Sofia Mitsola (Portrait). Courtesy of the artist and Pilar Corrias, London. Photo: Mark Blower.

In our new online series, renowned art consultant Maria-Theresia Pongracz profiles rising contemporary artists to watch in 2021. Here, she speaks to 28-year-old Greek painter Sofia Mitsola about mythology, the female nude, and her artistic inspirations

Maria-Theresia Pongracz

I first discovered Sofia Mitsola’s work during Condo London at Pilar Corrias Gallery in January 2020. Condo which takes its name from ‘Condo-minium’ is a gallery exchange program founded by Vanessa Carlos in London which now takes place all over the world. I always make great discoveries during Condo and so it was no surprise to come across Sofia’s powerful work. Curiously it was one of the last great shows I saw just before the first lockdown.

With a lot of figurative work in contemporary art recently, it isn’t easy to be surprised. It is also hard for an artist to tick all the boxes and equally master innovation, composition, technique, palette and detail. Sofia really does it all. Her work is seductive and slowly draws you in. Colours, nudity and voluptuous forms are striking, but it is the details and mysterious looks of her subjects that have a haunting effect. The work is beautiful and appalling at the same time. The best art should be challenging and ideally never fully understood.

Afterglow Zenaïda, Sofia Mitsola, 2020. Courtesy of the artist and Pilar Corrias, London.
Photo by Mark Blower

LUX: To what extent are your paintings influenced by greek culture and mythology?
Sofia Mitsola: Growing up in Greece, you study a lot of history, which, when I was little, I only enjoyed when it was about ancient times. I was really into mythology too, and many of the things that impressed me as a child have somehow found a way into the work. When I am painting, sometimes my characters remind me of a mythical presence that I might have read about, or seen in a painting, and once I start imagining them this way, they are almost turned into that.

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After moving to London, I spent a lot of time in museums sketching from sculptures and paintings that I admired. These soon became the starting point for developing ideas and works. When I first began working with figures, I used to visit the British Museum and make drawings from the sculptures at the Egyptian room. I remember a small sculpture of a sphinx I drew from, and reading what these female-like creatures symbolised, made me think of the characters I was trying to compose in a different way. When standing behind them, they are seen as goddesses of protection. When standing before them, they metamorphose into devouring beasts that strangle anyone who dares confront them. I really liked how perspective was used in mythology to give dual meanings, and it was then I started thinking of my own characters as divinities with alluring enigmatic gazes and magical powers.

Cactilus, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: How do you go about creating the physicality of your characters?
Sofia Mitsola: When I am composing a character, I am trying to understand who I want them to be and what their relationship is with the viewer. In my paintings, there are usually two focal points, one is the face, and the other the genitals, which are often in the centre of the composition and almost level with the eyes of the viewer. I want the protagonists’ colossal size and bareness to be intimidating yet something to be inviting about their young, innocent like faces and seductive gazes. In my mind, they invite the viewer into a flirtatious game of looking. They stand naked and exposed before them but they don’t shy away. With their persistent gaze and outspread bodies, they take control back. Very much like sphinxes with magnetising beauty and beastly bodies, my figures share similar qualities. Their flushed, angelic faces contradict their gigantic, distorted bodies that border pornography making them a crossbreed of the divine and the monstrous that attracts and repels, invites and drives away.

SPY, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: Can you talk to me a bit about the female nude in your work and how it relates to art history?
Sofia Mitsola: For me, the theme of the female nude is very interesting because there are many ways it can be viewed. I understand it from the experience of living within my own body, by relating to them, and also by stepping back and investigating it as a painter/viewer from a distance.

Read more: Artnet’s Sophie Neuendorf on the rise of a new Renaissance

I am attracted to ancient Egyptian and Greek depictions of the female form, that were made to be seen as deities, to be adored and feared. These appear larger than life, geometric, and austere with penetrative gazes. I am attracted to prehistoric figurines that show raw, unashamed, sexual bodies to depict fertility goddesses. In some western paintings I admire, the female nude is shown small and fragile and shy, looking away. There seems to be a safe distance between the nude and the viewer that allows the later to comfortably examine and take visual pleasure from the former, unbothered. But I really like the intimacy in them, the realness of the characters. The feeling that these people lived and breathed and were humans. I feel that for my work, I want a sense of intimacy that I receive when looking at western painting, and at the same time to create a game of power dynamics between the figure and the viewer that is closer to antiquity.

Darladiladada, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London.
Photo by Damian Griffiths

LUX: Where are your favourite places to go for inspiration in London?
Sofia Mitsola: My number one is The British Museum. I always go to the Egyptian sculpture section on the ground floor, and the Egyptian paintings and funerary treasures upstairs. I never miss the Greek vases with the beautiful line paintings, I discover something new every time I look at them and appreciate the simplicity of the marks. Also I really love the National and National Portrait Galleries. At the National, I am always going to the Sainsbury Wing to say hello to one of my favourite paintings, Portrait of a Young Man by Petrus Christus, and then on the other side to see Holbein’s Christina of Denmark. I also love Nymph by the Stream by Auguste Renoir downstairs. At the National Portrait, I enjoy spending time with the Tudor paintings. The Wallace collection is a very special place for me too, where I love to go and see the miniature paintings.

Gorgoneion, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower

LUX: What did you get up to during lockdown?
Sofia Mitsola: I was lucky to find my current studio during the first lockdown in May, and since then my life has been pretty much the same. Studio, home, studio. But I’ve really enjoyed how quiet it has been, with no distractions.

