a perfect combination of an extremely high-quality buffet with excellent à la carte options. 

Later that morning, we headed back up to the top floor to the spa where we had a very smartly devised Alpina Aroma massage.

Altogether very special, and you could also almost forget that you are actually in the centre of a historic European city with plenty of attractions all around, and of course the winter sports destinations of the Alps literally within sight. If you are flying to your skiing holiday via Geneva, a couple of nights at the Four Seasons, could be a lot more relaxing than activities and partying on the slopes above.

https://www.fourseasons.com/geneva/ 

Pamela Willoughby, photographed in 2002 by Dennis Murphy (photograph courtesy of Pamela Willoughby)

Brushing shoulders with the most influential people in the turbulent New York art world of the 80s, Pamela Willoughby, as an eminence grise within the Manhattan scene, experienced it at its subversive peak. Eccentric neighbours, a captivating graffiti coat, booze-heavy Penne a la Vodka and a hot tub in the back of a sports car remain stingingly acute in her memory, as do spaces filled by the hot artists of the time, from Warhol to Basquiat.Talking to LUX Chief Contributing Editor Maryam Eisler, she recounts the diversity of experiences and people that she encountered, reminiscing on the eclectic nature of the city. Now, she maintains her artistic passions as a consultant and curator in her home in the Hamptons

Maryam Eisler: Pamela, how did New York enter your life?

Pamela Willoughby: I left Malibu after many trips to New York City. It was full of musicians, surfers, and stars but I was interested in art. So was New York City. At first I stayed uptown at the Parker Meridian, and I’d go to the Russian Tea Room and Le Relais. Not right, so I moved to the Chelsea Hotel.

ME: When did you start going to the Chelsea?

PW: I think it was later in the 80’s.

The outside of Chelsea Hotel (photograph courtesy of Maryam Eisler)

ME: The Chelsea Hotel, an iconic location par excellence. Describe the mood at the Chelsea.

PW: It was very fun-serious.

ME: Who else lived there?

PW: George Kleinsinger, the Broadway playwright. His wife, Susan, had a small zoo in the apartment, snakes, turtles, birds, a garden on the roof with sunflowers, all flowers and many butterflies. Arthur played piano, and the music would fill the air. That’s just a little bit of what was going on. Berthold Brecht’s son and Viva the actress, writer and former Warhol superstar. Larry Rivers had revolving paintings in the lobby. Gregory Corso’s girlfriend Peggy. Virgil Thomson and his grand apartment, always holding court at El Quixote, the hotel’s Basque restaurant.

Richard Bernstein, whose technicolour work graced the covers of Interview Magazine resided on the first floor. Richard and I became close; we took walks around the corner to visit an old Irish bar. Being in the Chelsea, one would never know who would pop in, besides the old timers. Victor Hugo, Halston’s lover was a regular. Susanne Bartsch moved in shortly after I did, from Switzerland.

A family portrait of Gaby Hoffmann being held by her mother Viva in the Chelsea Hotel, by Claudio Edinger (photograph courtesy of Arthur.io)

ME: So, you were taken in immediately by this creative community?

PW: Happily.

ME: Tell me about your nights out on the town.

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PW: Susanne Bartsch had the chic clothing store in Soho on Thompson Street and I went crazy dressing in them. She took me out at first: ‘Darling, don’t bring any money with you, haven’t you heard of drink tickets?’ She had amazing clothes from an Englishman, Richard Torry, an iconoclastic designer at Vivienne Westwood. And after, he started his own label for Susanne.

My hair was down to my waist, hair extensions with gorgeous rags, wearing Richard’s dresses/ cashmere and suede – beautiful, outrageous things. Avant-garde performer, Susanne’s friend, Leigh Bowery would visit from London with his boyfriend Trojan, and we would all go out. Leigh was the quintessential example of pure flawlessness.

Richard Boch and Steve Mass, Mudd Club door in the 1980s (photograph courtesy of Richard Boch)

ME: Where were your favourite hangouts in the early 80s?

PW: Lots, The Odeon, Raoul’s….some clubs, here’s a story of one:

After meeting the infamous writer Jerzy Kosiński, he asked me to join him at the Mudd Club. So I asked Viva, a confidante, if it was a good idea and she strongly advised no. I asked her, ‘why not?’. She replied ‘He’s very naughty…’. Curiosity got the best of me. I went very late, loving the club, and took a liking to Jerzy – who was in big trouble at the time.

The Mudd Club, founded by Steve Mass, Diego Cortez and Anya, was the most cavernous space I’d ever seen. It was giant and legendary. Anita Sarko was the DJ in the VIP room, one of the first women DJs to hit the scene. Richard Boch was the doorman, and he was fabulous! Richard has chronicled this iconic nightclub in his book The Mudd Club. I also tip my hat to Kenny Kenny, Englishman and doorman par excellence.

Max Blagg reciting poetry with Ethyl Eichelberger at the Mudd Club (photograph courtesy of Max Blagg)

ME: Area was the other iconic club-  the perfect confluence of style, music and art. I remember it well.

PW: Yes, Andy Warhol, Jean-Michel Basquiat, Keith Haring, Bianca, Madonna, Jelly Bean Benitez… they were all there, and some participated in the installations, one being the iconic ART, (1985) which shaped a part of my being – it was work by Warhol, Basquiat, Haring behind glass, (as I remember), down a corridor as you entered.

Everyone in the world seemed famous. Everyone who was anyone was there, all up to complete mischief, much of it taking place in the bathrooms. It’s said Area’s inspiration was partly the Dadaism movement.

Jean-Michel Basquiat and Michael Holman at Canal Zone in NYC (photograph courtesy of Michael Holman)

ME: The galleries?

PW: Sonnabend, the Jeff Koons show, Banality –1988 / a white and gold porcelain Michael Jackson with Bubbles as one of the works, the Pink Panther… Mary Boone was across the street, after leaving Leo Castelli. Mary showed Jean-Michel after he left Annina Nosei. Julian Schnabel and Eric Fischl were also greats at her gallery.

ME: What about the Lower East Side? It’s so gentrified today but, in those days, I remember drugs and syringes everywhere, but the cool venues.

Jean-Michel Basquiat in New York City 1979 (photograph by Marcia Resnick)

PW: Everywhere! I took daily walks from the Chelsea to dream, be inspired by the graffiti and endless energy. I wore a long black leather coat and artists started using a sharpie to tag my coat. Haring, Scharf, Diaz, Basquiat. [Avenues] A, B, C & D.

ME: Is this how you got into the ‘inner circle’ by becoming a part of the scene?

PW: Maybe. I met Patti Astor of the Fun Gallery and just knew about other gallery openings.
While walking on West Broadway in that art covered leather coat one day, Warhol and William Burroughs, pointed me out, inviting me to meet them at Area the same night. That was pretty crazy.

Polaroid of Marcia Resnick, Andy Warhol, and Bobby Grossman at the Factory (photograph by Ronnie Cutrone)

ME: They just noticed you on the street? You had never met before?

PW: I’d never met them before…the right place at the right time, anything could happen those days.

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ME: Any other places?

PW: The Red Bar was a place I just had to go to. Rockets Redglare was the notorious and wonderful doorman character. The owner, Ralph, was from Vienna and a true innovator. One night he announced: ‘Andy Warhol is going to come and film – you have got to come, the next night is rehearsal’. I found a little white leather mini skirt and a short white fur coat, (we could do that then, apologies!) put on my Thierry Mugler heels and left for The Red Bar. We never saw Andy. He came incognito and filmed us, or somebody did. I was three sheets to a windstorm, because Ralph had been plying me with drinks. And all of a sudden, people saw it on his cable TV show 15 minutes. ‘Hey Pamela, we saw you on the Warhol show’. I watched and there I was, shockingly enough. Ralph thought it hysterical, and I shamelessly loved it.

Michael Holman and Nick Taylor for Gray, an experimental band founded in 1979 by Jean Michel Basquiat and Michael Holman. Original members include Wayne Clifford, Nick Taylor, and Vincent Gallo (photograph courtesy of Michael Holman)

ME: So you had your fifteen minutes of fame, as coined by Andy?

PW: Isn’t that something.

ME: Share with me an anecdotal story with Jean-Michel Basquiat.

PW: Rene Ricard fits into the scenario as we were friends; we would travel throughout the night sometimes. William Rand, the author-artist who wrote the great Rene: The NY Diaries would join often. Rene and I even put on a show featuring his work and poetry in Chinatown.

It was the late 80s. I moved from the Chelsea to live with my notorious friend, Hayne Suthon above The Pyramid Club. Rene and Jean-Michel set up camp in Tompkin’s Square Park which was then Tent City. They would drop by almost everyday to tell us stories of the night before. Rene discovered Jean-Michel as the story goes.

Lola Schnabel and Rene Ricard taken by Patrick McMullan (photograph courtesy of Lola Schnabel)

ME: Describe to me how you remember Jean-Michel.

PW:He was pretty mellow on the surface. He was stoned. I remember him drawing all the time. My friends and I would go to a bar on Ave. A., (The Betty Ford Clinic), most every night and hang late at night. I had a friend living upstairs, Jean-Michel was usually there, painting, drawing, getting high. He wouldn’t come down to the bar, but I would go upstairs when I felt like it, to see.

