Introducing VOICES, a new magazine in the world of wine

VOICES by Spinach Branding for Maze Row

VOICES is a new publication dedicated to the world of wine, and I’ve been involved in helping form its editorial direction on behalf of Spinach Branding. This has been an extremely exciting adventure, in both subject and the people I’ve had the pleasure of encountering along the journey.

Our client is Maze Row, a new brand in the fine wine scene. The importer and exporter of fine wines represents a select group of artisan producers who craft wines that are made with passion, are kind to the environment and speak of a time and place to epitomise terroir.

VOICES is a print publication and digital platform created to foster their work and share their stories. It is also a place, a space, for exploring and sharing the best in wine and wine culture.

We’re building a community who share a real passion for drinking and dining, who are excited by the people and places that help bring wine to life, and for the arts and ideas that share this vision.

Ours is an inclusive community of wine makers and connoisseurs, world writers, bold thinkers and creatives who are excited by the wider story of wine. By this we are referring to the more expansive narrative of what it means to devote a life to wine.

What I’ve come to realise is that wine is a symbol of so much more than just a drink. Away from the factory-made mass products, fine wine, in the context we cover in VOICES, is a celebration of life. It is a distillation of what it means to be human.

And at the core of our concept is to encourage diverse storytelling, multiple viewpoints. After all, inviting different voices is to be not only inclusive but also expansive and enriching.

Our guiding philosophy is: In wine, we find life. And we really do mean it.

Why not browse through VOICES and contact me if you have an interesting story to tell.

Artist Almudena Romero questions production and consumption with her ephemeral organic photography

Almudena Romero “The Pigment Change”, 2020 © Almudena Romero
Almudena Romero ‘The Pigment Change’, 2020 © Almudena Romero

A canvas of sprouting greens reveals a fading figurative image of family. The watercress has taken only a few days to grow thanks to the nitrate-rich Spanish water used to cultivate the seeds. As the green grows, the negative projected onto the cress panels fades. Eventually, the living artwork returns to earth. This is Family Album, the last chapter in The Pigment Change creation by the London based Spanish artist Almudena Romero for the BMW Residency at Paris Photo. Her autobiographical and at times impermanent organic photographs ask the viewer to question production, consumption and ownership. Hers is a meditation on the ephemerality of life and our relationship with nature. I met with the artist to understand more:

Almudena Romero’s The Pigment Change, 2020 © Almudena Romero

You talk of finding ways of renewing the medium of photography. Can you explain?

Photography has been a conservative medium. It has taken a long time for it to move out of print because it has largely been used as a tool for representation and documentation. For me photography is a process rather than being about the result. If we start to understand photography as writing with light, then it becomes a very simple rudimentary concept that makes sense. This way it can be liberated, become more performative, more conversational.

Your work is very organic, working directly with plants to create photographic images via photosynthesis, as well as being highly autobiographical. Can you explain your process?

I started my research on plant-based photography at my grandmother’s garden in Valencia. I work with her plants and her nitrate-rich water to create my work, then I use my hands to project images onto the leaves. Some of the images are sharp, some not. There is a lot of invisible feminine labor that goes into growing a family and growing a garden. The fact that my hand images are not all obvious I feel is a metaphor for the invisible labor that makes the trees and plants and nature grow.

Your grandmother sadly passed away before the original show in the summer at Rencontres d’Arles in France, yet her legacy continues through your work.

She passed away before I exhibited and I’ve been reflecting on our relationship and her impact on me ever since. When I was a teenager, my grandmother would tend to her plants and I would listen to the Spice Girls not realizing how much of her and her work stayed with me. My mother says this is the real heritage, my grandmother’s legacy and the passion and understanding I have of plants.

That is really beautiful. I’m intrigued by the layers of multiple meanings in your work. Is this intentional?

Much of my work is self-reflecting. As an artist, I want to know what’s the impact of one’s own practice, contributing to the dynamics of producing, accumulation — all of which is at the roots of the environmental issue. I want to contribute to a wider conversation as to why and where does photography exist, what’s our relationship to nature, to photographic productions such as photosynthesis. A better understanding of plants can help us be more respectful to nature. 

Your final piece, the vertical watercress for the BMW Residency at Paris Photo, is made to disappear, which to me seems like a direct commentary on art ownership.