When I was stuck at home, I drew a lot, and worked with watercolours and oils on paper, I watched some amazing documentaries about Troy and ancient Egypt and the Russian Revolution, read Nabokov’s Ada or Ardor, Anais Nin’s Little Birds, and Writings from Ancient Egypt, and listened to lectures from a Greek historian, Maria Eythymiou, about the history of the world starting from the first human societies! I also took daily walks in the park, and spent a lot of time cleaning my flat!

Read more: Artist Shezad Dawood on the endless potential of virtual reality

LUX: How the pandemic affect your practice?
Sofia Mitsola: I had the time to slow down a bit and think more of how I want to work in the studio and how to push the practice. I made a lot of drawings which help me give direction to the work, wrote more consistently which for me is another way of drawing, developing ideas, or getting a sense of the atmosphere that I want to convey. I was also making paintings. It’s one of the first times that I worked this way, with all the elements that consist of my practise happening at the same time and it has been really helpful, I feel that the work has had more time to mature.

Tonguelets by Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London.

LUX: Which artists do you admire the most?
Sofia Mitsola: Paula Modershohn-Becker, Leonor Fini, Amedeo Modigliani, Etel Adnan, Petrus Christus, Jean Auguste Dominique Ingres, Artemisia Gentileschi, Konstantinos Parthenis, Paula Rego, Lisa Yuskavage, Hans Holbein the Younger, Alex Katz, Auguste Renoir.

LUX: Are there any contemporary artists with which you spend time and exchange ideas?
Sofia Mitsola: Konstantinos Sklavenitis, Nada Elkalaawy, Ahae Kim, Miriam Naeh, Roy Efrat, Antonia Showering, Alvin Ong, Emma Fineman, Patrick H Jones, and Jane Yang.

Spoilt, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: Do you think it’s important for an artist to build a good working relationship with their gallerist?
Sofia Mitsola: I guess it’s different for every artist, but for me it’s very important to work with people that I have a good chemistry with and that we can build a relationship. Trust too. You can usually get a sense of that from the first meeting. If it’s good, it’s good. And with Pilar (Corrias) and Charlotte, who I work most closely with, it has been good from the beginning. They support me in every way and always give me complete freedom. And they are a great help when I feel stuck too!

Personally, I really like working with a gallery because it takes the pressure off and allows me to concentrate on the practice and making work. Admin or dealing with collectors can sometimes be very time consuming, and to be honest not my favourite thing. So I am really glad that they can help there. Also, I think that for a lot of young artists like myself, it is difficult to know how to protect the work, and what choices will help or not your career, and it’s quite important to have someone you trust to talk to about it.

LUX: What are your plans for the future?
Sofia Mitsola: I have a couple of projects for later next year so I really want to take my time planning the paintings. For the development of the work, I want to make big drawings with different materials like charcoal and oil bars, I will try to work in three dimensions, possibly with clay that I play with when I am not in the mood for painting, and continue my miniature paintings. When it comes to painting, I have started thinking more about the space, composition and perspective as well as narrative, so this is where the work is heading to at the moment.

Follow Sofia Mitsola on Instagram: @sofiamitsola
Follow Maria-Theresia Pongracz on Instagram: @mt_mathisen

Artworks by Erwin Wurm installed in Cafe de Flore, Paris

Art historian Anne-Pierre d’Albis-Ganem is the founder of the Parcours-Saint-Germain-des-Prés, a yearly contemporary art festival in Paris, and the B&C art and culture member’s club. She is also the co-founder of Spirit Now London which organises exclusive art events, and a board member of numerous cultural institutions across the globe. As part of our ongoing philanthropy series, she speaks to Samantha Welsh about supporting rising artists, the challenges of her work and plans for 2021

Anne-Pierre d’Albis-Ganem. Image by Sonia Fitoussi

LUX: When did you first begin to support emerging artists, and what motivated you?
Anne-Pierre d’Albis-Ganem: I come from a family of art collectors and experts. I was born in Limoges into the Haviland family, a family of porcelain manufacturers. My mother was an art restorer. It is a family tradition to support artists and to become really good friends with them. Haviland, for example, worked with Wassily Kandinsky, who made a tea set for them.

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I first began to collect artists in 2000. The first show I curated was of the photographer Ange Leccia at the Armani shop in 1999. I bought four pictures with my first salary. I then started to collect the artists that I was exhibiting in my annual art show, Parcours Saint Germain, which I founded in Paris twenty years ago.

This exhibition presents about thirty artists in each edition, whom I chose amongst the projects that I like the most and of which I gather a few pieces.

More recently, I have started developing a collection of abstract paintings and I am trying to focus also on women artists like Suzan Frecon and Vivian Springford.

Sabine Pigalle and Philippe di Meo at Celine as part of Sweet Art, the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: Is there anybody in the philanthropy world who particularly inspires you?
Anne-Pierre d’Albis-Ganem: As an art historian I have always been admiring of all the important philanthropic families such as the Medici family. When I was working at the Centre Pompidou at the beginning of my career I realised how much public museums have been depending on private collectors. Many artworks in museum’s collections come from private donations, sometimes a private collection is the starting stone of building a whole museum.

I also witnessed the creation of collections such as the Fondation Cartier, Louis Vuitton, François Pinault as well as the birth of their private foundations and the opening private museums for the public.

I am also a big admirer of Patricia Sandretto and Frederic Jousset, and of philanthropic initiatives that help young artists and support education and diversity such as Fluxus Charity or Art Explora.

