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Preparations for 38th Snow Polo World Cup St. Moritz 2023 are on track, great demand for VIP tickets, and gala fully booked Winter has arrived in St. Moritz – preparations for The Snow Polo World Cup St. Moritz (27 – 29 January 2023) are on track and running at full speed. The demand for VIP tickets is well above average and they are almost sold out on all days, the legendary "Baku Moritz Gala" on Saturday evening at Badrutt's Palace is already completely sold out but there are still tickets available for the popular Chukker Club; The price of CHF 90.00 includes a grandstand seat with a warm blanket, a glass of Perrier-Jouët champagne and a canapé. The tournament also has a fantastic team line-up: two of the six teams will be competing with two family members each: Melissa Ganzi, winner of 2019, with her son Grant for Team World Polo League, and the British McCarthy combination of Spencer and his son for Team St. Moritz. The current weather conditions of snow and constant minus temperatures have led to Lake St. Moritz almost freezing over. For the lake to be ready for the tournament, the ice thickness must exceed 27 cm – once this thickness has been reached, the ice is tested by a heavy, 7,700 kg snow-groomer equipped with floating devices, after which the ice is given the green light for the construction work to commence. The ice in regularly checked throughout the construction phase, using ground-penetrating radar. Polo – A Family Affair Polo is a unique sport as it allows professionals and amateurs to play alongside each other and it is not uncommon for teams to be made up of family members. Argentina has a strong tradition of polo dynasties, with families such as the Harriotts, Heguys, Mac Donoughs and Pieres providing some of the top teams. A recent example of this is when Adolfo Cambiaso, the world's number one polo player, and his 17-year-old son Adolfo ‘Poroto’ Cambiaso won The Argentine Open at Palermo in Buenos Aires. Closer to home, we are very curious to see whether the World Polo League Team with Captain Melissa Ganzi and her son Grant or the St. Moritz Team with the McCarthy father-son duo will also be able to take home the coveted trophy in St. Moritz... Demand for Chukker Club tickets on the rise and only a few VIP tickets still available Don’t miss your chance to get the last few VIP and Chukker Club tickets which are proving more popular than ever, you can purchase both via the official website www.snowpolo-stmoritz.com/tickets/. "The response to our tournament from sponsors, VIP guests and visitors is enormous," says Reto Gaudenzi, founder and CEO of the tournament. "As always, however, entry to the tournament remains free to all. At the gastro stalls and bars around the 'Polo Piazza' we offer a first-class culinary range from Badrutt's Palace and the Crystal Hotel in cooperation with local partners at very fair prices." All of the matches can be viewed live over the internet at www.pololine.tv

Throughout history, regions of the French Riviera saw a development of vibrant visual vocabulary ranging from neoclassical sculptures to impressionist representations of the idyllic beauty of communes. The museums have preserved these magnificent gems of cultural heritage, while artfully traversing its evolution, against the backdrop of global art narratives which saw transformations, rejuvenation, and reinvention. By Shalini Passi founder of MASH and Shalini Passi Art Foundation New National Museum of Monaco One of the last examples of Belle Epoque architecture, this late 19th-early 20th century villa was bought by London artist Robert Hermann Sauber in 1904. Villa Sauber was turned into a Museum in 1972, and has been hosting exhibitions like Villa Paloma since then. The latest exhibit is a solo show dedicated to the outstanding oeuvre of German-Australian photographer Helmut Newton. Titled ‘Newton, Riviera’, the exhibition featured Newton’s prolific photographic artworks produced between 1960-2004. Curated by Guillaume de Sardes & Matthias Harder, the photographs feature an intangible relationship between Newton’s creative idiosyncrasies and the landscapes of the riviera. Shalini Passi at Hôtel Hermitage, Monte-Carlo, Monaco New National Museum of Monaco, Villa Sauber, Monaco Helmut Newton Exhibit at New National Museum of Monaco, Monaco Oceanographic Museum of Monaco The Oceanographic Museum was inaugurated in 1910 by Prince Albert I, who had taken keen interest in oceanographic studies, anthropology, palaeontology, and geography. Jacques Yves Cousteau was the director of the museum from 1957 to 1988, under whom the collection of the museum grew significantly. The museum’s sea-facing facade and the chambers are a remarkable specimen of Baroque Revival architecture, the building is mainly divided into three sections: the Whale room, Prince Albert’s room on the first floor dedicated to expeditions by Prince Albert I, and the third section consists of Oceanomania, an installation by renowned conceptual artist Mark Dion, a large cabinet that consists of marine world curios. The museum had also exhibited exceptionally eclectic sculptures by renowned British artist and sculptor Damien Hirst on a part of centenary celebrations, bringing artistic endeavours and scientific perspectives closer. Musée des Beaux-Arts de Nice The museum was established in a villa that was built in 1878 by Russian princess Elizaveta Vasilievna Kochubey. Established under the name of French lithographer Jules Cheret, the collection consists of gifts from Mesdames Bashkirtseff, Ziem, Clément-Carpeaux, Dufy, Baron and Baroness Vitta, Maurice Fenaille and Gustav-Adolf Mossa, more recently bequests from Mesdames Odette Avigdor d'Acquaviva and that of Madame Ethel Messiah. In 2002, the museum recieved an important donation consisting of 75 sculptures by Michel de Tarnowsky, a 19th century French sculptor of Polish descent. The grandiose atmosphere of the museum is accentuated by the gigantic staircase in the hallway, a specimen of Belle Epoque style. Some of the important artists whose works are part of the collection are Raoul Dufy, Agnolo Bronzino, Pablo Picasso, Gust-Adolf Mossy, Eugene Delacroix, Louisa Brea, Pierre Bonnard, Edouard Vuillard, and Kisling among others. MAMAC ( Museum of Modern and Contemporary Art of Nice) Founded in 1990, MAMAC as an institution has been dedicated to the development of modern and contemporary art, prominently charting the trajectories of creative narratives in the 1950s and 1970s France, as a post-war world saw a novel understanding of abstraction and role of art in the political, societal, and sociological realms. The museum owns oeuvres of Niki de Saint Phalle, Yves Klein, Martial Raysse, Arman, Ben and groups such as Supports/Surface along with various renowned figures from the American Pop art era, owning 1400 works by 