ME: What about Keith Haring?

PW: Keith was tagging, working, and throwing parties. He had an iconic show at Shafrazi’s on Greene Street in Soho. As we arrived, Grace Jones was on top of a limousine, dancing naked, painted and adorned by Keith. We went wild. Keith was so switched on.

ME: The one common thread between these guys was the breaking of barriers. Nothing they ever did resembled anything that had been done before.

PW: It was such an experimental time. Expressing ourselves, gay, straight, from all cultures and backgrounds. We used any form we felt like, out all night at the clubs, and importantly, style.

Pamela Willoughby, Andrea Purcigliotti, Tony ‘Buzzcock’ Barber The Pearly Queens & Kings, Deitch Art Parade (photo courtesy of Pamela Willoughby)

ME: How did you learn about events?

PW: Word of mouth and clever invitations.

ME: What about work ?

PW: I had a trust fund, when it ran out I became a chef. I threw dinner parties at home in Malibu and cooked. In New York it was the only thing I could think of to make money. After a stint on Martha’s Vineyard, I looked up the best chefs in New York, and unequivocally decided on top chef Jonathan Waxman of Jams, uptown. I walked in, mustering up my courage to speak to the chef. They needed help so I started that night. I would have worked for free for that job. For fun, after work we would go out with his buddies, Larry Forgione, Hubert, and Wolfgang Puck. Anthony Bourdain sometimes. We dashed downtown to the Palladium, Chinese restaurants, everywhere.

James Chance of The Contortions (photograph by Marcia Resnick)

ME: Food, art, music: these were worlds that meshed with each other creating a culture of its own.

PW: Absolutely. After leaving Jams, I met Dana Flynn and Kurt who were opening a small joint in Hell’s Kitchen named Trixies. After a lot of thought – well, maybe 5 minutes – I became the first chef there. No liquor license, not enough money. It was put together madly and beautifully for a song and a dance.  So much energy, starting with the unbelievable waitstaff. I was making birthday cakes for John Waters and Divine. Nightclub owners came before opening their clubs. The chefs came, and artists of course. We had an open kitchen in the back. I thought I’d be clever and put Penne a la Vodka on the menu to have a never-ending supply of vodka, which we would give to special friends – everyone – who hung around the kitchen, and that was funny.

Rene Ricard and William Rand by Anthony Gaskin. 1990 Lucky Cheng kitchen NYC (from RENE by William Rand 2022 Osprey Press)

PW: Harry Connick Jr was the house piano player; we were friends from New Orleans. Harry played with Mr. Spoons who had spoons all over him. That was such a scene. The waitstaff picked a nightly dress theme: Hawaiian skirts and outrageous inspired costuming.

There were great people: Rick Rubin, Leigh Bowery, Rudolph, Zaldy, Madonna. Top hairstylists came so I never had to pay for my hair. LOVED that. Dana dancing on tables in bullet bras and the highest platforms.

ME: Why did you leave Trixies?

PW: We got discovered. Press was all over it and it just exploded; we had to get a doorman to control it. It was hard to manage the kitchen with too many interviews. One morning I missed my spot on Good Morning America because, of course, I was dancing all night with Kurt, and then, I couldn’t do it anymore.

Klaus Nomi in New York (photograph by Marcia Resnick)

My other playing card was a possibility at M.K. I went to meet Rick, the chef there and he hired me to be his ‘other’ at night. I said goodbye to Trixie’s. M.K. was Eric and Jennifer Goode’s club, (after Area) which could be compared to the European clubs such as Bains-Douches in Paris. Goode had his art studio upstairs. Jennifer ran things. Eric’s art was shown throughout the club.

Ben Buchanan, the English photographer, chronicled the whole scene, a fusion society and art scene. Everyone was there.

ME: Would they hang with you in the kitchen?

PW: All the time. It had 18-foot ceilings and there were lots of parties for Matsuda, Comme des Garçons, and others. It was incredible who we would cook for: Harvey Fierstein dropping by from Broadway with a hello in the kitchen, John Lurie, Malcolm Forbes, Keith, Cookie Mueller — on and on. Mike Tyson arrived one night in his tricked out Lambo with a hot tub in the back.

David McDermott in 1978 at the New Wave Vaudeville show at Irving Plaza, New York City (photograph by Marcia Resnick)

I remember beloved Cookie Mueller and Lady Kier being there that night, with Anita Sarko, Haoui Montaug, Tony Shafrazi, and Beverly Johnson. We all watched him waltz in, wearing a white mink coat with a very long train, walking through the club like a king. Everyone cleared the floor for him; he was ruling. The funniest was him being followed by every society person as he strolled about everywhere.

ME: What time would you generally get home?

PW: 5am.

One day, I came in and it looked like the whole of downtown royalty was there, all naked. It was M.K.’s Christmas card photoshoot, with George Plimpton, to boot. Keith Haring would often come in for kitchen visits, with presents for us and signed prints. Sadly, he knew he had a finite time left on this earth.

Jean-Michel Basquiat (photograph by Marcia Resnick)

ME: The early 90s signalled the beginning of the end of a great creative period in the cultural history of the city. Can you comment on how AIDS put an end to all things creative and to the party scene?

PW: It seemed like the job to be done was to become an activist. We were in shock because our friends were dying. When Leigh Bowery died, it was sadder than sad. Cookie, Hauoi Montaug, Keith, it kept on going. We all loved each other so much. It was emotional, and we were young.

Read more: An Interview with Marian Goodman Gallery 

ME: I guess you could call it a sobering moment.

PW:  Indeed. We had to fight for our rights under the Reagan Administration, who completely ignored AIDS.  We were shocked seeing this unfolding in front of our very own eyes. Robert Mapplethorpe was a great loss.

Pat Place with a toy dragon (photograph by Marcia Resnick)

ME: So all this potential, all this unleashing of creative juices, just abruptly came to an end?

PW: Yes and no. Creativity always wins. I am an eternal optimist to this day.

ME: Was there a sense of guilt amongst the survivors?

PW: I don’t remember, exactly. The friends and activists I knew and know were angry. That was when the activism came into play and everybody went full on with it. Silence=Death was strong. There was no time to feel guilty in my opinion. There was just time to get on with it and try to help.

Pamela Willoughby by Billikidbrand

ME: And today? Where do you live and what are you up to?

PW: I have a place in the Springs NY, the artist enclave of East Hampton, where the light is brilliant, carrying the energy of every painter or sculptor who has worked and visited here.

I’m a curator and strategist with an art consultancy firm. I was asked to join the Arts Committee at LongHouse Reserve, helping a very special institution and sculpture garden.

It’s my very favourite place, now led by Carrie Rebora Barratt, formerly of the Metropolitan Museum and the New York Botanical Garden. The founder, Jack Lenor Larson, insisted that his garden, global collections, and programs would live on. Every July we hold a benefit gala with themes that are beyond imaginative, with inspiring honourees. In 2024, we honoured artists Kenny Scharf and Tony Bechara on a most spectacular night.

https://longhouse.org

The reception at Preventicum’s London clinic

London’s Preventicum has been at the forefront of preventative healthcare – where you see and anticipate potential health risks – for almost two decades.  Here, Preventicum’s Medical Director, Dr Ying-Young Hui speaks to Samantha Welsh about how about the importance of early detection, and how a holistic approach can give a complete picture of health, guiding on lifestyle changes and potential clinical interventions; and we present some frankly chilling case studies  

LUX:  What brought about Preventicum’s early start in the competitive health diagnostic space?

Dr Ying-Young Hui:  Preventicum launched its pioneering preventive health assessments in London in 2005 at its luxury London clinic. We developed our detailed health assessments to give clients the ultimate reassurance and peace of mind, enabling them to live their lives to the full. Instead of addressing health concerns when they arise, we can detect the earliest signs of and risk factors for heart disease, cancers, stroke, diabetes and many other conditions. This proactive approach allows us to create tailored health and lifestyle plans so that our clients can stay in optimal health and well-being.

Preventicum offers preventive healthcare, using state of the art technology

LUX:  What breakthroughs differentiate Preventicum services from those of competitors?

Dr Y-YH:  For over 19 years, Preventicum has been at the forefront of preventive health and we have developed the most advanced and safest health assessments in the world. We combine pioneering cardiac and brain analysis, laboratory tests, state-of-the-art, radiation-free MRI (Magnetic Resonance Imaging) and ultrasound scans with detailed GP and Radiologist consultations, as well as referrals to a network of specialists.

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Preventicum offers the only doctor-led, non-invasive health assessments that are completed on a single day, under one roof, with results available before our clients leave. By consistently researching and introducing new clinical developments, we ensure that Preventicum remains at the forefront of preventive healthcare, offering our clients the very latest, gold-standard tests and technology.

LUX:  With the curated approach to the hospitality experience, what does this show about values and clienteling?

Dr Y-YH:  At Preventicum, our clients’ experience extends well beyond the medical tests and scans included in their health assessment. Many of our clients describe their experience as “spa-like” thanks to our beautiful environment and our dedicated team who provide unparalleled service and build long-lasting relationships.

Dr Ying-Young Hui, Preventicum’s Medical Director

With a tailored approach, our client’s Preventicum Doctor oversees the tests and scans that are included in their health assessment and along with two detailed consultations, they create a detailed clinical report and lifestyle prescription

LUX:  How do you structure the detailed client consultations at the beginning and end of the day?