A sculpture at the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: What originally brought you to found the B&C Club?
Anne-Pierre d’Albis-Ganem: I had the idea of creating a club when I was living in France seven years ago, acting as a board member of the Tokyo Art Club of the Palais de Tokyo. I used to create programs around the current exhibitions and the artists exhibiting for the patrons of the museum. As soon as I moved to London I wanted to create a more international group and to offer my members the possibility to go everywhere. I thought that founding a private project which also raises funds for art and museums would enable me to offer a more diversified program.

Read more: Life coach Simon Hodges on how to break free from destructive behaviour

LUX: What exactly does the B&C Club do, and how did you ensure you get optimum results?
Anne-Pierre d’Albis-Ganem: The club is a private group of patrons, art collectors, intellectuals and open minded people, for which I organise very privileged access to artists’ studios, galleries, museums, art centres but also to eminent curators, museum directors and art historians. For me the key is the assurance of high quality visits and the excellent curating of all the speakers. I look carefully at what is going on in the world and I pick the artists, designers, and curators who I fundamentally believe have something different to say.

LUX: What are your proudest achievements?
Anne-Pierre d’Albis-Ganem: An encounter and talk between Antony Gormely and Idan Segev, an internationally renowned neuroscientist from the Edmond & Lily Safra centre for Brain Sciences of Jerusalem.

LUX: Do you enjoy participating in Fluxus Art Projects? What originally brought you there?
Anne-Pierre d’Albis-Ganem: The former cultural attaché of the French Institute in London approached me as soon as I moved to London to be on the board of Fluxus and its artistic committee. I enjoy it a lot, it is a fabulous feeling to be at the source of the future talents and help them achieve their goals.

LUX: How much of your time does it take?
Anne-Pierre d’Albis-Ganem: It takes a lot of time to read all the different projects and to prepare the two annual board meetings. I would say it takes a third of my time at the moment.

Read more: Keith Breslauer on combining business & charity

LUX: Do you have some specific examples of artists who have benefited?
Anne-Pierre d’Albis-Ganem: Ed Atkins, Ryan Gander, Ulla von Brandenburg, Zineb Sedira, Laure Prouvost and Camille Henrot (currently showing at Lisson Gallery) among others.

LUX: What are the biggest obstacles and challenges you have faced?
Anne-Pierre d’Albis-Ganem: The first lockdown was complicated because my job entails a lot of travelling and organising events with groups, but I immediately signed up to a Zoom pro account and started organising webinars.

LUX: How will COVID-19 affect what you do?
Anne-Pierre d’Albis-Ganem: It is still a challenge particularly in Paris for the Parcours Saint Germain, with my sponsors in fashion. So the main idea is to do the best as I can, work a lot, redesign the web portals, organise webinars, send newsletters articles, and wait and see.

Dior windows by artist Stephane Calais, 2002

LUX: How would you encourage people like you to get more involved in non-profit organisations that support the arts?
Anne-Pierre d’Albis-Ganem: Every event is an opportunity to communicate to my network the need of private initiatives in culture. A great example is a talk we had with Sandra Hegedüs and the Sam Art Projects in conversation together with Catherine Petitgas.

LUX: Any other advice for our readers who might be considering going into the sector?
Anne-Pierre d’Albis-Ganem: Crises often give birth to new opportunities. Keep your eyes and ears open.

Read more: A new honey-based concept restaurant opens in Selfridges

LUX: What led to you co-founding Spirit Now London?
Anne-Pierre d’Albis-Ganem: Spirit Now was the first group, and B&C the second. The main difference between the two groups is that I am the only owner of B&C and its program is more open to philosophy, literature and current affairs.

Installation of work by French photographer Natacha Lesueur as part of Sweet Art, the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: What does your role as director of the B&C Club entail?
Anne-Pierre d’Albis-Ganem: I am both the owner and director of the club. I curate the whole program, contact artists, collectors, curators, gallerists, museum directors and writers, sometimes from all over the world and invite them either to come to London for a talk, a webinar or a visit. We organise art trips as well.

LUX: What about B&C’s direction, as we head into 2021, what are you most excited for?
Anne-Pierre d’Albis-Ganem: I am creating an international category for the club called B&C Reports – there is a new page on our website. I have invited a curator based in Rio de Janeiro to write articles about his favourite artists which I regularly post on my blog. We also organise webinars with these artists based all over the word. We select them together, record them and post all the webinars. We are also signing partnerships with different institutions to help them support the arts and to develop strongly their philanthropic side.

LUX: Can you tell us a bit about your aim for your new project in 2021 with Parcours-Saint-Germain-des-Prés in Paris?
Anne-Pierre d’Albis-Ganem: We have very ambitious projects for the Parcours 2021. As the current situation limits visits indoors in all of the places where we traditionally exhibited them (Louis Vuitton, Armani, Hotel Lutetia and Café de Flore), we have decided to program a variety of outdoor installations. We are working on a huge installation with the international artist JR and  the students of the famous school for cinema Kourtrajmé which will be produced and installed on the place Germain des Prés. Another project is to create colours and patterns on the pedestrian pathways with Carlos-Cruz Diez, who was a teacher at the School of Beaux Arts and had his studio in St Germain des Prés.

As we wanted to include architecture in our program, we have also invited the Architectural Association and a collective of young architects from Place Furstenberg. Our opening event will be outdoor with chefs and food-trucks, and will aim to combine photography, design, sculpture, fashion, photography, street art, street food and art all together.