374 artists. Ben Vautier, Ben’s Room, Mixed media, Museum of Modern and Contemporary Art of Nice The museum has brought fore works by artists who experimented in the fields of New Realism, Minimal art, Conceptual art, The Fluxus Group, and Figuration Libre. Martial Raysse, Nissa Bella, Mixed media, Museum of Modern and Contemporary Art of Nice Picasso Museum Once known as the Greek town of Antipolis, the port city of Antibes is known for its mesmerising skylines that are accentuated by the beauty of the towering Picasso Museum, facing the azure waters of the Mediterranean sea. The commune’s Grimaldi palace was once the residence of Pablo Picasso, one of the most influential figures of the 20th century modern art narrative. Pablo Picasso, Lust for life (Pastorale), Oil on canvas, Picasso Museum, Antibes In 1946, on the suggestion of Romuald Dor de la Souchère, the museum’s curator, Picasso had set up his studio in one of the rooms of Chateau Grimaldi, creating a spectacular body of work consisting of 23 paintings and 44 drawings. He kept revisiting the town over the years, strengthening an intangible bond between the commune and the artist. Joan Miro, La déesse de la mer, Picasso Museum, Nice Villa Ephrussi de Rothschild Museum A specimen of architectural and artistic magnificence, Villa Ephrussi de Rothschild was designed by French architect Aaron Messiah in the early 20th century for Baroness Béatrice de Rothschild. It is now owned by the Académie des Beaux-Arts, and operates as a museum. The pastel pink villa is surrounded by nine exquisite gardens that embody different themes namely: Spanish garden, Florentine garden, French garden, stone garden, Japanese garden, exotic garden, Provençal garden and rose garden. Every summer, the villa opens its doors to a summer art festival in the month of June, inviting artists from all over the world, to celebrate the creative spirit of the region. Sculpture of Aphrodite, Villa Ephrussi de Rothschild French Garden, Saint-Jean-Cap-Ferrat Interiors of Villa Ephrussi de Rothschild Museum, Saint-Jean-Cap-Ferrat Text by Shalini Passi Image Courtesy: Shalini Passi, Museums, and Galleries

The M.A.D.Gallery is presents five artworks by Ukrainian artist duo Smith & Winken. Having founded their studio in 2020, the two artists, whose real names are Valeriy Kuznetsov and Otto Winken, developed a signature style involving mechanics and architectural proportions to highlight the beauty of our everyday world from a new perspective. Their artwork is technical and unexpected. Using mundane materials, they creatively demonstrate connections between mechanics and bionics. These artworks remind us that each being is a mechanism in a way. The duo has brought forth a series of kinetic objects grouped in a collection called Endless Movement that can almost be characterized performance art. Smith & Winken ‘Thrinax’, all images courtesy of MBandF. Endless Movement is a collection of limited-edition kinetic sculptures currently containing 18 artworks. The MB&F M.A.D.Gallery in Geneva has the pleasure of featuring five of these: Thrinax, Apollo 18, Hover, and two variations of Skipper. Endless Movement provides a feeling of the fourth dimension, where the nature of mechanics shifts ever so slightly. The collection uses wood, textiles, and metal as the primary materials, while the elements of the sculptures are set in motion by specially designed mechanisms powered by electricity. The ratios of proportions and materials, details, and range of motion of each element are carefully crafted to jibe with those of human beings in order to provoke a desire in the observer to communicate with the art. The motion of each artwork is so conscious and quiet that the mechanisms appear as living organisms that might have existed in the distant past or the unpredictable future on any planet in the universe. Thrinax, (above) made of metal and North American walnut, looks like it’s ready to take off. And, indeed, it can flap and light up on demand. Despite the heavy, tropical-looking wood used in its making, the open plan of its design makes it seem so light that it could float. Vaguely inspired by the image of a palm tree, the hypnotic motion is comforting and mesmerizing at the same time. Thrinax measures 1160 mm (width) x 1860/2100 mm (height) x 1160 mm (diameter) and is limited to 20 pieces. Pulsating from side to side, light sources going along for the ride, Skipper symbolizes life cycles. Made of contrasting metal and textile pleats, Skipper reminds us of both the durability and fragility of life. The artists decline to reveal the obscure inspiration for this piece, insisting that, “The observer sees what they want to see.” Available in chrome or graphite at the MB&F M.A.D.Gallery, Skipper is limited to 10 examples in each variation and measures 1540 mm (width) x 1030 mm (height) x 185 mm (diameter). Apollo 18, (above) on the other hand, was inspired by the real-life fact that NASA’s Apollo missions finished with Apollo 17. This sculpture thus poses the question what Apollo 18 might have been. “Is it finished?” asks Smith (Kuznetsov). Made of stainless steel, ash wood, and other metal, this object comprising 484 individual components pulsates in tune with the infinity of the universe. Apollo 18 measures 1120 mm (width) x 1610 mm (height) x 800 mm (diameter) and is limited to 12 examples. Kuznetsov and Winken (image below) usually find the inspiration for a piece from an art image – “in a dream,” the duo laughed when asked – after which they make sketches and determine the piece’s size, proportions, and dimensions. The duo does not use software for their sketches; no CAD or CAM is used in the making of these artworks at all. Instead, they manually draw their own blueprints. They make their first prototypes in wood and paper, after which they make the components, some of which are made by hand and some with the help of machinery. Every single part used in the duo’s art is custom made for that artwork. Finding the precise measurements for those components is not an easy process and can take months. “We have an entire museum full of rejects,” Winken quipped with regard to the scrap metal pile that represents the process. “The work must be precise to get it right, much like the components of clock mechanisms.” All the metal parts, whether handmade or from a machine, are beautifully finished by hand, also much like watch movement parts. The primary materials used in the duo’s art are natural – wood, textile, and metal – for a timeless representation. The carefully constructed details make each sculpture a holistic mechanism that seems to be alive. “Each of the collection's objects arose as an attempt to learn from the basic mechanisms and patterns of interaction between earth structures, living and artificial,” Smith explains the objective of his art. “Again and again, we raise the question ‘What is life?’ Exploring scenarios of the future, we demonstrate the hypothetical forms that can develop in the process of evolution.” “There are no technical or technological revolutions in the Endless Movement project. Our goal is to observe, study, and rethink the world around us [in] an attempt to slow down and realize that everyday materials and phenomena can look totally different,” adds Winken. “These objects are like finely crafted watches, which in the electronic age are more of a luxury item than a functional necessity,” Kuznetsov philosophizes. “Today mechanical watches are used to admire the movement of perfect mechanisms, to observe the passage of time and the ideal accuracy of its measurement. Endless Movement is also about a kind of time count, which is produced by the uniform motion of the sculptures’ moving elements.” Smith (Valeriy Kuznetsov) is the co-founder of Ukrainian design studio decorkuznetsov. He has authored or co-authored more than 250 interior and architectural projects and participates as a juror or expert in many European exhibitions. Above and beyond that, he has won international awards, including Red Dots for design concepts in 2020 and 2015. Otto Winken is a Ukrainian engineer and architect of Austrian ethnicity who has numerous architectural and unique design projects under his belt. The Smith & Winken studio is located in Dnipro, Ukraine, the centre of the space industry in the USSR era. Images of early space exploration are as inspirational to the duo (with Kuznetsov stating that it excited “a tapestry of imagination”) as the colours used in the paintings of Dutch masters like Bosch, Brueghel, and Rembrandt. A current trend that motivates the duo is the “fusion” of technology, design, and art. Endless Movement, decidedly more about art than architecture despite the two artists’ roots, is but a stepping stone to a future dream involving a performance with their sculptures. To see these mechanical marvels, you can either book a private appointment to visit the gallery in Geneva or visit the M.A.D.Gallery online to dive into the dynamic world of kinetic art. For the latest M.A.D.Gallery happenings and a peek behind the scenes, follow Facebook and Instagram accounts @mbfmadgallery.

The spectacular inner world of this impressive sapphire of over 10 ct inspired Gübelin Jewellery designers to create the Blue Lagoon cocktail ring. The fascinating colours, shapes and structures within the gemstone reminded them of a tropical lagoon off the coast of Burma/Myanmar. Inspired by the inner beauty of the sapphire, the cocktail ring mirrors the tropical island paradise in aquatic colours. The Burmese sapphire of 10.65 ct was awarded 91.3 Gübelin Points, giving it the designation “outstanding”. Gübelin Jewellery Blue Lagoon cocktail ring. All images courtesy of Gübelin. Gübelin Jewellery Blue Lagoon cocktail ring in white gold, adorned with baguette-cut blue sapphires and green tourmalines on each side. All images courtesy of Gübelin. Source of Inspiration The fascinating inner world of the Burmese sapphire (10.65 ct; 91.3 Gübelin Points) inspired Gübelin Jewellery designers to create the Blue Lagoon cocktail ring. Through the microscope, they immersed themselves in the gemstone, discovering spectacular shapes and colours which reminded them of the Mergui Archipelago off the coast of Burma (Myanmar). This Burmese island paradise is known as one of the most sublime and untouched natural wonders in the world. Gübelin Jewellery Blue Lagoon making of ring - gouaché. All images courtesy of Gübelin. Blue Lagoon Gübelin Jewellery presents its newest Haute Joaillerie creation. A stunning sapphire glistens as the centrepiece of the sculptural ring, surrounded by a sweeping coterie of sapphires, tourmalines and diamonds in a sophisticated mixture of cuts. In homage to the aquatic colours of the Indian Ocean and the tropical vegetation bordering the brilliant white sands, the designers chose sapphires in graduated shades of blue, tourmalines in a captivating range of colours from green to blue, as well as glittering diamonds. Gübelin Jewellery Blue Lagoon cocktail ring with a red ruby in center of the ring. All images courtesy of Gübelin. The masterly composition along with their meticulous choice of gemstones demonstrates Gübelin Jewellery’s artisanship, expertise and the joy they bring to coloured gems. Burmese sapphires are highly treasured, rare, and known for their deep, rich shades of blue. And although they are already of limited availability by their very nature, Gübelin Jewellery currently only selects gemstones from Myanmar that were exported before February 2021. One outstanding detail is the organically curving ring band, reminiscent of the gentle swelling of ocean waves. Gübelin Jewellery invested much love of detail, artistic feeling and professional expertise into arranging the sapphires and tourmalines to create a harmonic, flowing colour gradient from blue to green. The sapphire and tourmaline baguettes, especially cut for this ring, bear witness to the highest jeweller’s art and sense of colours. Gübelin Jewellery Blue Lagoon making of cocktail ring. All images courtesy of Gübelin. The cocktail ring is characterised by its sculptural design and its fluid language of form. The curving elements lend Blue Lagoon dynamics, drama and liveliness. Artfully set with pear-shape and round sapphires as well as round, marquise and pear-shape diamonds, they flow around the central stone, generating an almost magical eddy, drawing connoisseurs into its depths. Every level of this sculpturally crafted ring is gently curved and draws on its source of inspiration. Carefully matched gemstones, graduated by size, are so skilfully arranged and aligned that they elegantly underscore the sinuous and flowing design. The love of detail can be seen starting with the first level, where the edges are set with diamonds in a fine pave thread. Experienced artisans spent over 300 hours creating the unique jewellery piece in the company’s own atelier in Lucerne. Gübelin Jewellery, the inner world of blue sapphire. All images courtesy of Gübelin. Gübelin Jewellery selected a prominent location for the iconic ruby. The design signature seems to float along the side of the ring, securely held in place by an elegant bezel setting. The two cabochon-cut rubies come from Greenland and add glittering red highlights. The sophisticated design and the fascinating gems adorning the piece present a permanent invitation to discover new facets of the cocktail ring over and over again. Gübelin Gemstone Rating The Gübelin Gemstone Rating offers increased orientation and comparability when purchasing coloured gemstones. The easily understandable and yet comprehensive point system assesses the quality, rarity and salience of the gem. Based on these parameters, experts from the Gübelin Gem Lab assign a point score that combines these factors: Gübelin Points. The Burmese sapphire of 10.65 ct was awarded 91.3 Gübelin Points, giving it the designation “outstanding”. Deeply Inspired The House of Gübelin’s Deeply Inspired philosophy pervades all aspects of the company’s activities. It is based on a unique combination of beauty, knowledge and expertise, always pursuing a deeper understanding of the métier, in tribute to the family’s pioneering spirit. To symbolise this philosophy, each piece of Gübelin Jewellery contains the iconic ruby. It is considered the king of gemstones and stands for passion and love. The iconic hallmark of Gübelin Jewellery also stands for the Gübelin family’s passion for coloured gemstones. Gübelin Maihofstrasse 102, 6006 Lucerne, Switzerland, www.gubelin.com