Dr Y-YH:  Each client meets a dedicated Preventicum Doctor who guides them through their assessment and addresses any health concerns. The day begins with up to an hour with their doctor to discuss their current health, medical and family history and any specific concerns they may have. We also assess key lifestyle factors such as diet, physical activity, alcohol intake and sleep, all which are crucial in determining current health and future risks. This consultation also includes a comprehensive physical examination and a guide as to what will happen throughout the day.

Following the client’s tests, MRI and ultrasound scans, and cardiac assessment, clients have a unique opportunity to review their MRI scans in a consultation with one of our Consultant Radiologists, including viewing their beating heart. The day concludes with a consultation with the client’s Preventicum Doctor to discuss the day’s findings and results, provide reassurance and where clinically indicated, arrange referrals to specialists within our network.

‘Preventicum remains at the forefront of preventive healthcare, offering our clients the very latest, gold-standard tests and technology’ – Dr Ying-Young Hui

LUX:  Lifestyles in the developed world are contributing to rising rates of diverse cancers.  Where have you had successes in early detection, and how can we help ourselves?

Dr Y-YH:  Cancer rates are increasing, including in the younger population, with approximately 375,000 new cancer diagnoses per year in the UK. It is estimated that 1 in 2 people in the UK currently under 65 years old will be diagnosed with some form of cancer during their lifetime. Our doctors are able to detect the earliest stages of cancers thanks to the combination of their expertise and our technology.

Recently, we have found clients who showed early stages of kidney, lung, thyroid and prostate cancer.  Detecting and diagnosing these cancers at an early stage usually means shorter and less invasive treatment plan and most cancers have far higher survival rates if found early.

To reduce the risk of cancer, we recommend lifestyle changes such as stopping smoking, reducing alcohol intake, increasing physical activity and maintaining a healthy diet. Annual Preventicum health assessments also play a crucial role in identifying signs of and risk factors for cancers, further aiding early detection and prevention.

‘Each client meets a dedicated Preventicum Doctor who guides them through their assessment and addresses any health concerns’ – Dr Ying-Young Hui

LUX:  What is the approach to cholesterol management?

Dr Y-YH:  Cholesterol management is crucial for a long and healthy life with a reduced risk of cardiovascular diseases including heart disease and stroke.  Effective cholesterol management requires a multifaceted approach, combining lifestyle changes with medication and regular monitoring.

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During the client’s initial consultation, we spend up to an hour gathering vital information about their lifestyle, personal medical history, family history and any symptoms. This data, along with results from detailed blood tests, blood pressure, stress echocardiograms, cardiac MRI, oxygenation-sensitive cardiac MRI (OS-CMR) and carotid artery ultrasound allows us to create a personalised cholesterol management programme.

We provide specific and tailored advice about changes which can improve High Density Lipoprotein (HDL) cholesterol and lower Low-Density Lipoprotein (LDL) cholesterol, such as reducing the consumption of saturated fats, increasing consumption of foods high in omega-3- fatty acids (such as oily fish and avocado), setting targets for moderate and high intensity exercise and optimising sleep quantity and quality.

Our approach emphasises reducing future risk with dietary changes, regular physical activity and when necessary, the use of cholesterol-lowering medications, with referrals to lipid specialists when clinically indicated.

Client room at Preventicum

LUX:  Hereditary conditions can be the ‘silent killer’, what is your experience with investigation and proactive intervention?

Dr Y-YH:  Hereditary conditions often develop without symptoms until they reach an advanced stage, making early detection and regular health assessments even more important. At Preventicum, clients complete a detailed medical questionnaire that includes a full family history, discussed during their hour-long initial consultation. Our Preventicum Doctors oversee all test and scan results and therefore have a complete view of our client’s health.

This proactive approach has allowed us to identify conditions such as cardiomyopathies, heart valve anomalies, and familial hypercholesterolemia early, leading to timely interventions that reduce the risk of severe health issues. Over the past 19 years, we have successfully identified and managed these hereditary conditions in many clients. We also have a partnership with an expert Clinical Geneticist who we can refer to if clinically indicated.

LUX:  What other diagnostic areas offer opportunities for innovations in partnership?

Dr Y-YH:  Preventicum is committed to remaining at the forefront of preventive health by partnering with leaders and experts in many clinical specialisms.  We have worked with Perspectum to offer LiverMultiScan, which provides a comprehensive view of liver health, including detailed measures of inflammation and fibrosis.

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In 2023, we introduced our Optimal assessment, the world’s most clinically advanced health assessment, featuring partnerships with BrainKey for detailed brain analysis of over 25 regions of the brain including brain age and Area19 for a world first in health screening – pioneering Oxygenation-Sensitive Cardiac MRI (OS-CMR). Additionally, our collaboration with Medical iSight allows clients to interact with 3D Augmented Reality visuals of their brain scans using Microsoft HoloLens.

LUX:  Can some investigations be unnecessarily invasive for the client, for example, cardiac diagnostics?

 Dr Y-YH:  All Preventicum assessments are safe and non-invasive. Our innovative OS-CMR technology, the most advanced cardiac assessment in the world, is non-invasive and requires no stress or medication. We rely on radiation-free MRI and ultrasound imaging, ensuring our clients avoid any adverse side effects and are not exposed to potentially harmful radiation.

‘Many of our clients describe their experience as “spa-like”’ – Dr Ying-Young Hui

This approach makes our assessments suitable for annual health screenings and also demonstrates our commitment to delivering the most advanced health assessments in the safest and most comfortable way for our clients.

Case studies: Some chilling real life case studies of lives saved and lifestyles altered from the Preventicum team.

High-grade atrioventricular block

A female client in her mid-fifties booked a Preventicum assessment after experiencing shortness of breath climbing stairs and was anxious about her health. During both the exercise stress echocardiogram and cardiac MRI scans, abnormalities were seen. Urgently referred to see a Cardiologist by her Preventicum Doctor. Further investigation revealed a high-grade atrioventricular block and a pacemaker was successfully fitted. Our client reported an upturn in her health and general wellbeing after this procedure.

Large aortic aneurysm

A healthy Orthopaedic surgeon in his late sixties booked a Preventicum assessment. He was known to have high blood pressure. During our client’s ultrasound scan, a 7cm abdominal aortic aneurysm (ballooning of the major artery running down the centre of the abdomen) was seen which had a high risk of rupturing. He was immediately referred to see a Vascular Surgeon who performed an urgent repair to the aneurysm through the main artery of his leg. Normally, large aortic aneurysms remain undetected with sudden death being the first symptom. Five years on, our client is doing very well, having made a good recovery with follow-up monitoring revealing the aneurysm to be fully repaired.

Lung cancer

A 61-year-old Company Director, returned to Preventicum for his third assessment. He was fit and well, living an active and busy life. The Consultant Cardiac Radiologist saw a 6mm lung nodule in the background of the cardiac MRI scans. The client was urgently referred for a follow-up CT scan. He attended an appointment with a specialist who made the decision to watch this for three months.

During this time, the nodule grew from 6mm to 12mm. A specialist biopsy operation at St. Batholomew’s Hospital then confirmed this was lung cancer. An operation at The Royal Brompton followed where 55% of his lung was removed. He was active straight after his operation and within three months was back to riding a bike, playing golf and running at 80% of his previous fitness.

A radiologist consultation at Preventicum

Severe heart disease

A male client in his early seventies visited Preventicum for a third time. All his cardiac investigations were normal and he was generally in good health, but experiencing shortness of breath during bursts of intense activity. Our client’s resting ECG showed severe heart rhythm abnormalities and a further resting echocardiogram showed a dilated left ventricle with poor cardiac efficiency and function.

This was confirmed in his cardiac MRI and indicated the possibility of dilated cardiomyopathy. We referred our client for review with a Consultant Cardiologist and he had an urgent coronary angiogram. He is now under ongoing specialist care.

Kidney cancer

A 54-year-old Finance Director booked his first Preventicum assessment, feeling in generally good health with no specific concerns to address. During his abdominal ultrasound and MRI scans, a suspicious kidney lesion was seen. Following a comprehensive discussion he was referred to a Consultant Urologist for further investigation. Under the expert care of this specialist, a malignant kidney tumour was diagnosed. He had a successful operation to remove the tumour and thanks to our very early detection, he has not needed any further treatment as the surgery was wholly curative.

Large brain aneurysm with no symptoms

A Property Director in his early forties, booked a Preventicum assessment. He had no symptoms and was generally in good health. During his MRI scans, a large 11mm brain aneurysm was seen. The Preventicum Doctor immediately referred him to a leading Neurosurgeon who performed a catheter angiogram to examine the anatomy of the aneurysm in more detail.

Read more: Cristal evening with Louis Roederer’s Frédéric Rouzaud

Interestingly, the year before his visit to Preventicum our client saw a Neurologist who had carried out an MRI brain scan, but the aneurysm had not been seen. The possibilities for intervention were thoroughly discussed and he opted for open surgery to the aneurysm which was a great success.

Coronary artery disease

A client attended his Preventicum assessment and mentioned a four-week history of chest pain during exertion. During his assessment, he was found to have high blood pressure, high cholesterol and a significantly abnormal ECG. The client was urgently referred to a Cardiologist who performed a cardiac CT, revealing a dangerous blockage in the main artery taking blood to his heart.

