a fire coming out of a crater

Chloe Dewe Mathews, The Door to Hell, Turkmenistan 2012, from the series Caspian: the Elements

Our sister company, Quartet Consulting, has launched a new photography prize to highlight important issues in sustainability. We live in an era in which we are becoming increasingly aware that we can’t get something out of our planet without affecting something else – usually negatively. Farming is affected, as are many other sectors, and wine (and champagne) is a product of farming. Pesticides poison the ecosystem and threaten biodiversity, as does overcropping, exhausting the soil.

For more than 20 years the redoubtable Champagne house Louis Roederer has been engaged in a “renaissance viticulture’. This allows all the nuances of the Champagne terroir to be fully expressed, through massal selection, gentle pruning, and daily practices that respect the living environment. It also uses virtuous practices inspired by the permaculture model, which allow the ecosystem to self-regulate. These include the use of biodynamic composts, allowing the land to lie fallow for long periods, maintaining hedgerows and low stone walls, growing fruit trees and installing beehives.

mountains and a lake

Akosua Viktoria Adu-Sanyah, Point In Time [Santa Inés Glacier, Seno Ballena]

Cristal, the House’s famed flagship label, has been produced biodynamically since 2012. And, in fact, Louis Roederer is considered a pioneer of sustainability in the region. However, they haven’t shouted about it: there’s no biodynamic label on Cristal.

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Meanwhile, the family’s Louis Roederer Foundation in Paris has, since it was founded in 2003, supported emerging artistic photographers. So, it seems only natural that these two strands have come together in the inaugural Louis Roederer Photography Prize for Sustainability, launched in London this season by LUX’s sister company, Quartet Consulting. The prize brings together some of the most important art-world names. Among the judges are Azu Nwagbogu, the founder and director of both African Artists’ Foundation (AAF) and the Lagos Photo Festival; Maria Sukkar, an uber collector, whose ISelf Collection was on show at the Whitechapel Gallery in 2017; Brandei Estes, the director and head of the Photographs Department at Sotheby’s; and Darius Sanai, the editor-in-chief of LUX.

lit up trees and wheat in a field

Emergence (from Twilight Series)

The nominators, who selected the photographers for the judges, read like a hall of fame of the art and photography world, including the artist Shirin Neshat, Photo London founder Fariba Farshad, David Hill of David Hill Gallery in London, and the artist and photography curator Cheryl Newman.

Read more: Professor Nathalie Seddon On Biodiversity And Climate Resilience

The theme of the inaugural prize was Terroir, a French term used to describe how a region’s environmental conditions affect the production of wine – used here to showcase how photographers globally are using their art to capture issues relating to sustainability.

As the spotlight on climate change intensifies, a host of awards have tackled the subject through photography, including the Italian Sustainability Photo Award, among others. In 2017 the Foundation launched its Louis Roederer Discovery Award in conjunction with the eminent Rencontres d’Arles, the first international festival of photography.

yellow car seats behind a wooden steering wheel and a blue painting

Sahab Zaribaf, superannuation

“The Louis Roederer Photography Prize for Sustainability has come at the time when ecology, sustainability and a reimagining of our life methods need further interrogation and investigation,” explains Nwagbogu. “Every aspect of our contemporary life is improved or illuminated through photography, and I was glad to see so many talented artists recognised for their contribution to humanity and sustainability through photography.”

Read more: Artist Precious Okoyomon on Nature & Creativity

Sanai says, “it was both wonderful and disconcerting to be chair of the judges and creator of this magnificent prize. Wonderful, because the breadth and depth of creativity and execution in the art of photography was astounding. Disconcerting, because it is impossible to make a quality of judgement around such different but brilliant interpretations of the theme.”

a dog on a lead playing in the grass and flowers

Sian Davey, Untitled/WIP

Of the 26 entrants, we present below the six shortlisted photographers. The winner and two runners-up were announced in late spring. The winner will have their works considered for the Foundation’s collection, alongside a cash prize of £5,000, an exhibition at the Nobu Hotel Portman Square, plus some rather special champagne.

black and white image of a man and woman standing over a barbecue

Elizabeth Bick, Winter light

“The prize celebrates two of my favourite interests: the power of photography and a concern for our planet,” says Maryam Eisler, one of the judges.