Founded in 1994, Paola Lenti is renowned worldwide for the innovative twist it has given to design products and for its unmistakable interpretation of colour. During three decades the company has created a collection of exclusive fabrics and technical materials, eco-friendly and available in hundreds of shades. Paola Lenti indoor and outdoor collections and complements for the architecture are displayed in the most important international showrooms. A deep and comfortable seat, linear and essential back and armrest, a wide range of soft pillows: these are the characteristics of Harbour, the series designed by Francesco Rota for Paola Lenti dedicated to refined, elegant outdoor spaces. ©Paola Lenti srl - ph. by Sergio Chimenti The series, composed of armchair, sectional elements, chaise longue and pouf, stands out for the well-designed details that make it versatile and suited for different environments. Harbour, indeed, fits with discretion and elegance both in residential contexts, such as gardens and terraces, and in contract projects intended for hospitality. ph. © Maurizio Natta - courtesy Paola Lenti srl The technological content of the materials used is the result of the research that the Company has always carried out to guarantee high structural performances, yet never compromising on the quality of the product and the intensity of its colour palette. A modern and responsible design philosophy, that of Paola Lenti, blending functionality, comfort, color and respect for the environment. In details, the back- and armrest cover is made of Maris, a waterproof and easy to maintain fabric woven with Twiggy, Paola Lenti’s signature yarn introduced in 2020. Therefore, the technical characteristics of Maris are the same of the yarn it is produced with, both in term of performance and environmental sustainability: certified UNI EN ISO 14021, hence entirely recyclable, Twiggy is very resistant to dirt and abrasion and the intensity of the colors persists also under the sun’s rays. Maris numerous colors are coordinated with those of the other fabrics, materials and varnishes in the collection, thus allowing practically unlimited chromatic combinations. ©Paola Lenti srl - ph. by Sergio Chimenti The padding of the seat, back and loose cushions is made of Aerelle® blue, a polyester fiber obtained from the recycling of disposable plastic collected before it reaches rivers and oceans: a traceable and certified material that Paola Lenti has decided to use to make all the upholstered furniture in her collections, both indoors and outdoors, eco-sustainable. Thanks to these materials - designed to withstand the stress of the external environment, consistent with the modern principles of the circular economy and featured in the exclusive Paola Lenti colors – Harbour requires little maintenance and is long-lasting, hence reducing also its environmental impact. www.paolalenti.it

​17 December 2022 – 5 February 2023 This winter season, Hauser & Wirth brings the work of internationally renowned Johannesburg-based artist William Kentridge to Gstaad with a presentation across two locations titled ‘Singer Solo’. Launching 17 December, the gallery has collaborated with the Gstaad Palace to present two large-scale sculptures by Kentridge, titled ‘Her’ (2022) and ‘Cape Silver’ (2018), which will be in dialogue with one another in the gardens, marking the first time that the artist has shown outdoor sculpture in Switzerland. These works are larger versions of sculptures from Kentridge’s Glyph series, which will be on view as part of a presentation at Tarmak22, alongside a new sound installation work, collage and tapestry. Organized closely with Goodman Gallery, this is Kentridge’s second project with Hauser & Wirth, following his solo show in Hong Kong earlier this year. The presentation in Gstaad follows a major solo show at the Royal Academy of Arts in London, the biggest exhibition of the artist’s work in the UK to date. The presentations across Tarmak22 and the Gstaad Palace demonstrate Kentridge’s playful investigations in sculpture and scale, from the miniature to the monumental. ‘Cursive’, on view in the exhibition at Tarmak22, is a work made up of 40 small scale bronze sculptures from Kentridge’s wider series of Glyphs. All images courtesy of artist and Hauser & Wirth. The forms of these sculptures are taken from a vocabulary of symbols and everyday objects, such as the coffee pot or the film camera, that reoccur in the artist’s practice. Starting as a series of drawings and paper maquettes, Kentridge experimented with transforming the visual language of glyphs and symbols into three-dimensional, bronze sculptures to be held in the hand, then played with their arrangement on shelves and in procession. Arranged in various sequences, the works read differently. ‘These are sculptures of words, of objects, of glyphs,’ he says. ‘As if you could weigh a word or hold it in your hand, there is a sculpture of an hourglass, or a trophy or a simplified tree… The bronzes are unspoken, inarticulate or uncertain words and phrases.’ Kentridge invites the audience to be complicit in creating meaning by reading the logographic mise-en-scene. The exhibition also features a series of medium sized bronzes made in 2021 and cast at Workhorse Foundry in Johannesburg, which are scaled-up versions of figures from the artist’s Glyphs series. Kentridge takes two of these medium sculptures, ‘Her’ and ‘Cape Silver’, and presents them as three-and-a-half-metre-tall bronze sculptures in the Gstaad Palace gardens. The outdoor works demonstrate a shift in scale that Kentridge has been exploring over the past few years, channelling a sense of movement across all three scales he works in. Despite the varying form of the two works – ‘Her’ depicts a simplified figure striding forward, whereas ‘Cape Silver’ portrays Kentridge’s recurring motif of a coffee pot – both monumental sculptures hold an immediate anthropomorphic quality. Kentridge masterfully plays with balance and angles to animate these works with a feeling of motion and expression – further brought to life by their