Following immediate admission into hospital, our client underwent an emergency primary angioplasty procedure to open the blockage and two stents were put into his main coronary artery. He made an excellent recovery and was put on long-term medications to control his blood pressure and cholesterol levels. Prior to his Preventicum assessment, the client had a very high risk of having a sudden, fatal heart attack.

Thyroid cancer

A 28-year-old male client booked his first Preventicum assessment as he was concerned about his general wellbeing, was feeling tired and had been experiencing night sweats. During his assessment, our client’s full blood count and inflammatory markers were normal. However, during his ultrasound examination, our sonographer noted an abnormal looking lymph node in his neck.

An urgent referral was made to a Head and Neck Consultant and following a lymph node biopsy, the client was diagnosed with a medullary carcinoma (cancer) of the thyroid gland. He had surgery to remove the thyroid gland and 50 additional lymph nodes. The client has fully recovered from this curative surgery.

preventicum.co.uk

The vision for Bankside Yards, a sustainable and liveable district for London

A new development just across the Thames from the City of London, Bankside Yards will open-up 3.3 acres of riverside public realm and 14 railway arches, integrating retail, bars and restaurants with cultural spaces, offices for global corporates, SMEs and start-ups, within a new residential district mixing affordable and private housing with branded residences and a Mandarin Oriental hotel. The Executive Director of Developer Native Land, Nicholas Gray, speaks with LUX about building a sustainable, liveable district for London

LUX:  Please share with us the vision for Bankside Yards

Nicholas Gray:  Bankside Yards has been designed as a new hyper-mixed destination by Native Land, aimed at transforming the South Bank and allowing members of the public to move freely along the Thames Path. The octet of new buildings on the 5.5-acre site will be Net Zero in operation; four will be dedicated to residential and will comprise approximately 600 homes, both private and affordable. The first, Opus, will be the tallest residential building in prime central London when complete and will be launching sales in Spring 2025. Three have been designed as next-generation workspaces with the flagship, Arbor, already complete. This ESG-focused building has achieved record rents for the South Bank and has been 75% let, including to NYSE and FTSE-100 listed firms. We’re hugely excited by the potential of this future riverside community and are delighted to be joined by renowned international brand, Mandarin Oriental, which will open its third London hotel at Bankside Yards in 2028.

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The rail viaduct, a key remnant of Southwark’s industrial heritage, forms the spine of the masterplan. The 14 historic arches, which have been closed for 150 years, will be transformed into 50,000 square feet of amenity, retail, bar, restaurant and cultural spaces for residents and the public to enjoy. Each element will be surrounded by 3.3 acres of new ‘greened’ public realm and will be powered by a cutting-edge 5th generation energy sharing network – the first of its scale in the UK.

Nicholas Gray, Executive Director, Native Land

LUX:  How will this hyper-mix of uses connect with the future city?

NG:  Bankside Yards will open-up an important piece of London with amazing transport connections and, as a London-based developer, Native Land is keen to contribute to the rich mix of the South Bank by creating a place that’s accessible, enjoyable and productive.

At 1.4 million sq ft, Bankside Yards is one of the most significant developments underway in the capital. This future-focused regeneration project will deliver a world-class mix of prime riverside residential, HQ workplaces, 5-star hospitality space and exceptional private and public amenities, on a scale that reflects the site’s strategic location in a global gateway city. Native Land’s early successes in the area reflect a growing desire from a new generation of business leaders, employees, and homebuyers to leave behind the monocultures of traditional commercial or residential markets in favour of more authentic and inspiring urban neighbourhoods.

The domestic and global appeal of Bankside Yards has already been evidenced by the occupiers and operators who have already committed to the development: Mandarin Oriental Hotel Group, Merlin Entertainments, Smith Group plc, Lewis Silkin, Winckworth Sherwood, The Carbon Trust, Wipro and Flutter. Bankside Yards is meeting the growing demand from both residential buyers and commercial occupiers to live and work in a more responsible, health-conscious, and sustainable way.

‘A world-class mix of prime riverside residential, HQ workplaces, 5-star hospitality space and exceptional private and public amenities, on a scale that reflects the site’s strategic location in a global gateway city’ – Nicholas Gray

LUX:  What is the potential local benefit for the London Borough of Southwark?

NG:  We believe Bankside Yards will cement the area as London’s leading destination for culture. One of the most exciting regeneration schemes to hit the UK in many years, we see this as an opportunity to transform this disconnected area of London, paving the way for future smart living and working in the capital.

The previously closed site will provide a brand-new lifestyle offering for the South Bank; across retail, cultural and amenity spaces. With 50% of the development allocated to public realm, Bankside Yards will create a varied and active new neighbourhood for Southwark, encouraging and complementing business growth and enriching the renowned arts institutes and thriving performing arts venues nearby.

In addition, the development will deliver hundreds of new homes, including apartments for private sale and rent, on-site affordable housing and a financial contribution of at least £65 million to Southwark Council to deliver new housing across the borough.

‘Bankside Yards will cement the area as London’s leading destination for culture’ – Nicholas Gray

Finally, renowned hospitality brand Mandarin Oriental will be opening its third London hotel, a move that will positively impact not only the Bankside locality but also the wider area. This is an important element in our intention to offer the very best amenities side-by-side with cultural institutions, top-tier businesses and a rich and varied community.

LUX:  How do you embed sustainability throughout the development process?

NG:  Bankside Yards is the UK’s first major mixed-use fossil fuel-free development in operation. The integrated 5th Generation energy sharing network – the first of its scale in the UK – enables each building to ‘extract’ or ‘reject’ energy into a single thermal network serving the entire development, significantly reducing operational energy throughout. The initial two buildings at Bankside Yards, Arbor and Opus, will enjoy the benefits of the energy-sharing network from the outset, and the benefits will be enhanced as each new building is completed and added to the network.

Read More: Mercedes-Benz AMG GT 63 review

In addition, all of Bankside Yards’ eight buildings will be all-electric and we are sourcing power from renewable sources. The buildings will use heat pumps, high efficiency building services systems, and optimised façades. During the development process, an underground logistics network will minimise disruption, congestion and truck movements within the local area. This means there will be no ground-level loading bays, releasing over 10,000 sq ft (8% of the total public realm) of additional above-ground space for biodiversity, public space, amenity and active frontages.

We are also creating 3.3 acres of new ‘greened’ public realm which includes planting 150 new trees of 20 different species and creating biodiverse roofs on six of the development’s eight buildings. This will support the mayor’s commitment to a 10% increase in London’s tree canopy cover by 2050. Future residents and visitors will also be able to take full advantage of the integrated electric car charging points and 284 bike stations.

LUX:  What differentiates the net zero strategy at Bankside Yards?

NG:  The big advantage we have at Bankside Yards is that we are a large-scale, mixed use, 24/7 development that is under the control of a single ownership. That allows the delivery of innovative engineering solutions such as the 5th generation energy system, the first of its kind in the UK.

A streetview of Bankside Yards, featuring The Arches

Climate change is perhaps the largest disruptor to the way we will live in the future. However, we cannot stop building, therefore it’s logical that we build and operate our buildings more sustainably. Bankside Yards is a leading example of how we can do that. Native Land’s approach has been to design buildings that use much less carbon to build and operate. We then use energy from renewable ‘green’ sources for the remaining requirements necessary to operate the development, in a comfortable and efficient way for its occupants. Having a mixed-use development which has 24/7 uses and activities within it, means that energy can be shared between the buildings in an optimised way during different periods of the day or climate cycles.

LUX:  Where could you see similar opportunities to increase the pace of decarbonisation in the UK?

NG:  In order to reduce substantially the impact that the built environment has on climate change, developers need to encourage and promote bold innovative solutions that can serve as influential examples and lead the way forward. Additionally, we must design with the recognition that what we build must serve the needs of our communities and many future generations. I believe that we will be successful in doing both with Bankside Yards and that it will serve as an exemplar in this regard.

Bankside Yards is a partnership between Native Land, Temasek, Amcorp Properties, and Hotel Properties Limited of Singapore

banksideyards.com

The old-school but high-tech Mercedes-Benz AMG GT 63

Mercedes-Benz’s performance division AMG has produced a new two seater high performance coupe that is back to the best of the past

In a taxi in a European city recently, I was party to a rather poignant scenario. We were stopped at the traffic lights, and two young local guys were in the lane alongside, in a VW Golf GTI, and iconic car for any aspiring car enthusiast.

They had plainly pimped it up to make it faster, with a loud exhaust and an engine that sounded screamier than the original. They were playing around, revving the engine, ready to screech off at the lights. My taxi was electric, a comfortable bland machine whose manufacturer I can’t recall. When the lights changed green, the young men alongside us screeched forward with a chirp of tyres and zing of engine and exhaust.

The Mercedes-Benz AMG GT 63 in action, crossing mountainous terrain

My taxi driver, with a hint of amusement, simply extended his foot in his electric family car we cruised severely passed them, their little sports car desperately sounding like it was trying to keep up as the taxi wafted down the road gaining pace rapidly but with seemingly no effort, and in silence.