Nominator Midge Palley on photographer Chloe Dewe Mathews

a book with pictures of mountains inside it

Chloe Dewe Mathews, Spread from the book In Search of Frankenstein 2018

I first met Chloe in a café in London, while trying to get her to take on a photographic project in Provence with me. She finally relented, despite her full schedule. Shoair Mavlian (a curator at Tate Modern) beautifully describes Chloe’s practice as exploring “ways in which photography can project the past onto the present, allowing for time to be expanded and contracted, and multiple narratives to be explored side by side.” I look at the images again and again to appreciate the beauty and intellectual depths of Chloe’s photography.

Judge Carrie Scott on photographer Elizabeth Bick

children sitting at a table eating strawberries

Elizaebth Bick, Wild Strawberries

It was the eerie familiarity, offset by a hyper-real aesthetic that drew me into Elizabeth’s compositions. Pair that with her mission to study the island of Fårö, and a people who live primarily off the natural resources of the land and sea, in a style that references Ingmar Bergman, and I was sold. Her style, in other words, is singularly cinematic and yet anchored in reality. That’s a place I want photography to take me to.

Nominator David Hill on photographer Jasper Goodall

green trees in a forest

Jasper Goodall, Cedars (from Twighlight Series)

Jasper Goodall’s work carries an elusive magic – his nocturnal images seeming to act like portals to another dimension. His is a very considered approach, not dissimilar to the work of the great American environmentalist photographers of the 20th century, but, here, viewed through the prism of a Brothers Grimm fairy tale. The resulting images are strikingly beautiful and utterly contemporary.

Nominator Cheryl Newman on photographer Siân Davey

a girl standing in red underwear in a field

Sian Davey, Untitled/WIP

At a time when our relationship with nature feels increasingly fragile, Siân Davey’s project, ‘The Garden’, offers a space for reconnection and healing. Her portraits are an invitation to share the garden, created with her son Luke, abundant with wildflowers and butterflies. Her series speaks to our humanity, joy and our inherent need to nurture ourselves and our planet.

Judge Maryam Eisler on photographer Sahab Zaribaf

A boy wearing a black t shirt floating in water

Sahab Zaribaf, Inertia

I had never come across Sahab Zaribaf’s work prior to this prize. And I’m a great believer in first impressions when it comes to photography. Sahab’s work punched me to the core. It belongs to the language of visual poetry: ethereal and timeless, beautiful and painterly. It’s a language that seems to be memory-based, one where absence is more present than actual presence.

Nominator Adama Delphine Fawundu on photographer Akosua Viktoria Adu-Sanyah

a close up of a brown plant

Akosua Viktoria Adu-Sanyah, macrocystis pyrifera [Patagonia]

I am thoroughly impressed by Akosua Viktoria Adu-Sanyah’s innovative approach to image-making. I am especially excited that her work fuels discussion and action around pertinent social issues, such as climate change and equity.

By Rebecca Anne Proctor

This article appears in the Summer 2022 issue of LUX

Reading time: 6 min
a horse in a vineyard
a horse in a vineyard
Cristal is the champagne of champagnes, and the new vintage is both brilliant and biodynamic. Give yourself a home-made health cure by buying and sampling, says Darius Sanai

Beetroot Kombucha. Acai beaker with a shot of charcoal. Turmeric, aloe vera and spinach booster shot. To these health drinks, we can add another: Cristal 2013.

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Cristal, as you all know, is the creme de la creme of Louis Roederer champagnes, made in a clear crystalline bottle, as famously favoured by Tsar Nicholas II before he graciously made way for 70 years of communism and prudishness. The bottle comes with its own UV-protective wrap (UV light is the enemy not only of your face on that yacht in Mustique, but of champagne) and in a presentation box; and probably unlike all the ingredients in those health juices, it is 100% biodynamic and organic.

bottle of champagne

Cristal 2013. Image by Emmanuel Allaire

Short of joining Elon Musk on Mars, there is no better way of looking after the soil than farming biodynamically. Not only are all pesticides banned as they are in organic farms; biodiversity is positively encouraged in Roederer’s biodynamic vineyards. Bugs and minibeasts roam free. Vineyards are ploughed by horse and fertilised by, ah, natural horse fertiliser. “It brings us close to the soil,” says winemaker Jean-Baptiste Lecaillon. Can the same be said of the spinach farms producing your green juice?

We were sent a bottle of this new release to taste. Rich and feather-light at the same time, it grows and grows as you taste it and is probably best sampled with a lightly sauced, line-caught sea bream at, say, Oswald’s. Cristal at best is a wine that improves for decades; and 2013 is Cristal at best, according to Lecaillion: “The Cristal of Cristals. It will age beautifully.” As long as you avoid being overthrown by some cultural revolutionaries in the interim.

Find out more: louis-roederer.com

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