conversational placement against the dramatic backdrop of the Swiss Alps. These larger sculptures developed from the Glyph series, he says, are ‘for the most part a sense of figures in movement across the space, or waiting to begin their movement’, akin to the artist’s work in animation, or characters in an opera. Sound fills the exhibition space at Tarmak22 from the new kinetic sound piece, ‘Singer Solo’ (2022). A ‘Ready-made’ sewing machine modified with a moving megaphone performs an African folk song. The sonic piece, which gives the exhibition its name, activates and transforms the experience of Kentridge’s artwork by adding another dimension in surrealistic form. Depicting a laser-cut silhouette standing on a platform, arms raised in impassioned address, the tapestry work ‘Orator’ (2021) echoes the sounds and themes of ‘Singer Solo’ in two-dimensional form. The work is one of three tapestries in the exhibition, including ‘Spinner’ (2021) and ‘Mechanic’ (2021). Since 2001, Kentridge has collaborated with Marguerite Stephens and her weaving studio outside Johannesburg to translate the artist’s designs into hand-woven mohair tapestries. In the current series of tapestries, figures stand against backdrops of a Chinese political roadmap of the Hebei Province. The exhibition also presents a 6-metre-wide triptych, titled ‘Weigh All Tears’ (2021), in which silhouetted figures (including that seen in ‘Orator’) form a procession against a collage of maps of Africa and archival documents. ‘Weigh All Tears’ is a phrase that cycles through Kentridge’s work, one of an evolving collection of phrases that recur in his practice. From playing with scale, sculpture and setting, to the activation of artworks through the introduction of sound, the presentations in Gstaad speak to the open dialogues that Kentridge makes between his works, and the space he creates between audience and artwork to construct meaning. Ultimately, his practice brings viewers into awareness of how they see the world and navigate their way to more conscious seeing and knowing. ​One of the most prominent artists working today, William Kentridge was born in 1955 in Johannesburg, South Africa, where he currently lives and works. Growing up under the destructive pall of apartheid and as the son of human rights lawyers, Kentridge developed a strong sense of social responsibility from an early age. Over the past five decades, his practice has parsed and questioned the historical record – responding to the past as it ineluctably shapes our present – and, in doing so, has created a world that both mirrors and shadows the inequities and absurdities of our own. By employing varied media, the artist seeks to make sense of the world and the construction of meaning through the use of historical resources, including maps, language and everyday imagery. William Kentridge’s work resides in the permanent collections of numerous major museums and has been featured in solo exhibitions around the world at institutions such as The Museum of Modern Art, New York; Albertina Museum, Vienna; Musée du Louvre, Paris; Whitechapel Gallery, London; Louisiana Museum, Copenhagen; Reina Sofia, Madrid; Kunstmuseum, Basel; Zeitz MOCAA, Cape Town; and Norval Foundation, Cape Town, among others. A recipient of honorary doctorates from Yale University and the University of London, the artist has been awarded many honors over the course of his career, including the Kyoto Prize, Honorary Academician of the Royal Academy in London, Princesa de Asturias Award, Antonio Feltrinelli International Prize, and the Praemium Imperiale Award in Painting, among others. Tarmak22 ​Gstaad Saanen Airport ​Opening hours: Wed – Sun, 11 am – 5 pm www.hauserwirth.com

In the centre of Brussels, hidden in plain view, stands the Horta House. On each side rise modern, efficient buildings products of recent rapid economic expansion and a rather haphazard take on city planning, a narrow definition of “progress” that has since been enlarged. As such it provides a poignant, albeit unintentional metaphor, an opposition of extremes: fluid organic art versus edgy urban constructions in which shadows it is wedged, a speck of humanity in the cogs of the towering machines all around. Winter garden Art Noveau style architecture of the Museum. The Horta House interrogates the future: What are the values we would like to promote in the next round of evolution? To answer this question the present owner, Madame Nupur Tron, has undertaken to unearth the past, not just to conserve its material remnants but to uncover the values, thought processes, artistry, techniques, and human creativity that went in to crafting it. In their lie its legacy and relevance for generations to come. The present owner, Madame Nupur Tron As the pristine frescoes are painstakingly being liberated from layers of oblivion and neglect, the precious exotic woods and unique metal works revived, the scattered customized furniture traced, returned, and restored, as all this happens in compliance with the National Trust’s stringent requirements, the Horta House springs to life, gaining a second life at least as rich and compelling as its first but now in a completely different setting. A looking glass through the past into the future. And so it is that the elaborate restoration work, drawing on skills from both forgotten and emerging crafts, are brought together, explained, and exposed for the public to see. More than just the result, this voyage is worth telling, of what goes into the restoration, the how’s and the why’s, because it reflects on us and our aspirations to construct better lives, societies and, indeed, a much more inclusive future. As a haven of culture and creativity, living cultural expressions find their natural place in this fertile environment. After all, Art Nouveau of which the Horta House is one of Brussel’s most emblematic manifestations, is about nature, culture, and life and what better way of expressing this than to let living culture enter these begotten walls again. The art nouveau elements in the house are extraordinary. Now it is back to its former glory there is still work to be done. Concerts, recitals, exhibitions, conferences, workshops, and venues from near and far, all in the spirit of the house, serve to build bridges between eras, cultures, and people, to promote understanding of the human arts, to bring people together. The close kinship with oriental arts and schools of thought is apparent in the many decorative symbols that ornate the Horta House’s interiors. The Indian connection is obvious and builds on a shared fascination with nature and the quest for harmony with it as a source of spiritual force. The Horta House is a living organ promoting the human arts, anchored in Art Nouveau, an era that is long gone, replaced and uprooted many times over but today with renewed relevancy as we seek a deeper