Find out more: thebc-club.com

Samantha Welsh is a contributing editor of LUX with a special focus on philanthropy.

The lobby of Sofitel Paris Le Faubourg

In the final edition of our luxury travel views series, LUX Editor-in-Chief Darius Sanai enjoys the Parisian elegance and ease of Sofitel Paris Le Faubourg

Location, location, location. What is the nearest luxury hotel to the epicentre of Paris shopping, the original Hermès flagship store on the corner of rue Faubourg Saint-Honoré and rue Boissy-d’Anglas? I would understand if you were thinking Crillon, Ritz or Bristol, but you would be incorrect. The Faubourg is so close that you could fish a Birkin out of the Hermès window display with a fishing pole and a hook.

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The frontage, in a road now closed to traffic for security reasons as it is so close to the Élysée Palace, belies the grandeur of the entrance hall when you walk inside. The welcome is swift, efficient and friendly, as you would expect from this significant European luxury hotel group.

The Faubourg Suite

My room was well-appointed in a very Parisian style: vintage mirrors, Vogue photography, plenty of plush. With the rue Boissy-d’Anglas closed to traffic, it was also wonderfully quiet for a city-centre room.

Read more: Life coach Simon Hodges discusses the complexities of familial relationships

I had declined the offer of dinner with a business contact, as I had some research to do ahead of a meeting the next day, so I slipped downstairs with my iPad and found a place in the bar, a cosy, jazzy little room at street level.

The Blossom restaurant

Sometimes, on travels, after a number of meals offered where different levels of cuisine are showcased, there is nothing you feel like more than a Caesar salad, which the bar provided with no qualms and in very Gallic style, with corn-fed chicken and proper fries on the side. Paris is near enough to Burgundy to justify choosing a medically necessary Macon-Uchizy from the excellent 2016 vintage as an accompaniment.

My meeting the next day was not at Hermès but at a brand located next door. A 90-second commute. Now, that’s luxury.

Find out more: sofitel-paris-lefaubourg.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Life coach Simon Hodges. Photograph by Matt Porteous

This Christmas LUX is partnering with transformational life coach Simon Hodges for a high value giveaway

Life coach Simon Hodges has worked with billionaires, their families, royalty and industry leaders to help them transform their lives and reach their full potential. This December, alongside his monthly column for LUX, he is offering the opportunity for one lucky LUX reader to win two one-to-one 60 minute coaching sessions, worth £3,000.

All you have to do is answer the following question:

In one sentence, how do you want to change your life in 2021?

Entries via simonhodges.com/competitions/lux-winter-2020

We will be announcing the winner on Monday 21st December via Instagram. Make sure you’re following us at @luxthemagazine

LUX does not take any responsibility for content or offers on third-party websites. Simon Hodges’ content and offers are managed by Simon Hodges and his team, all queries should be directed appropriately to simonhodges.com

Triumph of Death (1562), Pietr Bruegl the Elder

In the second edition of her monthly column for LUX, artnet’s Vice President of Strategic Partnerships Sophie Neuendorf looks back on the emergence of the Renaissance following the Black Plague, and towards a more positive and creative future

We can all agree that this year has been one of the toughest we’ve experienced during our life time. It certainly was for me. The consequences of an unprecedented global pandemic have been, and still are horrifying and in many ways, unbelievable. But, the question is: how will generations to come analyse and learn from this particular moment in time?

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Let’s look back at another pandemic, which was arguably much worse: the Black Plague, which struck Asia and Europe during the mid-1300s. It arrived in Europe during October 1347, when 12 ships from the Black Sea docked at the Sicilian port of Messina. Most sailors aboard those ships were dead, and those still alive were dangerously ill.

Over the next five years, the Black Death – a terrifyingly efficient disease – would kill more than 20 million people in Europe, about a third of the population. At the time, no-one knew exactly how the disease was transmitted, or how to prevent and treat it. A grim sequence of events unfolded for which, in the middle of the 14th century, there was no rational explanation.

Self Portrait after Spanish Influenza (1919), Edvard Munch

Today, however, we know that the Black Death attacks the lymphatic system, causing swelling in the lymph nodes. Left untreated, it can spread to the blood or lungs and is highly contagious.

Following the Black Plague, a preventative method was developed in Italy, which we saw repeated this year: quarantine. In order to slow the spread of the disease, returning sailors were mandated to stay on their ships for 40 days ‘quarantine’, relying on isolation to slow the spread of the disease.

Read more: Life coach Simon Hodges’ tips on breaking free from destructive behaviour

Following the end of the Black Plague, a new era unfolded in Europe, known as the Renaissance (or rebirth). The impact of the Black Death had been profound, resulting in wide-ranging social, economic, cultural, and religious changes. These changes, directly and indirectly, led to the emergence of the Renaissance, which was one of the greatest epochs for art, architecture, and literature in human history.

The Birth of Venus (1484), Sandro Botticelli

After a period of pessimism, introspection and recovery, a time of enlightenment and renewal began. The arts especially flourished, as artists documented this time of change and upheaval. Through their creativity, artists wrestled with questions such as the fragility of life, religion, spiritualism, and the pleasures of living. Artists such as Leonardo da Vinci, Raphael, Michelangelo, Titian, and Albrecht Dürer dominated what’s known now as the humanistic high Renaissance period. The prevailing theme was the seizing of life, driven by positive change, knowledge and nature.