Follow LUX on Instagram: @luxthemagazine

This made me ponder. That coming weekend, I was due to take delivery of an AMG GT 63, a petrol powered touring car several leagues above the little Golf GTI I had seen on my business trip. But still, however fast a car is, there is always an electric car, often a very bland booking one, that is much faster, simply because of the physics of electric propulsion.

‘There is something unashamedly old school about it [but] of course it has an excellent touchscreen information and entertainment system, all the latest safety gadgets, and a hi-fi system’

So what is the point of a V8 petrol powered grand touring car like the AMG GT, which once would have had its own performance as its starring factor?

Within minutes of getting behind the seat of the AMG I had a strong inkling of the answer.

But, let’s look at the car itself. Produced entirely by Mercedes-Benz’s high performance division, AMG, there is something unashamedly old school about it.

Of course it has an excellent touchscreen information and entertainment system, all the latest safety gadgets, and a hi-fi system that makes you think you are in the Vienna Opera House.

But anyone can do that in a car these days.

A front view of the GT 63

What’s the GT has, in container-loads, is character and soul. You sit low and deep alongside your passenger, with a couple of tiny seats behind you indicating that family values perhaps are not of the highest concern for the driver and passenger.

Stab the button, and the engine comes to life a bit like waking up an Italian mastiff (or should that be a German mastiff?). No silent gliding here.

The car rumbles along the road, sounding and feeling much more like one of those overpowered muscle car coops from a 1960s movie than anything from the 2020s. The steering feels organic and real, rather than like you are playing with a game console joystick, which is sadly what a lot of cars these days feel like.

Just like every other car sold today, the steering is electric – you are not actually, controlling a mechanism that turns the wheels, you are simply sending a signal to an electrical program – but AMG have done a superb job in making you think otherwise.

‘This is not the kind of car you get into, cruise down the road and then 20 minutes later look in astonishment at the speed and realise you were going much faster than you thought. It’s a car with a feeling of speed’

It gather speed in bursts with its muscular V8 engine, and most importantly lets you know it is doing so. This is not the kind of car you get into, cruise down the road and then 20 minutes later look in astonishment at the speed and realise you were going much faster than you thought. It’s a car with a feeling of speed.

Read more: A palatial stay at the St. Regis Hotel

The same applies to the handling, which gives you all the sensations of cornering properly, including delightful feedback when turning in to a bend and, despite the car’s safety first four-wheel-drive, a real feeling that it could do one of those cop car swivels around the corner if you press the accelerate too hard at the wrong/right time. (It won’t, unless you turn all the safety systems off, for which you will need the skills of an advanced computer hacker.)

The AMG GT 63 is a contemporary sports car with the character of the great grand tourers of the past

It’s an interior full of sporting intent: nobody will get into the car alongside you and assume they are just in another set of wheels. It makes a statement, saying: This is my car I bought to drive, properly, while everyone else is wafting around in fear of speed limits and legislation.

If it feels a bit out of place in today’s roster of new cars, that’s because it has deliberately bucked a trend, perhaps more surprising coming from a manufacturer so devoted to electrification as it’s parent company Mercedes-Benz. There’s a soul in the company that invented the car, and it is manifesting itself in the AMG GT.

Does it have any drawbacks? Well, it’s a long, low car with it effectively only two seats, although you could perhaps sedate your children and stick them in the back. It does have a decent boot/trunk space, but of course it is not as convenient or easy as an electric taxi. That’s why exists, and you should buy one, although unlike ours, we would recommend a more poppy colour to make the exterior, which is slick but not exceptional, stand out more. Racing yellow or orange, perhaps. Or frog green. Do it while you can.

https://www.mercedes-benz.co.uk/

Bettina Bryant, owner of the iconic Napa Valley Bryant Estate

Bryant Estate is one of the original Napa Valley icons. Along with Screaming Eagle and Harlan, Bryant’s wines became revered by collectors and connoisseurs as Napa’s fame as a fine wine region spread worldwide in the 1990s. When Don Bryant, the estate’s pioneering founder, stepped aside his wife Bettina took over the reins. A former professional ballet dancer and art historian, Bettina is creating a new future for this legendary estate whose wines are available only to a fortunate few on a private list, weaving in a deep association with art and biodynamic culture. Here, Bettina Bryant and her winemaker KK Carothers speak with LUX Editor in Chief Darius Sanai while tasting a back catalogue of some of the revered Bryant wines

LUX: You are a team that works together and travels together. Bettina and KK, how did you meet and how did the chemistry develop?

Bettina Bryant: I am so grateful to have had the length of time that I’ve had to work with KK. She arrived in 2012 as a harvest intern, and was with us for four years, progressing from harvest intern to oenologist then assistant winemaker.

It was beautiful to watch her evolution, her quiet intelligence and thoughtfulness working with the wines. In 2016, she departed for a new opportunity. It was a sad day for both of us, but we both knew it was an important step in her growth. She went to work with a remarkable estate called ADAMVS, and gained a lot of wonderful knowledge around biodynamic viticulture.

When the opportunity arose to draw her back in as winemaker at Bryant, it was an effortless decision. KK and I have a transparent and honest communication, and she is always completely prepared. We are very aligned. It has been exciting to apply our awareness around where we want to evolve the estate, from both an ecological and artistic standpoint.

Bettina Bryant welcomes us into the estate

KK: I felt just right about coming back to Bryant after leaving for a couple of years because Bettina is an incredible leader. Just as I was coming up the stairs here, I asked Joe, with whom we work, “What’s one nice thing about Bettina?” and he responded, “she’s so generous”. And it’s true: generous with her time.

Bettina is very empowering. She believes in people. I’m perpetually inspired by her open mindedness and setting bigger goals for everybody here. She really brings out the best in everybody.

Read more: Maryam Eisler interviews Pamela Willoughby

LUX: Bryant is not just about wine; there’s a whole global cultural sphere here.

BB: I just wanted to reference briefly, again, that wonderful Rick Rubin quote about the creative act, that ‘it is not about your specific output, it is about your relationship to the world’.

Darius, I believe this quote refers to your suggestion that Bryant is contextualized within a global sphere. My big revelation, having been a performing artist, interacting with an audience, traveling extensively and progressing through life, is recognizing how truly interconnected we are.

The 2016 Bryant Family Vineyard

My arrival at the estate in 2007 was a profound experience. Arriving at the property, whose wines I had tasted only sparingly, drove home just how majestic this site is. The vineyard has the shape of an amphitheater, one with a direct view over Lake Hennessey. We literally have a platform, and it is important that what we say and do is of the highest integrity.

This revelation made me analyze every aspect of what we do, from tending the vineyard, enhancing the team culture, to packaging – the thoughtfulness behind that and the responsibility of how we communicate with our audience. This has been one of the biggest honours of my life, and I take it very, very seriously.

Read more: The Future of Philanthropy with UBS

LUX: Your wines and your art collaborations seem quite holistic – all part of one ecosystem.

BB: For me art and wine are inextricable. For the label project, it is a very personal expression but absolutely inspired by the artists I work with. People may not realize the number of hours that I spend thinking about a label. The design is deeply considered, and great attention is made to what is actually being communicated. For the 2021 Bettina collaboration with the artist Elliott Puckette, each label was letter pressed and hand applied.

The interlinked relationship between art and wine on the estate

LUX: Let’s move on to the tasting. Why did you choose these specific wines?

BB: I wanted to select something from the first decade, the 90s, which was a very historic decade for Napa Valley. There were maybe 50 or 60 wineries in existence in the Valley. Today we are 10-times this. My husband Don arrived in the late 80s, and very serendipitously acquired the first parcel on Pritchard Hill, but not with the intention to farm.

He then acquired the 13.2-acre vineyard parcel, which I understand now was highly coveted by one of our neighbors. Don had a great intuition and worked at a very rapid pace. The first vintage of Bryant was 1992. Helen Turley was the winemaker with us for a decade, and the ‘96 vintage sits squarely in the middle of her time. I think this is an absolutely exquisite wine.

It has a quiet elegance when compared to the ’97. The ‘97 was the wine that really put us on the map when Robert Parker awarded it 100 points (the ‘96 was a 99-point wine in a moment when many wine professionals feel scores actually meant something). I don’t pull these wines out very often.

‘The ‘96 was a 99-point wine in a moment when many wine professionals feel scores actually meant something’ – Bettina Bryant

LUX: We are now tasting a wine which is 28 years old. When your wine ages, how does it change? Does it transform? Does it develop gently?

BB: I think this wine is a testament to Napa Valley. This was followed by a decade in the early 2000s when a lot of producers were really pushing high octane wines. Bryant has generally maintained a more restrained approach. I feel this is just a gorgeous example of a Napa wine that has finesse and elegance on par with Europe.

KK: I agree. You open up the bottle, pull out the cork, and the ’96 is so expressive. It still has a youthful edge to it, but is also elegant and seamless and complex. It is a precious bottle, we don’t get to try it often, but it is a testament to this vineyard and what was happening in that era with the legendary Helen Turley.

Read more: An Interview with Marian Goodman Gallery 

LUX: Napa has been making wines for a shorter time than Bordeaux. Is this a longevity legend in the making? In 50- or 100-years’ time, will people find a bottle of this and open it like a 1945 Mouton-Rothschild?

BB: I would like to think so.

KK: Yes, based on the way the line is tracking now. It’s got decades and decades to go, and even the younger vintages are trending that way.