meaning to our existence and harmony within. RESTORATION. PRESERVATION. SHARING. Foundation Frison Horta is an Active Cultural Bridge Between East & West Restoring, Preserving and Sustaining Rich Art & Craft of the bygone era, in an Artistic Art-de-Vivre form. “Excellence in Craftsmanship and Métiers d’Art”. The Foundation Aims to foster greater understanding and appreciation of the rich heritage & cultural traditions of the East particularly of Indian Sub-continent in Europe and vice versa. Foundation Frison Horta is working Extensively in Restoring the image of Brussels with Art Nouveau as its national identity to a Global Audience. Maison Frison is the Only one-of-a-kind house of Victor Horta that was Constructed for Double Function Maurice Frison (Lawyer of the Court of Belgium) office and living space. Foundation Frison Has Continued the double function of Horta with Foundation Museum activities and the living space making it a One of a kind in the world “A Living Museum” an Exceptional Unique Time capsule of 19th Century Total Art, Art Nouveau Gem of Victor Horta! Foundation Frison Horta has become a global example as “A Living Museum" and how in the past 6 years, Nupur has restored this emblematic heritage singlehandedly. Now at its last phase of the restoration, hence public support is crucial to finish the restorations. All the information is on their website www.foundation-frison-horta.be to see all the work we are doing in restoring preserving and sharing this emblematic heritage. They are now also working with younger generations Schools and universities to valorise heritage and Culture and bring the story of East and West through Culture to unite these worlds in a very polarised times. Living room Restoration works 2023 is the year of ART NOUVEAU in Europe and the frescos at the Maison Frison Horta are part of this Emblematic Heritage. Along with the facade which needs to be restored in order to offer its best to the region and it habitants! It is a collective asset of unifying for the inhabitants and a means of international influence for Belgium and Brussels. There are 3 ways to support the Foundation By becoming Member: 1. Patron of Foundation 2. Friend of Foundation: 3. Admirers of Foundation: The Foundation Frison Horta is also appealing for all our financial support in order to complete this final phase of restoration and return the frescos to their former beauty. All donations are Tax are Exempted 45% Our readers are welcome to send donations by bank transfer to: Bank Details: Account Name: Fondation Frison Horta Bank Name: KBC BANK Account – BE 54 7350 4813 26 97 BIC :KREDBEBB During restoration work.

While the 2022 World Cup is holding the whole world in suspense, and coinciding with Qatar's National Day celebrations, the Swiss watch brand Rebellion Timepieces teams up with the iconic Brasilian footballer Ronaldinho. Ronaldinho in Doha, Qatar. © Photo credit : Alen Palander What other footballer better embodies the passion for competition, the creative spirit, the resilience than Ronaldinho? A huge technician, his skill and speed on the field have led football fans to compare him to the King of football Pelé. His versatility with the ball has made him a true God of the sport. Unclassifiable, with his quirky personality, he takes pleasure in stepping out of his comfort zone and off the beaten track. Endowed with a whole character, it is without concession that Ronaldinho enjoys life! His bold, non-conformist style is a perfect match for Rebellion Timepieces. Ronaldinho has one of the best records in the history of soccer. With Brazil, he won the 2002 World Cup. He was awarded the Ballon d'Or in 2005 and was named FIFA's best footballer of the year in 2004 and 2005. In 2006, he signed an exceptional triple with FC Barcelona by winning the Champions League, the Spanish championship and the Spanish Supercup. His consistency gave him the opportunity to be celebrated also in his home country by winning the local Ballon d'Or in 2012. During his career, the Brazilian star has played for some of Europe's biggest clubs, from PSG to AC Milan to Barcelona. Ronaldinho : "I follow Rebellion Timepieces and their spectacular watches always fascinate me. I am very happy that together we can create the Watch of my dreams and with my personality. Being creative and unique is something that unites us…" Generous on the field, Ronaldinho is also generous in his personal life. Very involved in causes that affect him, the illustrious attacking midfielder has been an ambassador against hunger for the World Food Program since 2005, and a UN Goodwill Ambassador, UN Spokesperson on Sport for Development and Peace since 2006. Rebellion Timepieces has been involved in everything it does since its inception. The luxury watch brand with 100% motorsport DNA is always on the lookout for performance, accompanying champions in endurance races, the 24 Hours of Le Mans, the Dakar Rally and now sponsoring the Alfa Romeo Team Orlen in Formula 1. Ronaldinho and Rebellion Timepieces share the same passion for adrenaline and competition. Together, they are already working on the creation of a watch in their image: 100% Rebells, 100% exclusive. Stay tuned! Calim Bouhadra, CEO of Rebellion Timepieces: "It is an honor and a great pride for Rebellion Timepieces to be able to count Ronaldinho among our ambassadors. He shares similar values with us and lives his life uncompromisingly like a true rebel. I am sure we will accomplish great things together and we are looking forward to starting this collaboration with a new watch in his colors soon."

Co-presidents of Maison Chopard Caroline and Karl-Friedrich Scheufele cut the ribbon at the opening ceremony of Chopard’s relocated flagship store on the Fifth Avenue, in the company of NYC locals and friends of the brand—including Uma Thurman, Katie Holmes, Liev Schrieber, Maye Musk and Pete Davidson. The storied Swiss jeweler and watchmaker debuts a new flagship store on the Fifth Avenue, in the iconic art deco Crown Building after a decade and half on the Madison Avenue. World’s leading sustainable luxury Maison Chopard creates all its gold watches and jewellery in 100% fair-mined gold now available in the new boutique that has Japanese high jewellery maker Mikimoto and Italian Bulgari as neighbours and lays just a minute away from Bergdorf Goodman. Swiss aesthetics merge with metropolitan style interiors featuring ross dark gray- and white-veined Flor di Bosco Italian marble floors and an impressively high ceiling adorned with cascading white magnolia leaves (365 to be exact, to represent the days in a year) made of Murano glass by Venini that appear to hover just above the glass vitrines. The magnolia leaves incorporate the store’s surroundings; magnolia trees in nearby Central Park. The walls themselves will also be a canvas for rotating displays of contemporary art.