Read more: Richard Mille’s collaboration with Benjamin Millepied & Thomas Roussel

How will we respond to the pandemic we’re facing now? Will the development of a vaccine result in a period of introspection, creativity, and change? Will we – having faced an invisible, deadly enemy – emerge more tolerant, grateful, and accepting of change?

La Primavera (1477), Sandro Botticelli

A near-death experience usually results in a renewed zest for life, happiness and gratitude. Within the art world, many of the archaic norms have already been replaced during the course of the year. As artistic expression and culture define us, not only as individual nations, but in terms of humanity, we should ensure that this moment in history is not a missed opportunity.

Covid-19 has forced us to profoundly rethink the way we live, the values we have, and world we’ll leave for our children. Covid-19 has also forced us to trust in digitalisation and to rethink the way we experience and trade art. For context, while the art market declined by 58% in the first half of this year, online art sales increased by nearly 500% during the same period. There has been a flurry of creativity and inspiration, from artists doubling down in their studios to document the zeitgeist, to museum and galleries embracing VR and making their inventory accessible online. Let us embrace these changes and welcome an opportunity for a more transparent, accessible, and tolerant art world.

Browse artnet’s current auctions via artnet.com/auctions

An artwork by Minjung Kim installed over the fireplace in the residential side entrance lounge of the Waldorf Astoria

LUX Contributing Editor Simon de Pury is also an auctioneer, art dealer, curator, photographer and DJ. He was most recently commissioned to curate a collection of art for the newly restored Waldorf Astoria in New York, which will open to residents in 2022. Here, he discusses the project’s concept and challenges, and his favourite places to see art

Simon de Pury

1. Where does your curatorial process generally begin?

Once the topic of an exhibition is defined you go about making in your head your dream selection. The minute this is done you answer as many practical questions as possible in order to produce a cost estimate and a timeline. The rest is all implementation.

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2. Can you tell us more about your concept for the Waldorf Astoria?

The concept for the Waldorf Astoria was dictated by its own history, and by the design that Jean-Louis Deniot had conceived for it. It was the owner’s wish to work entirely with original works done specifically with the space in mind.

An artwork by Philippe Decrauzat from the Waldorf Astoria collection.

3. How do you see the artworks interacting with the building’s architecture and history?

The proof will be in the pudding. Both the owners and the designer wanted artworks that would blend seamlessly into the Art Deco architecture of the building and the interior design that had been devised for it. They gave a clear preference for subdued colours and abstract works.

An artwork by Benjamin Ple from the Waldorf Astoria collection.

4. What’s the most challenging aspect of this particular project?

There is an abundance of rising artists in the world, so narrowing our focus to a select few was certainly a challenge, and a luxury.

Read more: Richard Mille’s collaboration with Benjamin Millepied & Thomas Roussel

5. If you had to choose one piece from the collection, what would it be and why?

I have a particular fondness for the work of Minjung Kim. Her technique is uniquely refined and her work combines her Asian cultural heritage sensibility with a feminine sensibility. I like every work she has done for the Waldorf Astoria and would be hard-pressed to pick one.

Mountain by Minjung Kim from the Waldorf Astoria collection

6. Where’s your favourite place in the world to see art?

Basically wherever I happen to be. I love seeing art being lived with in private homes. My favourite museum is the Neue Galerie in New York. The quality of the art is breathtaking and the scale is intimate enough to make you feel as if you are in a private home.

Find out more about Simon de Pury’s work and the restoration of Waldorf Astoria: waldorftowers.nyc

Simon Hodges. Photograph by Matt Porteous

In last month’s column, life coach Simon Hodges explained how and why problems arise in familial relationships. Here, he shares his top tips for breaking free from a competitive mindset and reactionary behavioural patterns

From an early age we are taught to live in scarcity. We learn that the world is made up of limited resources and that we are in constant competition for them. We talk in ‘not-enough’s, and think in terms of wins and losses.

Many of the families I work with are built on this model. They are driven by fear – fear of loss, and of losing – which often leads to huge financial success achieved through the relentless exertion of control. But when the world you have built is founded on fear, you end up believing that control is the only thing that can stop you from getting hurt. And if the stakes are so high, why would you ever delegate and willingly allow uncertainty into your life?

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Time and again I see how this competitive mindset ultimately erodes trust. It is a vicious cycle which leads to parents feeling isolated, believing that no one can understand the weight of their responsibility. This, in turn, can leave children feeling unwanted and unneeded. In the ‘I win, you lose’ culture, it turns out that everyone feels like they are losing!

With this lack of trust and destructive sense of competition, families learn to live off a pattern of reactionary behaviour. The smallest criticism and briefest remarks are often met with machine-gun fire (over)reactions. We go from nought to sixty in a matter of milliseconds. We assume we are being judged and fall back into a habit of confrontation and conflict, often without even meaning to or knowing why.

So, how can we step out of these unwanted patterns of behaviour?

Photograph by Matt Porteous

The Journey

Changing deep-seated patterns is one of the most difficult things we can (try to) do, and it is where I focus a lot of my time and energy in helping the families I work with. In many ways it is like recovering from an addiction. It is extremely tough (even brutal) at the start, messy and confusing in the middle, but incredibly rewarding in the end.

The first step is to accept that all change begins with awareness. Understanding what the behaviour is, and coming to terms with the damage it has done and will continue to do to yourself and those around you, is essential in establishing the ‘why’ behind your desire to change. It is also a key stage in realising that although you are part of a family, only you can be responsible for changing your behaviour.