For the BMW Residency I wanted to move on my plant-based photography to be alive. I have a good scientific understanding of plants and began looking at all sorts of green elements until I decided on watercress. I got the idea from garden walls which always have cress as it can grow vertically and doesn’t need soil to make roots. I had to search hard to find the right type of seeds which will bring the color and tonality I’m after. Growing it vertically gives it one focal length so you get the sharpness in the picture, then as the plant grows the picture disappears in complete greenness.

Almudena Romero “The Pigment Change”, 2020 © Almudena Romero
Almudena Romero’s The Pigment Change, 2020 © Almudena Romero

I’m reminded of an ancient Persian ritual we perform for our new year, which falls on the first hour of spring. It involves cultivating seeds on a plate, watering them for 13 days, then releasing the fully grown green into a flowing river to symbolise letting the past go and welcoming new beginning. And I’m moved by the ephemerality of your artwork.

I really like that! My work is ephemeral but at the same time in ephemerality there is hope for the future. We are facing a serious environmental crisis based on too much production, accumulation and disposal. I used to teach at the Stanford University overseas study program in Florence and I would often think of what I wanted to pass on to my students, what knowledge and skills would make sense to them in the future. This plant-based photography is part of my vision as a teacher in that these materials are ephemeral in the short run, but in the long run they are the only thing we will be able to practice. Because ephemerality is the only thing that lasts.

Perhaps it is a question of redefining object ownership in that the memory of a piece of art, that moment of connection, can be the value rather than possessing it as an object. In fact, we have an ephemeral connection to most works of art anyway since we see them fleetingly in museums or galleries after which they remain only in memory.

That’s a really interesting concept: this idea that because the piece is ephemeral it disappears. But art disappears from everyone’s eyes unless you own it. As an artist I’m interested in contributing to the wider conversation, help change our understanding of the photographic medium, of our own lives and our relation to nature, rather than decorating someone’s house.

That’s quite a radical statement. I like it.

We have to review property and ownership. This is part of the problem. “Me and mine” are the dynamics of the ego. It extends to “my perspectives”. This is why I’m very keen on collaboration and on passing my knowledge and processes to my students, as I think it’s rewarding to pass on your knowledge and see it grow elsewhere and without the need to be the master of the original idea. I feel the art world needs to move more towards this direction.

The interview originally appeared in Forbes Lifestyle

Artwork at Frieze London 2021 explores the human/machine relation

Headlights feature in Madeline Hollander’s ‘Sunrise/Sunset’ for BMW Open Work at Frieze London 2021 (c) Ben Broomfield/BMW AG
 

Two art projects commissioned by the BMW Group for Frieze London 2021 set out to explore the human/machine relation in new and exciting ways. Madeline Hollander’s ‘Sunrise/Sunset’ is an installation of 96 disused headlights salvaged from the company’s recycling centre. Playing on the responsive nature of these automatic adaptive car headlights which react to movement, light and weather conditions, the artist has matched each to different global time zones to create a networked map that mimics the sun rising and setting across the globe. Hollander’s art examines how our erratic individual actions and everyday technologies can synchronically align, become a collective and, in the case of the installation for Frieze, turn into a cascading technological dance.


Dancers from Studio Wayne McGregor interact with the robot in ‘No One is an Island’ (c) Ravi Deepres/BMW AG

Meanwhile, dance choreographer Wayne McGregor and experimental studio Random International’s ‘No One is an Island’ is a live performance involving a multi-armed robot and two human dancers. Playing the lead role is the robotic sculpture — an enigmatic machine whose liquid movements are steered by advanced algorithms. As it transitions from robot to human likeness, the two dancers in turn interact with the kinetics, all of which is performed to the hypnotic soundscape of Tokyo electronic music artist Chihei Hatakeyama. The idea here is to visualise how a minimal amount of information can animate form so that it can be recognised as human, while the most subtle changes in information can have an equally fundamental impact on our behaviour.

See the full story here

Race, identity, technology are themes leading Rolls-Royce’s latest arts commission

The 2021 Rolls-Royce arts 'Dream Commission' shortlist of moving-image artists tackle critical issues of race, culture, gender and technology
Beatriz Santiago Muñoz, from “That which identifies them, like the eye of the cyclops” 2016

Rolls-Royce has chosen four shortlisted artists for the inaugural ‘Dream Commission’ for moving-image art. Chosen by an independent jury of leading international figures in the art world, the work this dynamic group produce is highly relevant, reflecting our current discussions on culture, on gender and race and our relation with technology.