Based on a Louis-Elysée Piguet calibre with grand sonnerie, entirely restored in the Parmigiani Fleurier workshops, this unique pocket watch continues the legacy of watchmaking art that is precious to the history of the House. La Rose Carrée has now evolved into Les Roses Carrées, a series composed of 5 unique minuterepeater pieces at the top of the Parmigiani Fleurier range, set against a backdrop of absolute exclusivity. On December 2, 2022, on the occasion of the birthday of its founder Michel Parmigiani, the brand reveals the first creation in this collection: La Rosa Celeste, an extraordinary creation that pays tribute to the age-old artisanal tradition of Grand Feu enamel and to the favorite color of the brand's founder. The Rosa Celeste is an example of excellent craftsmanship and fine watchmaking. Its 42 mm white gold case is hand-engraved with the "La Rose Carrée" motif and has a hunter’s caseback. The latter and its chiseled dial are covered with grand feu enamel in blue. Between the petals of this horological flower, Parmigiani Fleurier has concealed a manually wound minute repeater calibre with cathedral gongs. Its skeletonization and bevelling bring together the best of Parmigiani Fleurier's watchmaking expertise and craftsmanship in a unique and poetic piece. This motif was engraved on the case middle and coversby hand, without the slightest margin forerror on the vast, convex surfaces. The covers were then finished in a deep blue Grand Feu enamel. Infinite detail, energy and passion were devoted to the creation of the flagship piece — so much so that La Rose Carrée has evolved into Les Roses Carrées, a collection at the top of the Parmigiani Fleurier range. The variations on this theme are thus situated in the highest spheres of artistic craftsmanship and watchmaking complication, against a backdrop of absolute exclusivity. Lineage of roses La Rosa Celeste carries all the hallmarks of La Rose Carrée pocket watch. With the Rosa Celeste, these details have been taken to a higher level of wearability and simplicity, making this piece just as unique as the original model. This model also heralds a series entirely dedicated to the celebration of handmade watchmaking craftsmanship according to Parmigiani Fleurier. "Les Roses Carrées" will be the name and the thread that ties these pieces together. In this execution, the watch case is mounted on a blue, hand-sewn alligator leather strap, the reverse side of which is also in alligator leather. With a diameter of 42 mm, the case is cut from white gold blocks. The bezel, lugs and caseband are hand-engraved with the La Rose Carrée motif. These notches are engraved with a chisel into the hard surfaces of the metal, one inside the other in an algorithmic progression. This work requires extreme precision, an impressive investment of time, and a steady hand that is ensured by years of experience. Softness of the surfaces A hinge located at 2 o'clock on the reverse side of this unique piece articulates its hunter's back. Its outer face bears a large square fractal rose, also hand-engraved and covered with multiple layers of colored enamel. On its other side, this unique piece features a dial of solid white gold, with a surface engraved by hand. Countless small carvings are made with immaculate regularity throughout the breadth and depth of the dial. Once the surface has been prepared, the enameler takes over and applies the same shade as on the hunter's caseback, striving for an identical level of nuance and a play of light made possible by the depth of the work done by the artisanal engraver. In both cases, dial and cover, the technique used is Grand Feu enamel. Each gold element is first covered with enamel from crushed glass, ground finer in each layer, pigmented with metallic oxides and shaded with the color of the base metal. The firing process is carried out at a high temperature, 800 degrees Celsius, and must be mastered and repeated for each of the six layers applied. Each firing melts and glazes the enamel but also runs the risk of re-firing the lower, already glazed layers. The precision of the temperatures, times, materials, and pigments plays a crucial role here. Giving voice To the movement’s extreme aesthetic refinement, Parmigiani Fleurier has added horological substance on a comparable level. The noblest, most historic complication, the one most directly in line with Michel Parmigiani's watchmaking practice as a restorer, was chosen to enliven Rosa Celeste: the minute repeater. But striking the hours, quarters and minutes on demand was not enough for this rare timekeeping rose. The gongs on which the sound is produced are cathedral gongs. Their exceptional length, spanning one and a half trips around the movement, brings a deeper, richer sound, a more sustained vibration and a more palpable intensity. In order to allow this potential to be fully expressed, the case has been carefully designed to optimize the sound of the movement. Singing lessons The movement is suspended in the case and the heel of the gongs is physically connected to the case by a double screwing. The caseback and case middle have been redesigned to create resonance pockets and to lighten the white gold mass. These two aspects contribute to increasing the acoustic quality of the ringing and its range. A final quality criterion is that the ringing sequence automatically skips dead time. Thus, at 3:19, the three chimes for the hour are immediately followed by a double chime for the quarter-hour and again, without silence, by up to four chimes for the minute. This device, which is unusual in the world of minute repeaters, is an indispensable characteristic for Parmigiani Fleurier. The maison’s legendary criteria for ergonomics and directly perceptible quality are also reflected in a running time extended to 72 hours, i.e. three full days, another rarity for this complication.