Read more: Simon Hodges discusses why we act the worst with those we love the most

In truth, the reality of changing habits is that most people won’t. Willpower alone can’t get you through. You have to make making a change a priority, keep an open mind alongside a willingness to try almost anything, and have people who can hold you accountable along the way (this is where a coach can be indispensable!). To help you out, here is a small selection of my top tools for interrupting unwanted behaviours.

‘Mind the Gap’

In every family there are points of conflict which seem to recur and repeat like a broken record. The same arguments eagerly pop up and our reactions become more and more automatic and involuntary the longer this goes on, and eventually, we lose ourselves to our unconscious behaviour.

Before you bundle onto a runaway train of outrage and confrontation: ‘mind the gap.’ Take ten to twenty seconds to pause, breathe and do nothing. Give yourself the space to interrupt this old pattern and ask yourself a better question – i.e. ‘How would the most loving version of myself behave right now?’

I often ask my clients and their families to come up with a familiar code word which anyone can use at any time to press pause on an argument (using your dog’s name works wonders here…!) and take stock.

Photograph by Matt Porteous

Laugh at Yourself

‘The man who trips is the last to laugh at his own fall, unless he happens to be a philosopher.’ – Baudelaire⁠

We spend so much time in our heads and our own busy little worlds that reality begins to distort our own version of the way things work.⁠ Learning to laugh at yourself is the fastest way to step out of your ego and the destructive behaviours which feed off it.

Read more: Entrepreneur Wendy Yu on creativity & charity

Self-deprecation and laughing at your own foibles and falls make even the most embarrassing and excruciating failures seem inconsequential. It diffuses tension; it pulls the rug from under the ‘serious’ and allows you to distance yourself from your reactive ‘self’. Laughter lets you step out of your old stories and see them for what they truly are. It also brings joy, and this joy brings families together – it lets us cross from fear to love.

Words, words, words

I’ll get the cliché out of the way first: if your friends spoke to you the way you speak to yourself, how long would they be your friends for?

The language you use to describe the world you live in is true from the moment you use it.

Language alters the way you see things and how you interact with those closest to you. You can convince yourself of anything with the right words, and you can change your behaviour if you slowly begin to change the way you describe your life and the people around you. What words make up your internal monologue? Are they keeping you small and making space for fear, or are they empowering you to move away from old beliefs and behaviours?

The Nub of It

Scarcity seeps into everything once you let it in. It is a world view built on the fear of missing out, of losing and being lost, and it keeps us small in every way. Scarcity happily offers up control as the solution to all anxiety, and then it prescribes confrontation and conflict as the most direct route to a feeling of superiority and self-worth. In a culture or family grown on the assumption of lack, scarcity wins all.

But if we step out of old, competitive patterns of behaviour and break free from a reactionary approach to our relationships, we can stop fear in its tracks, we can pass from scarcity to abundance, and in an abundant world, trite though it may sound, everyone wins.

Find out more about Simon Hodges’ work: simonhodges.com; @simonhodgescoaching

Still from Within, directed and choreographed by Benjamin Millepied with music by Thomas Roussel. Photograph by Melissa Roldan

To celebrate the launch of their latest timepiece, Richard Mille invited choreographer Benjamin Millepied and composer Thomas Roussel to create a short film incorporating original dance and music. Here, Abigail Hodges takes a closer look at the performance and watch design

RM72-01

The Richard Mille 72-01 Lifestyle In-House Chronograph is the brand’s first flyback chronograph made entirely in-house, and through its design it aims to weave together tradition and modernity – a concept which is also at the heart of WITHIN, a short film created by Benjamin Millepied and Thomas Roussel, set in the desert landscape of southern California.

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The film brings together the physical wonder of a ballet performance and the powerful sound of orchestral music to celebrate the precise art of watchmaking and Richard Mille’s bold, contemporary design aesthetic.

Both images: stills from Within. Photography by Melissa Roldan

While Millepied’s choreography – performed by two dancers – reflects how classical structure and form may be artistically reinvented, Thomas Roussel’s composition blends orchestral and electronic elements to create a dramatic, vibrant soundtrack which was performed by the 50 musicians of the London Symphony Orchestra and recorded at St. Luke’s Church in London.

Read more: Philanthropist Keith Breslauer on combining business & charity

The watch itself aligns with Richard Mille’s avant-garde approach to time-keeping and design (the watch face, for example, features only the numbers three, eight and eleven), but it is also one of the brand’s subtler and more elegant models. Worn on the wrists of both dancers in the film, it pairs perfectly with their formal costumes and the stark, dramatic landscape.

Watch the film below:

For more information visit: richardmille.com

The Jackie O. Suite at the Villa Kennedy

In the third edition of our luxury travel views series, LUX Editor-in-Chief returns to Villa Kennedy, a Rocco Forte hotel in the centre of Frankfurt, to discover how it stands the test of time

Frankfurt is not a city known for either its romance or its luxury experiences. So, if someone suggested flying there for a romantic weekend, you might start doubting their sanity.

But bear with me here. Having landed at Frankfurt airport, a 15-minute taxi ride through a forest into Sachsenhausen, an area of grand villas, took me to the Villa Kennedy. A villa hotel with a spa a long way metaphorically from the skyscrapers of the city centre – although Sachsenhausen is just across the river from the financial district.

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I had been to the Villa before, when Rocco Forte first opened it in 2006, and was curious to see how Europe’s most endearing (and indeed enduring) hotelier has adapted it to the times.