They include Beatriz Santiago Muñoz from Puerto Rico, Zhou Tao from China and the American artists Martine Syms and Sondra Perry – all of whom have made short moving-image pieces detailing their concepts. Once the jury has decided on an ultimate winner, Rolls-Royce will finance the full-length moving-image artwork to be released next year.

The biannual Dream Commission is aimed at emerging and mid-career artists who demonstrate innovation in the field of moving image art. As the name suggests, participants are asked to investigate their dreams as a way of finding an alternative sensory universe – perhaps take us on journeys into the world of the subconscious. Their work needs to be impactful and immersive.

To understand more, I caught up with Hans Ulrich Obrist, the curator, author and artistic director at London’s Serpentine Galleries, who is on the Dream Commission selection jury.

Nargess Banks: Needless to say, these are challenging times for the arts. On the one hand, the temporary closure of art spaces has brought a renewed longing for seeing live visual arts. Then, these are extraordinary times too in that we are revising and reviewing how art is shown – what subjects are represented and who has been underrepresented. What struck me immediately with this selection is the relevance of the chosen artists.

Hans Ulrich Obrist: A series of brilliant nominators proposed a wonderful long list of artists, which the jury then shortlisted from. The commission acts as a laboratory for artists, and what has become evident is that this next generation is thinking about mixed reality, and quite radically liberating moving image away from defining characteristics such as its ‘loop’, works become instead infinite, sprawling and organic.

NB: The theme of dreams and investigating our subconscious strikes me as a fascinating topic.

HUO: Around 20 years ago I met Hélène Cixous, the great French writer, who was at the time working on a book called ‘Dream I Tell You’, where she transcribed her dreams. It opens with an observation: ‘They tell me their stories in their language, in the twilight, all alike or almost, half gentle half cruel, before any day, any hour. I don’t wake, the dream wakes me…’

I often speak to artists about their unrealised projects, their dreams; I’ve been documenting them since the ’90s and it is one of the recurring questions I’ve been asking throughout my interview project. My investigations are intimately connected to the dimension of dreams also, projects as a cherished aspiration, an idea or an ambition.

NB: And what were you looking for when deciding on the Dream Commission shortlist?

HUO: We asked ourselves how, as a jury, can we better listen to what is being said by artists amongst so much distance and confusion? So we engaged in some active listening and this is the shortlist that spoke to us.

Sondra Perry says of making work that she ‘wants people to feel like they have space and agency’.

For Martine Syms, ‘art is a way for me to think and way for me to learn about myself, but also about the world and other people’. Through making work she explores her own personal mythology, anchored in the biological, psychological and the sociological. 

Beatriz Santiago Muñoz explains that it’s an opportunity to ‘experiment with the expanded mind’. Moving-image is for her an ‘experimental process which functions like an organism’.

Zhao Tao told us that moving images are experiences which reflect on the spatial interface of a ‘remote space’ during this time of lockdown.

NB: Collectively, their work speaks very much of our time.

HUO: Indeed, our shortlist have worked to create films during the pandemic. It is this time, more than ever, we should be listening to artists – it is often they who have the most important and prescient ideas about how one can act in times of crisis.

NB: The commission artists are from such different cultures and backgrounds. Do you see a unified voice coming out of this?

HUO: All of our shortlisted artists address urgent issues of our time with remarkable energy and commitment. Their work is all very different, but it is all generous, engaged and empathetic.

As Marshall McLuhan writes in ‘Understanding Media’: ‘Art is an early alarm system pointing us to new developments in times ahead and allowing us to prepare to cope with them.’ These artists all make work that will help us understand the world that is to come.

Take a look at the work of the four shortlisted artists in the Rolls-Royce 2021 Dream Commission here. Also read why brands and businesses should support arts and ideas here.

See the four chosen Dream Commission artists discuss their work:

Refik Anadol’s artwork at Frieze Art is a dialogue on humans And machine

Media artist Refik Anadol is using data from the color of every Rolls-Royce motor car built in the last decade to create an LED canvas to explore the challenges and the possibilities we face in the digital age. Presented during Frieze Los Angeles, ‘Art of Perfection: Data Painting’ is the latest commission in the Rolls-Royce “Muse” program, the initiative designed to help advance the medium of the moving image, explore materials and support arts and ideas. Take a closer look at his textural work here, and watch the artist in conversation here.

Also see Émeric Lhuisset’s work for Paris Photo