The Alpina Gstaad, situated in an ultra exclusive Swiss chalet resort surrounded by the beautiful Saanenland peaks, celebrates a decade of superior and sustainable hospitality. What makes the hotel so cosy and familial 'a home away from home' is its exceptional, international team. In our interview with Chef Othmane Khoris, we discover the philosophy and high standards saturating his work as well the effort of the entire team. Chef Othmane joined Alpina Gstaad a year ago, bringing to the Alpina Gstaad his cosmopolitan experience from destinations like Dubai and the renowned Parisian patisserie Stohrer, founded in 1750. Chef Othmane Khoris, in front of The Alpina Gstaad. All Images courtesy of www.thealpinagstaad.ch Where did your love of pastry begin? It was my grandmother who had a bakery, and my father took it over later. I was only 4 years old when I started to play around in the pastry laboratory... I think I have always wanted to do that since then. Where did you gain your first experience before taking the position in Gstaad? My first experience was at Stohrer, in Paris, which is the oldest pastry shop in France, it was founded by King Louis XV’s pastry chef, Nicolas Stohrer. What are the advantages and benefits of having such a unique work environment as the award-winning Alpina Gstaad, one of the best Swiss luxury hotels, dedicated to working with best practices in mindful luxury and maintaining a holistic approach to sustainability? It is an incredible chance, really. A few years ago, I was working in Dubai, and let’s say that sustainability and food waste were not really topics! It is incredibly challenging and exciting to do my job with sustainability in mind. How to use all the products, even the usually non-edible parts, and get to know and use local products instead of the typical luxury ones that I’m used to working with... Yes, I would really say it is challenging, and I love that! What is your leadership/management style? How many people work on your team? I hate micromanagement! I am always pushing my team to take responsibility. I spend a lot of time training them as soon as they arrive at the hotel so that they can be autonomous during the daily operations. We currently have four people to run all the desserts at the Alpina Gstaad. How important is a sustainable approach in your profession today in Switzerland? (Does the demand for sustainable portions come from the guests, the employer, or both?) It is not different from 10 years ago... We constantly hear about sustainability as if it were a novel concept. But, in reality, paying attention to the provenance of products and attempting to support and use the most local ones... using as much of one product as possible while avoiding food waste...I mean, this is how our grandparents lived and cooked! I think that everyone is pushing us to work sustainably, guests, owners, my chef... How many of the ingredients in your recipes are produced locally, and where do you get some of the most commonly used ingredients? Which are your current favorite flavor combinations? I try to use as many of our local and regional products as I can, mostly dairy products. We were currently working on a Swiss chocolate and pin cone dessert! I can’t wait! "It is incredibly challenging and exciting to do my job with sustainability in mind. How to use all the products, even the usually non-edible parts, and get to know and use local products instead of the typical luxury ones that I’m used to working with... Yes, I would really say it is challenging, and I love that!" - Chef Othmane Khoris What surprises do you and the team have for guests for the 2022/2023 winter season, the Alpina Gstaad's tenth season since it opened and what are popular recipes with "day" guests? For this winter season, we have desserts with an interaction with the customers, where I finish the dressing of the plate at the table, in front of the customers... This is, I feel, what they really enjoy—getting to talk with the people behind these creations, talking about our producers, the products, and also about ourselves and our own experiences.

A seasoned watch dealer turned watchmaker has created a watch to celebrate two years of the historic UAE Israel Peace Deal, the Abraham Accords. “The Abraham Accords between the UAE and Israel is a peace treaty of previously-unseen proportions which many thought was impossible. It was a brave, bold move from both sides,” says Morris Weiss, 32, creator of the Peace Of The Brave watch. “Two years on from the treaty being signed, this watch, a symbol of what has come to be, with the flags of two nations proudly interlinked, embodies something no-one could ever have imagined. Two nations have established deep commercial, cultural and humanitarian collaborations and two nations have become friends, living like brothers and sisters. The watch also symbolises how things could be and that further peace is possible. In the past two years the UAE and Israel have forged links spanning spheres as diverse as medicine, fashion, cyber tech, sports, search and rescue and library digitisation.” A peace motif decorates the dial, with the Hebrew word for peace, Shalom, ending where the Arabic word, Salam, begins. Three dimensional interlocked flags from both nations are applied to the dial with gold flagpoles for a luxurious finish. An automatic watch movement is seen via a sapphire crystal exhibition caseback displaying the inner workings of the watch, powered by the movement of the wearer. The crown of the watch is adorned with an olive branch, an icon of peace. A conversation starter if ever there was one, the watch is already capturing the attention of both Emiratis and Israelis. “Seeing the Peace Of The Brave watch rendered me speechless as I reflected on what this peace symbolises for our two nations,” says Yusif Ahmed, project manager at ADNOC Refining in Abu Dhabi. “The relationship between the UAE and Israel is getting stronger and stronger each year, via business and tourism, but also thanks to the warm relationships between individuals. The peace agreement is more than a document between governments and prime ministers, it is an agreement between two nations, from top to bottom. We have been waiting for this moment. This watch is something I will always cherish.” Creator of the Peace Of the Brave watch, Morris Weiss, has adored watches and entrepreneurship since his childhood in Manchester in the 1990s. He started his first business aged 12 and today is the owner of Watch Exchange Ltd, specialising in pre-owned Rolex and Breitling watches. In 2020, at the height of the pandemic, he moved with his wife and two children to Israel and created the IDW watch to celebrate the peace treaty. The watch won over an influential Emirati who then posted a clip on Linkedin expressing his admiration for the IDW watch, which garnered 31,000 views and 1500 likes within 6 days and helped prompt orders from 4 continents. The design of the Peace Of The Brave watch was inspired by feedback based on the original IDW watch. Creating the Peace Of The Brave watch was a natural step bearing in mind Weiss’s passions and network. Creator of the Peace Of the Brave watch, Morris Weiss “As a seasoned watch dealer, I spend most of my time chatting to watch lovers who are trying to avoid getting their wives and girlfriends annoyed that they’re burning more money on another watch. There are lots of scary and worried emojis with messages like “I’ll have a word with the wife”. My own wife has come to understand that in my case, a passion for watches is a thirst that can never be quenched.” Peace Of the Brave watch, by Morris Weiss Founding Member of the UAE Israel Business Council Justine Zwerling says: ‘Two years on from the historic and life-changing Abraham Accords, this beautiful timepiece celebrates our warm and precious future of friendship, culture and trade between the UAE and Israel. The Peace of the Brave watch is symbolic and captures how far we have come in such a short time.” The watch is available from www.idweditions.com priced at £395.