A view of the hotel’s façade (above), and the gardens

This is a very exclusive hotel and the Zen-like atmosphere virtually wafted me up to the Jackie O. Suite, whose library room was bigger than that in many a decent home, and looked out over a tranquil central courtyard, via an extensive private terrace. The decor was sixties inspired, with swathes of gold, and the coffee table was laden with books on art and design. The bedroom was separated from the extensive bathroom area by corridor so long that you could take your exercise at the Villa Kennedy just by walking the length of your suite.

As well as being a financial capital of Germany, Frankfurt is close to the Rhine winelands, and it was pleasing to see a good selection of those wines by the glass at the Italian restaurant, Gusto, that evening. Gusto is on the ground-floor level by the internal courtyard, and while the weather was not good when I visited, I imagine sitting at a table in the courtyard would be a delightful Italianate experience on a sunny summer’s day.

Read more: How to shop for art online by Artnet’s Sophie Neuendorf

I needed to finish off a presentation ahead of my meetings the next day, and the calm atmosphere and efficient service were just what was required to accompany a laptop, a glass of Trocken Rheingau Riesling and some tuna tartare with ricotta and cucumber. Perhaps, though, the restaurant has missed a trick in being too efficient, feeling like a better place for a corporate dinner or an editor working on a laptop, than a more lingering and languid romantic dinner.

The spa swimming pool

That’s probably due to the nature of Frankfurt, although it’s a bit of a shame. The hotel also has a celebrated spa, which I didn’t have time to visit on my overnight, but which caters to the Frankfurt elite. Combined with the efficient journey, the architecture, location, and magnificence of the suite, a visit to the spa would’ve been a perfect ending to a romantic break, as long as there was a cuisine experience to match. Turn Frankfurt into a lovers’ location: Sir Rocco, you have overcome many challenges in your colourful life, and here’s the next one. It just needs a softening of the dining area to add the right mix of atmosphere, and ecco. Done.

roccofortehotels.com

Keith Breslauer congratulating a wounded British veteran during The Veteran Games

Keith Breslauer is the founder and Managing Director of private equity company Patron Capital, and a trustee and donor to numerous charities including the Royal Marines Charity and the Prince’s Teaching Institute. As part of our ongoing philanthropy series, he speaks to LUX about building bridges between charities and the corporate world, his work with disabled veterans and how philanthropy differs in the US and the UK

Keith Breslauer

LUX: What inspired your interest in philanthropy?
Keith Breslauer: I was brought up to believe that giving what you can is the biggest triumph in life. I took this belief and inspiration from my parents and religion into my career and to help create a platform to give what I can to those who need it, enable others to do the same and make a lasting difference.

LUX: Why did you decide to support the Royal Marines?
Keith Breslauer: I’m from the US where veterans are celebrated on both a public and personal level. However, when I moved to the UK twenty seven years ago, I was disappointed to learn that British war veterans often receive marginal public support. That is why I started ventures that manifested as fundraising for all veterans with a focus on volunteering for the Royal Marines Charity (RMA-TRMC).

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LUX: What led you to create Patron Capital?
Keith Breslauer: Lehman Brothers allowed me to come to Europe and work on distressed assets, which was a niche sector of real estate at the time. I loved being in the UK – everyone said ‘Breslauer is a New Yorker, he’ll never stay’ – but I love that on a typical Friday night (pre-Covid) I have five-plus cultures and languages at my table. So, when Lehman Brothers asked me to go back to New York, I decided to stay and took the leap to start our business with a great team of partners and the rest is history.

Keith with Royal Marines and a team from the Royal Navy on a riverbank during their re-creation of Operation Frankton, which was sponsored by Patron

LUX: What are the principle benefits of a business involving itself in charity?
Keith Breslauer: We’ve worked hard for Patron Capital to be positioned as a leader of successful commercial business while also available for charitable good – rather than just donating funds. As a team we’ve built the business to be a bridge between charities like the Royal Marines and the corporate world. We can offer them everything from business plans, employment advice, office space, secretarial services, to our business contacts and expertise.

We also utilise our business to give a voice to the extraordinary people we raise money for. In 2017, we established The Greatness Lectures, a forum to inspire, educate and create opportunities through Patron’s extensive business network. Through education, The Greatness Lectures can involve every member of the audience and ensure everyone has a part to play in the Patron value of ‘creating a positive change whenever and wherever required’.

LUX: How does philanthropy differ in the US and the UK?
Keith Breslauer: The key differences between the US and the UK lie in the construct of giving, the perception of philanthropy and the landscape of donors. In the US, it is not just tax-deductible, but also a status symbol for many and there are significant givers across the spectrum. However, while in the UK, it is a tax credit and the dynamic of it being a status symbol is far less prevalent – instead, there is much more grassroots support where individuals across the country might not give a huge amount, but they donate what they can on a regular basis.

Read more: Katrina Aleksa Ryemill on helping women in the arts

LUX: Is there anyone in particular who inspires you philanthropically?
Keith Breslauer: There are so many people, but I will always be inspired by Harvey Krueger, an early boss of mine at Lehman Brothers who is known for being the first banker to bring Israel, really, to the international capital markets. He embodied what it means to me to give as he gave a lot of his time and limited resources but remained focused on the primary objective of how to help those who needed it.