LUX: We are now trying the 2006. Did the Bryant Estate ever go down the route of making super-powerful wines?

The art of winemaking at the Bryant Estate

BB: 2006 is considered a vintage that tested growers and winemakers. Heavy winter rains led to some summer flooding, but Spring and Summer were warm with good fruit set. There are a few Bryant wines that probably exude a bit of that thinking, but I feel that we tend to be more restrained than others in our peer group.

KK: The proof is in the pudding when trying this wine. It’s not at all concentrated or hot or elevated or overly muscular. It’s simply there. You can recognise that it is balanced.

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BB: I love the delicacy here. I think it has a really feminine quality, and yet the aromatics are so revealing. Persistent.

I just wish we had more bottles. Don considered success as selling out. So, it is a privilege to be able to taste this with you today. I arrived at the estate in 2007 when this wine was being evolved. I find this wine is in a really good place right now. I showed it last year at a charity dinner in Nashville, Tennessee, and it was the wine of the night.

KK: I get the sense that it has a lot of legs. The tannin is still prevalent and still quite structured. I can see this having a long life and continuing to deliver for decades.

‘There’s a wind that comes off the Pacific Ocean, through the Petaluma Gap in the afternoon, kind of skips off the lake and pulls down the diversity of soil resistance on the site’ – KK

LUX: What is the style of Bryant? What makes Bryant Estate, Bryant Estate?

KK: There are infinite factors that go into it. At its core, it’s about the site, good ground, and the way that it’s farmed. We’re above Lake Hennessey, which is unusual. It’s rare to be in Napa and have a maritime influence. There’s a wind that comes off the Pacific Ocean, through the Petaluma Gap in the afternoon, kind of skips off the lake and pulls down the diversity of soil resistance on the site.

Read more: Cristal evening with Louis Roederer’s Frédéric Rouzaud

LUX: People think of Napa as being hot in summer, but it’s a lot more complicated than that with the ocean fog and breezes.

BB: We are above the fog line. We get fog in the morning, which arrives overnight to keep temperatures cooler. It’s a Mediterranean climate, not a continental climate, so that’s important for retaining acidity in the grapes. Otherwise, the grapes can lose that precious acid, which you can’t really get back if degraded because of too much heat, especially at nighttime. We do have this diurnal shift where it can be 20, 30,40, degree changes in the temperature from nighttime to the morning. Yes, there are certainly many climatic factors, soil types, and differences throughout Napa that make each place very unique.

The landscape of the Bryant Estate property

LUX: Do you have a benchmark?

BB: Well, for Don, the benchmark was 1982 Chateau Latour. For him, that was a definitive wine.

LUX: And all the grapes for your flagship wine are picked from one site?

BB: Yes, this was something that Don identified early on. He was studying Robert Parker reviews, and he realized that Bryant was the only wine in that particular echelon that was 100% Cabernet Sauvignon from one site. So, I do think that is a differentiating factor in why this wine is quite distinctive.

The site is very undulating, but this wine has always been 100% Cabernet Sauvignon. To achieve this requires a lot of attention. You can’t just offset an edge by adding a little bit of Merlot or create a little bit of lift with some Petit Verdot. This is pure Cabernet Sauvignon. The fact that the site is so undulating really shapes the dynamic aspect of this wine.

The palate of the Bryant Estate Carbernet Sauvignon: layers of vibrant cassis, black cherry, and black currant interplay with savoury infusions of graphite, sage, tapenade, and tobacco

LUX: Your production, by the standards of the celebrated Bordeaux estates, is small. You could sell everything you make many times over. Do you want your stories to resonate with a broader world of wine connoisseurs?

BB: Entering this space as an art historian – one very focused on artist stories and craft – explains how I have approached Bryant and the opportunity to preserve the story. Extended from this, I have been developing an import entity whose intent is to shed light on other producers whose values resonate with what we are doing at Bryant. There are so many important stories that deserve to be preserved. Are these producers in the right relationship to the land, to the craft?

LUX: Let’s move on to the third decade of the Bryant estate – the 2018 vintage. KK, you made this wine. Is speaking about wine like speaking about a child?

KK: Yes, in a lot of ways it is like a child. I love doing it. It’s not easy. I feel we must dispel this notion that it’s so romantic. It’s a lot of work, effort, thought, and movement. Winemaking is not an easy endeavor.

Winemaking is ‘really about being in tune with nature’

When I arrived back in 2018, it was a great harvest. It’s been a while since I’ve tried the ‘18. It’s really enjoyable to have this opportunity to taste it, especially in this lineup. I find there is a mineral freshness to this wine, accompanied by a fresh fruit profile with integrated, even, and coating tannins. In 2018, we picked the vineyard over 60 different times, and fermented in an assortment of vessels – barrels, puncheons, concrete and stainless tanks – and aged the wine in 225 L, 300 L, and 500 L oak formats. It’s really the epitome of us being in tune.

The interconnectedness of everything. We are in tune with every step, with every vine. It’s really just part of a full integration with life.

BB: I would also say it’s about being fully present.

KK: You can’t do this as a consultant or while not being present. When you’re here and walking and smelling and tasting and cleaning, washing barrels, you can tell: this one smells a little strange, I won’t keep this barrel for next year. The fact that we’re small and pay meticulous attention to detail is just part of that presence and being in tune and connected.

The season’s first growth in the Napa Valley

Getting back to art and winemaking: there is a scientific base. But the more I go along, it’s really about using your gut and intuition – just being in the moment and doing what you have to do, when you have to do it.

LUX: Why did you make the Bettina a blended wine?

BB: Don was aware that Bryant, within the echelon of cult Napa wines, stood apart as a single varietal wine. As previously mentioned, he was very passionate about 1982 Chateau Latour, and became interested in the idea of making a Bordeaux-inspired wine.

We were initially looking at potential vineyards for acquisition, but then received an offer in 2009 for some exceptional fruit. This coincided with the year that we were married.

Don surprised me by naming the wine after me. It was actually a wedding gift. There is so much beauty within that gesture, and it has been a wonderful exploration of how to coax these other varietals and create a wine that is complimentary to the estate wine.

The 2014 Bettina

KK: 2017 was a dramatic year: we were hit with the first fires midstream, and it was enormously challenging. We were about 80% picked at that point. But it was a very foreign experience. I think this vintage points to perseverance. Those who didn’t panic delivered exceptional wines.

LUX: How would you describe this wine to somebody who’s tasting it as a contrast to the flagship?

BB: It’s interesting. From the outset, people often refer to Bryant Family Vineyard as the more feminine wine in our canon, and the Bettina more masculine. The wine has a lot of presence. I think it’s a very voluptuous wine. It’s not shy.

KK: The inclusion of other varietals, Cab Franc, the Merlot, the Petit Verdot, in addition to the Cab and co-fermenting those in the tank so the skins of the one varietal are in contact with the juice of another, builds a certain complexity.

The composition of The Bettina Proprietary red wine

BB: Let’s move on to the ‘19 Bettina, which is a pivotal point in its evolutionary journey. In this vintage, we did a little bit of stem inclusion, just to give the wine a bit of floral character, as well as integrate a bit of the Bryant Family Vineyard cabernet. It was very symbolic, literally bringing this wine in house. This wine has a presence of mind that I think is really balanced.

LUX: Bettina, you are an art historian. There is a depth to your art collaborations for the labels.

BB: Art has always been an inextricable part of who I am. From an early age, I was immersed in looking at art. My parents were always bringing me to museums. I was introduced to music early on, and then I danced, eventually professionally. I always had an awareness of how intertwined things were, and view things through an artistic lens. The hand, the gesture in making the wine, was really evident to me, and I wanted to carry that forward into the external expression of the bottle and how it would be received.

‘I love the idea of having this word on the table, and subliminally impacting the dinner conversation’ – Bettina Bryant

I understood that the Bettina wine was the sandbox where I could be playful, and inaugurated an artist series with the tenth vintage, the 2019. With the 2019 Bettina, I selected a really wonderful and well-known artist named Ed Ruscha, who does a lot of work with text-based images. He had gifted me a drawing featuring the word ‘NOW’ in connection with another project I was working on in New York. I love the idea of having this word on the table, and subliminally impacting the dinner conversation.   

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LUX: You spend a lot of time with art, being with not just artists, but art itself. It’s a very important part of your life. How does that inform the Bettina wine, the estate, and your relationship with KK? 

BB: I have had the wonderful opportunity to dabble in different modalities, whether it was dance or music, and I know how that elevates my daily life. There’s an amazing quote by Gerhard Richter in which he says, ‘art is the greatest form of hope’. I find that I’m an optimist by nature. I’m just always wanting to inspire, wanting to elevate, wanting to connect, to help with problem solving. When I left my dance career and headed into my academic career, I was working with a dance program in the public school system in New York.  It was very moving to see young, often underprivileged, children be invited to dance for the first time.  Movement became a very joyful experience. It illuminated for me that art has the ability to be a catalyst for positive change.  

‘When Ed presented the abstract artwork that encases this bottle, he said it reminded him of falling grapes’ – Bettina Bryant

LUX: And finally, we have the 2021 Chardonnay.