LUX: What feels more rewarding: enabling people to get involved in charity, or simply giving?
Keith Breslauer: I am a big believer in doing more than just giving. If you don’t immerse yourself in the act of charity, then you can only help on a superficial level and you will never understand the satisfaction of knowing what a difference you’ve made. To understand what a charity stands for – getting under the skin of why you’re trying to raise money – you need to endure some sort of hardship to help. You need to get know the people you are helping. At Patron, we encourage employees to take part in fundraising events that help people push their own preconceived limits. For example, in 2019, Patron sponsored Rock2Recovery’s flagship fundraising event – a sponsored climb of Ben Nevis in Scotland – and we were really proud to see an all-female team from Patron join the 140 climbers taking part. In total circa £26,000 was raised for the charity.

Keith (top) with his youngest daughter Samantha on Mont Blanc Massif, and at the summit of Pointe Percée

LUX: How has your religious background influenced your charitable work?
Keith Breslauer: My religious background is incredibly important to my approach to charity and giving – it’s the core of it really. For a start, a principle of the Jewish faith is to give away about 10% of what you earn, and I adhere to this with my time and money. Next, there is the concept of ‘tikkun olam’ which comes from Mishnah, a body of classical rabbinic teachings, and is defined by acts of kindness performed to perfect or repair the world. This is key to how I was raised and how I try to live my life; if you have the ability to make a difference then you should whenever and wherever you can.

LUX: What is the biggest lesson you have learnt in your lifetime?
Keith Breslauer: I have learned so much throughout my life and I am still learning, but one of the biggest lessons that has stayed with me comes from the late Lord Rabbi Sacks, and that is about working hard and seeing the possible where others see the improbable. We can achieve more than we think we can if we try.

Read more: Entrepreneur Wendy Yu on creativity & charity

LUX: How has Covid-19 affected your philanthropic efforts?
Keith Breslauer: In the first few months of lockdown, it was really difficult for everyone as no one knew what the future would hold – everyone suffered. We tried to stick to a routine at Patron and this is why we took the Greatness Lectures, a forum to educate and inspire the Patron team, our friends, and partners, online. This included “Reports from the COVID-19 Frontline” with Dr Seb Vandermolen and Nurse Laura Pinches, who had both been working on adult COVID-19 wards at St Thomas’ and St Bartholomew’s hospitals respectively.

Alongside our efforts to establish The Women In Safe Homes Fund, believed to be the world’s first gender lens property impact investment fund being launched as a solution to the lack of affordable, safe and secure homes across the UK for women and their children, who are experiencing homelessness or who are at risk, I’ve made a personal commitment of £1 million to demonstrate how important this fund really is. We’ve also organised a Greatness Lecture with Chloe McCardel and Jane Jutsum to share different perspectives on domestic violence and providing help and inspiration to its survivors. Chloe is an elite athlete whose love of marathon swimming helped her recover from post-traumatic stress disorder, and she holds the world record for the longest non-stop ocean swim – 124km. Jane Jutsum is Director of Business Development at Solace, a charity that exists to end the harm done through violence against women and girls.

All of our charities have suffered this year; the Royal Marines Charity (RMA-TRMC) alone needs £1.5 million of vital funds. We’re always looking for ways of raising money and connecting those who wish to help with any one of our 30 charities.

LUX: What has been the most surprising discovery in your philanthropic activities?
Keith Breslauer: The most surprising thing for me to discover is the significant impact we can have through the multiplier effect of dedicating both time and money, rather than just one or the other. Our initiatives focus on funding projects and events with the potential to harness a multiplier effect either driving further donations, raising awareness, or helping deserving individuals who have suffered injury, illness or disadvantage achieve personal goals and build self-esteem.

Keith with the in-house climbing wall at Patron Capital

LUX: What are your passions outside of business?
Keith Breslauer: I’m obsessed with mountain sports, especially skiing, and climbing. I even had a climbing wall fitted in our office. When I first moved to the UK, I was introduced to European mountaineering through a trip to Mont Blanc. My wife told me I was only allowed one trip, but I’ve been addicted ever since and have now climbed, notably; Old Man of Hoy, Denali and various summits and routes in the Mont Blanc Massif. I also strive to incorporate social impact into everything and anything I do. And, last but not least, my family – they are everything to me.

LUX: How have you combined those interests with charity work?
Keith Breslauer: My personal philosophy on life and in business is to lead by example. Through working with the Royal Marines Charity (RMA-TRMC), I’ve been able to share this approach undertake challenges with some extraordinary individuals that also raise awareness and funds for those in need. For example, in 2017, we sponsored The Royal Marines’ recreation of Operation Frankton, an 85-mile paddle and a 100-mile run described as the most courageous raid of World War II. This commemorated the 75th anniversary of the legendary feat which was immortalised in the 1955 film ‘The Cockleshell Heroes’ and raised money and awareness for the charity. I joined the team as we retraced the route of 10 commandos who paddled up the Gironde estuary in December 1942 to attack enemy German ships moored at the port of Bordeaux in occupied France, before making the 100-mile journey on foot to rendezvous with the French Resistance in Ruffec. Only two men survived to tell the tale – the others succumbed to hypothermia or were executed by the Germans – but the operation’s significance reportedly led Winston Churchill to say he believed the raid could have shortened the war by six months. For me, our re-enactment was a once-in-a-lifetime experience.

LUX: Should we expect to hear of any upcoming projects?
Keith Breslauer: I’m looking forward to working with disabled veterans as they take on new challenges, including in the near future with a disabled veteran Mark Bower. More generally, we have a range of both adventure projects and practical projects with different charities to drive reach and penetration where charities have lost traditional channels of outreach and fundraising due to the pandemic.

Find out more: patroncapital.com