BB: I always wished, whenever I would present wines at tastings and dinners, that we had our own white. KK and I decided to do an in-depth blind tasting of Chardonnays from around the world, and we landed on the same one at the conclusion of the tasting: a 2013 Chevalier-Montrachet. The fact that we were so aligned in our thinking and taste profile felt like a sign from the universe.

The 2021 Bryant Sonoma Mountain Chardonnay

KK: Bettina and I both love white burgundy. It has been a journey to find white wine around this area as it’s warm here and we don’t want to go so far to acquire white grapes. We believe in the importance of localism and not trying to drive six hours to pick up fruit, instead keeping it as close to Bryant as possible.

That required a lot of steps, a lot of walking vineyards and finding different sources for good ground. I homed in on Sonoma Mountain, which is just about an hour from here, near Glen Ellen, where Jack London settled. This vineyard is right on the north base of Sonoma Mountain, an extinct volcano and an area that was once covered by the Pacific Ocean.

The mountainous terrain of the Napa Valley

An AVA established in 1985, Sonoma Mountain is a relatively remote and rugged area speckled with Redwood trees, vast ranches and unpaved, one-way roads. The well-draining soils on the vineyard block are a combination of white tufa and basalt, often found on mountains and foothills (the names of the series are called Toomes, Guenoc, Goulding and Red Hill). Thanks to its orientation, the block receives a warming morning sun to dry out the dawn dew but is soon shaded from the higher heat of the afternoon sun, another important characteristic to growing white grapes in sunny California.

The wine is flinty and mineral driven, crisp and with length, and marked by effortless beauty. Upon this alignment of choice, we finally felt ready to create a Bryant Chardonnay.

bryant.estate

Soichiro Fukutake, joint owner of Benesse Art Site Naoshima with his son Hideaki Fukutake

The owners of Benesse Art Site Naoshima, Soichiro and Hideaki Fukutake, are revitalizing the Seto Inland Sea islands, Japan’s first National Park. Father and son speak with LUX Leaders & Philanthropists Editor, Samantha Welsh, about conservation, community and the regenerative role for contemporary art.

LUX:  What was the catalyst for the Naoshima Island art destination?

Soichiro Fukutake:  In 1986, after the sudden death of my father, Tetsuhiko Fukutake, I returned to Okayama from Tokyo and took over a project my father had conceived with the then mayor of Naoshima to build a campsite for children. This led me to visit Naoshima many times, and through interaction with the islanders and my hobby of cruising around the islands of the Seto Inland Sea, I rediscovered not only the natural beauty of the Seto Inland Sea, but also its history, culture, and people. Many of these islands retain the original landscape of the region and its communities have an intrinsic Japanese way of thinking. However, while the islands of the Seto Inland Sea were recognized as Japan’s first national park, they were burdened with the negative legacy of modernization and postwar rapid economic growth. This has caused pain in the hearts of the people who live with the nature of the islands.

I felt my sense of values change 180 degrees when I became involved with the islands of the Seto Inland Sea in this way. Excessive modernization means excessive urbanization, and this is full of stimulation and excitement but also tension. By experiencing the original landscape of the Setouchi, I realized that on a planet with limited resources, we should shift our mindset away from modern’s societies’ destruction and creation to ‘using what exists to create what is to be’.

By exhibiting contemporary art with a message critical of modern society in a place where the original landscape of Japan still remains, I thought I could transmit this idea to the world and at the same time change this damaged region.  Over the past 30 years, we have been involved in a variety of endeavours, including a hotel integrated with an art museum, the creation of site-specific works, and Art House Projects.

Hideaki Fukutake, co-owner of Benesse Art Site Naoshima

LUX:  How is regeneration through your multiple art museums having a socio-economic impact on the Seto Inland Sea islands?

SF:  The idea of establishing an art museum on each island (Naoshima, Teshima, and Inujima) was to place an art museum on each damaged island as reference for their future development. It would serve as a place of focus, like a church that acts as a centripetal force in Western societies. I created the art museum as a place to unite the hearts of the islanders, who were otherwise scattered.

In 2010, I started the Setouchi Triennale, which attracts around 1 million visitors each time.

For the 2019 Setouchi Triennale, it is recorded that about 1.2 million people visited Setouchi. Of course, this impacted economically, but I am not doing art activities for the economic effect. As I continued these activities, I gradually felt that many young people visited Naoshima and that the elderly people of the island became more energetic as they interacted with the local community and the islanders. In addition, the islanders took the initiative to start guesthouses and cafes, and so on. We believe that the social impact is not only the economic effect, but also the revitalization of the island as art activities take root in the island life.

Naoshima New Museum of Art, © ⒸTadao Ando Architect & Associates. A new museum set in Japan’s first National Park

LUX:  Why do you collect art, at a personal level?

SF:  Most of our works are held through Benesse Holdings, Inc. or Fukutake Foundation. Selections are made primarily by me. The intention is to entrust artists to send a message to the world strongly cautioning against excessive modernization, therefore, many of the works in the Benesse Art Site Naoshima (BASN) collection are highly message-oriented. We believe that by exhibiting these works within buildings designed by Tadao Ando, an architect from Osaka, in the islands of the beautiful Seto Inland Sea rather than in a museum in Tokyo, we are ideally placed to amplify the messages of these artworks. This approach aims to address the excessive modernization and urbanization that have damaged these islands. Through my 37 years of activity since 1987, I have come to realize that contemporary art, more than any philosophy, literature, or other form of art, has the greatest power to energize local people and deliver messages to the world.

Hideaki Fukutake:  The criteria and motivations for selecting art to be exhibited on Naoshima and in the Setouchi area are completely different from those for selecting art for personal collection. I personally do not have a significant art collection. I simply acquire art that is suitable for the spaces where they will be displayed, such as my home or office.  In my personal spaces, where I spend a lot of time, it is important to me that the art is visually pleasing. However, my sensibilities evolve as I age and the circumstances of the time change, so I try to acquire and display artwork that I find beautiful at the time. I am interested in understanding and objectively observing how my perception of what is beautiful changes over time

Setouchi Triennale by Shintaro Miyawaki

LUX:  Is it important for you to remain an independent foundation?

SF:  Of course. As I mentioned earlier, because artists’ narratives can include criticism of the government, I believe it is better for public entities to stay outside the conversation.  Private individuals and companies should not only be proactively profit-making but should also invest more in art, which underpins the cultural infrastructure of modern society. I believe that culture is what enriches the soul. With this purpose, at the Fukutake Foundation, I advocate a new concept of management called “public interest capitalism”. When a corporation establishes a foundation for cultural or community development, the foundation becomes the major shareholder of the corporation and the founding family, and the corporation and the foundation work together in cultural activities, thereby ensuring soundness for both parties.　The funds will be not donated but returned to the foundation in the form of dividends on an ongoing basis. In this context, it is only corporations that create wealth. I believe that corporations are the ones who should invest more in culture and art. In this sense, it should be an independent foundation.  I believe we must strive for the economy to become the servant of culture, for culture to come first and for the economy to support it.

HF:  I believe our independence is extremely important.  I feel a degree of separation from society is necessary in order to present unique perspectives and values to the world.  The world moves quickly, and the ability to share information and values is incredibly strong, so we would like to keep the Foundation as independent as possible, as a contrast to an increasingly homogenized society.  It is appropriate that the Foundation’s activities are conducted on islands surrounded by the sea, which moderates the interaction and disconnection with society.  This is probably our unique strength.

Photography of the Seto Inland Sea Islands by Osamu Nakamura

LUX:  How can you inspire Japanese collectors to buy art from emerging Japanese artists?

SF:  I believe the government and the national authorities need to provide more support to young artists. In Japan, there was an exhibition called DOMANI that ran for 25 years until 2023, aimed to nurture young artists, but unfortunately it was cancelled. I am concerned that young artists in Japan may not receive adequate nurturing. Japan is a country where the government shows limited interest in culture, which I find very problematic. Culture plays a crucial role in shaping regional and national identities, which economic development alone cannot achieve. It is unfortunate that such thinking is largely absent in Japan today. Conversely, I believe it is crucial for companies like ours to actively support art and culture.

HF:  While I don’t personally think Japanese collectors should have to support emerging Japanese artists in particular, it is clear that artists will need to develop skills beyond pure creation. These would include communication and branding. In today’s world, they have more opportunities than ever before to connect directly with collectors and society globally.  It might be better to let these processes develop naturally, allowing powerful, down-to-earth, and passionate artists and collectors to emerge organically.

Atrium of Naoshima New Museum of Art Ⓒ Tadao Ando Architect & Associates

LUX:  What was the vision for the international art festival?

SF:  Like the activities of Benesse Art Site Naoshima, together with Fram Kitagawa who is director of the Setouchi Triennale, this festival has continued to use contemporary art as a means to raise issues about modern society. We have been working to let visitors know through the activities of the Triennale that it is in rural areas that true wealth and true happiness can exist, which cannot be measured by economic indicators.

With keywords such as “Restoration of the Sea” and “Smiles of the Elderly,” we have worked to generate interaction and learning among people, to promote cooperation between artists and collaborators from outside the island with the local people, and to convey the power of the region and create pride among the people of the island through their participation in these activities.

We would be more than happy for you to experience the Triennale and this richness.

‘We have been working to let visitors know through the activities of the Triennale that it is in rural areas that true wealth and true happiness can exist’: Smiles of the Elderly by Hideaki Hamada

LUX:  Please share the concept for the Sixth Setouchi Triennale in 2025.

SF:  The Setouchi Triennale will be held for the sixth time in 2025, following the inception in 2010. Despite consistently focusing on the theme of “Restoration of the Sea,” we plan to reevaluate our approach for the upcoming edition. We will also have several islands as new venues, along with areas such as Higashi-Kagawa, Sanuki City, and Utazu Town.

The foundation of the Setouchi Triennale is to celebrate the natural and geographical characteristics of the Setouchi area, while asking critical questions about modern society. As the festival has evolved into one of the world’s premier art events, our focus now more than ever is on highlighting local life essentials, the magnificent sea and landscapes, and traditional livelihoods, instilling a sense of pride in residents. We aim to demonstrate to visitors the profound sensory and physical experience that the Setouchi Triennale offers, in contrast with sensory overload of urban landscapes. We are preparing to immerse visitors in the unique world of the Setouchi region where the sight of the sky or sea can evoke deep emotions of joy or melancholy.  Alongside our existing venues, we will introduce a new venue on the Kagawa Prefecture coastline. This expansion will showcase the historical significance of the Seto Inland Sea, a hub of maritime trade and cultural exchange since ancient times, and attract a diverse range of visitors to our exhibitions.

In 2025, we are dedicated to solidifying our role as a pivotal art hub in Asia, by planning artworks that reflect Japan’s connections with other Asian countries. We are opening a new museum, the Naoshima New Museum of Art in the spring of 2025. The exhibition will feature 11 artists from Asian regions. We hope that this will be an opportunity to showcase the wonders of the Seto Inland Sea to the world through art even more than before. Additionally, we envisage hosting exhibitions featuring works by prominent Japanese artists concurrently at eight museums across three neighbouring prefectures. This coincides with the timing of the Osaka Expo, promising to attract numerous art and nature enthusiasts to the islands.

LUX:  What will be Setouchi Triennale’s legacy?

SF:  The Setouchi Triennale stands as a unique art festival in the world, uniting multiple regions across a wide area. It’s an unprecedented initiative where art takes on the role of revitalizing depopulated and damaged islands, rather than just serving as a focal point. I hope to showcase to people worldwide the transformative power that art holds.

The Naoshima New Museum of Art

Marian Goodman Gallery’s new Tribeca headquarters, where their inaugural exhibition Your Patience is Appreciated will take place from October 26th to December 14th

After 40 years on 57th Street, the historic New York institution Marian Goodman Gallery has announced their move to a headquarters in new art-centre Tribeca, a space of almost double the size. Cleo Scott speaks with Partners Philipp Kaiser and Rose Lord about the importance of the artist, the changing tides of the New York art world, and continuing founder Marian Goodman’s legacy as one of the most respected on the global contemporary art stage

LUX: How have your individual backgrounds influenced your approach to curating and running the Marian Goodman Gallery? What has been your overall vision for the Gallery?

Rose Lord: I’ve worked at the Gallery for 22 years, which is incredible. I’ve spent a lot of time with Marian over the years, and learned so much from her. Her way of looking at the world and dealing with artists and collectors has been very formative. I think that the five Partners of the Gallery, the directors, and the people working in all three galleries in New York, Los Angeles, and Paris share the same vision. We’re trying to create a forum to show exemplary artists, but also create a kind of platform for discussion with the artists and share their ideas that can impact the world, impact society.

Philipp Kaiser: Yes, absolutely. That’s the reason why I wouldn’t have considered another gallery to join. I was in the museum world before my time at the Gallery and worked in institutions in three different countries. Marian has respect towards the institutional mission, and never wanted to compete with it. I feel the Gallery itself is an institution.

Marian Goodman with her five partners, from left to right: Rose Lord, Leslie Nolan, Philipp Kaiser, Marian Goodman, Junette Teng, and Emily-Jane Kirwan

LUX: You are two of the five Partners of the Gallery, established by Marian Goodman to ensure continuity. How does the launch of the Tribeca flagship provide continuity for the Gallery’s legacy?

PK: We set up this structure of five Partners to establish a structure for stability and the next chapter for the Gallery. Marian brought together such a special group of artists, and we want to move the Gallery into the future.

RL: When Marian opened the Gallery on 57th Street it was one of the centres of the art world, but these centres have shifted over the last 43 years. You could say to Chelsea, but then also to Tribeca. It was big decision for us to move from midtown, but it was informed by wanting to be part of a community again, wanting to be surrounded by other artist-centric galleries. I think one of the things that we learned from Marian is to keep a gallery relevant, you must keep moving with the times. And we’re doing that: we’re moving to Tribeca, we opened a gallery in LA last year, we’ve been taking on new artists. A gallery cannot remain static. It must be a living organism that plugs into the discussions that are going on around it.

Installation for Marian Goodman’s inaugural show Your Patience is Appreciated in the new Tribeca space, featuring work from Julie Mehretu, Gabriel Orozco, and Nairy Baghramian

LUX: Are there any elements of this development that will break from the tradition of Marian Goodman?

PK: Absolutely not. The Tribeca space is a commitment to have our headquarters in New York. There’s always the temptation to grow and have more galleries, but Marian has never done that. She always was thoughtful about growth and maintaining the rigor of the Gallery, and we have been continuing this vision.

LUX: Marian Goodman currently represents 47 artists. A strength of the Gallery is that it is very selective with the artists that you choose to represent. With the expansion of your headquarters in New York, are you also hoping to expand your representation, and if so, how will you balance this expansion with your selective roster?

RL: The first thing to say is we want to keep with the tradition, but we want to find a way to build on that tradition and into the future. We have already added quite a lot of artists over the last two years, such as Daniel Boyd, Delcy Morelos, Andrea Fraser, and Tavares Strachan. We try to be very careful and not just add artists left and right. We want to be in dialogue with them.

Unghia e foglie di alloro by Giuseppe Penone, a work made of glass and laurel leaves that will feature in the Gallery’s inaugural exhibition

PK: Exactly, but these days it’s a bit of a different situation. You have to be faster, because many of the big galleries are much more speculative than they were 10 years ago. But I believe there is a real integrity in our artists, who really dive into conceptualism and social concerns. This runs through the program, and that’s also why the different generations within our program highly respect each other.

RL: That’s been the challenge of the opening show to weave together this kind of history, this narrative, and different generations, the different types of work.

LUX: Your inaugural exhibition ‘Your Patience Is Appreciated: An Inaugural Show’ features some 75 works across media. How did you select the artists and works featured at the Tribeca launch? Are there any broad themes or messages you hope to convey through the selection of these works?

PK: Well, we wanted to include all of the artists that we represent. Everybody at the Gallery was involved in the creation of the exhibition, which brings together both historical and new pieces. For me, curatorially, it was kind of a challenging puzzle to create a narrative over three different floors. How do you summarise a group of distinct artists? How do you put them under one roof? How do you create a meaningful exhibition about what you’ve been doing for the last 47 years, that also looks to the future?

Pierre Huyghe’s timekeeper piece, titled Timekeeper Drill Core (MGG 57th St), carries a piece of the 57th street Gallery to the Tribeca headquarters

RL: We have these two ‘Timekeeper’ pieces that Pierre Huyghe made for our Gallery. It’s kind of like the rings of a tree; he scours through the different layers of paint in the Gallery walls from our former 57th street location. The Gallery at 57th Street was frequently painted black and white, and some artists asked for specifically coloured walls for their exhibitions. So the work by Pierre is literally a visual history of the 57th Street Gallery – you see these different colours and layers of the Gallery’s history.

PK: What I’ve tried to establish is a cross-generational conversation between the artists. There’s kind of a Duchampian thread that runs through the building, themes, and artists. You see, for example, Pierre’s rings on the ground floor, and then on the second floor, there’s a wall drawing by Giuseppe Penone. There’s a piece of paper with his fingerprints, and then he made all these lines around the fingerprints bigger and bigger and bigger until it’s like, over three-meter diameter. So, Pierre’s and Giuseppe’s pieces are in conversation; they form the same type of pattern and become reflections on identity and time. And I think that’s why we chose the title Your Patience is Appreciated. It addresses expectations of change, and reflects the duration of what we’re doing, and that we’re in this for the long run.

Installation of the third floor of the exhibition, featuring wallpaper and work by Annette Messager, Richard Deacon, and Tony Cragg

LUX: What are your aspirations for the Gallery beyond this launch? Are there future projects or collaborations in the pipeline?

PK: The first show in the new year will be a two-person show. The new Tribeca space has these two gallery floors that enable us to have interesting conversations between different artists. It will be a conversation between An-My Lê, who came as a refugee from Vietnam to the United States, and Boris Mikhailov, a Ukrainian photographer who hasn’t really been properly shown in the US. We feel this is going to be a show that resonates following the election, and the time we’re living in.

We’re also excited to announce an exhibition of Tavares Strachan’s work in March 2025, and following that, a show of Pierre Huyghe’s work in May 2025. Pierre hasn’t had a gallery show for a very, very long time, and some of these works will be premiered in the US. We’ve been wanting to program a show with Pierre in the Gallery for a long time, but he’s just had too many museum shows and big projects. And now, finally, May 2025.

https://www.mariangoodman.com/