Modern Ambition

The Art Gallery of New South Wales’ Sydney Modern campus is the biggest cultural project to arrive in the Harbour City since the Opera House. As it opens this December, we explore what it’s set to deliver as a new global art icon.

By Noelle Faulkner 23/12/2022

It’s hard to imagine much more of a dream job than this,” chimes Art Gallery of New South Wales’ director, Dr Michael Brand.

“It’s a beautiful piece of architecture and it just keeps getting better and better the more art we put in it.”

Robb Report has caught Brand between site tours in the busy lead-up to the opening of the ambitious and long-awaited AGNSW Sydney Modern campus. The positive feedback from benefactors and guests, as the site starts to come to life, has put him in a good mood.

And with good reason: the $344 million project ($244m in government funding, $100m from private donors) is indeed a dream gig. More than a decade in the making, and five years since being greenlit by the government, Sydney Modern is the most important cultural development to happen to the Harbour City since the Opera House opened in 1973.

The building has been given a 6-star Green Star Rating. Above Art Gallery of NSW director Dr Michael Brand.

It will not only inject more life into Woolloomooloo and the Royal Botanic Garden/Domain precinct but enhance Sydney’s cultural offering—cementing the state gallery’s place among the international art community.

“When you build a new art museum building, because of the costs and the importance, you have an opportunity to make a significant piece of architecture. And we wanted to do that,” says Brand.

“But for me, good architecture in the city also means public space and landscape. And so we wanted this building to be a beautiful transition between backwards and forwards, art, architecture and landscape.”

Created by globally renowned Pritzker Prize-winning architects, SANAA (led by Kazuyo Sejima and Ryue Nishizawa), the building proves to be a masterpiece.

A doubling of the existing gallery’s space, the new wing offers a height of 5.5 metres (up from 3.6 metres) with almost 50 percent more real estate on the walls and floors. Below the main building is a new exhibition space known as the Tank— a subterranean, decommissioned World War II fuel-storage facility that has been repurposed and reshaped into a unique and moody venue.

The Tank space is a decommissioned World War II fuel-storage facility. Below right Irrational by Kathrin Longhurst.

It will debut with work by award-winning ArgentinePeruvian artist Adrián Villar Rojas, best known for his large-scale and site-specific sculptural installations. Creating a more flexible space that considers new and emerging art forms is vital to ensuring AGNSW is a world-class gallery of the present and the future, says Brand.

“Not all art has to be big, but there is a lot of big art around. And if you have the space, you can do some really ambitious installations for exhibitions. It just gives us the flexibility to be part of that international network of art and exhibitions moving around the world.”

Trickling down the rockside to Woolloomooloo from Art Gallery Road’s ground level, glass frontages maximise natural light and through their transparency, bring more buzz to the local precinct. The contrast with the existing gallery building’s colonial, opaque image is stark, but managed via public space.

“I love our existing building, with its beautiful sandstone façade. But if you’ve never been to an art museum before, you don’t know what goes on inside.” Being a public art museum drove SANAA’s desire to make the art even more, well, public—that is, art visible from the street.

“People can see other people in there, they can see families, younger people, older people, people in wheelchairs, people there with friends. I think it’s a really important thing that we demystify it a bit for the broader audience.”

The use of green space also introduces two public plazas, rooftop areas, 24- hour accessible art garden and a new commission by Wiradyuri and Kamilaroi artist Jonathan Jones, bíal gwiyúŋo (the fire is not yet lighted), which connects the two buildings and invites reflections on First Nation history.

Furthermore, the design and its minimal impact on the waterfront location and wider environment has seen it already achieve the highest environmental standard—a 6-star Green Star rating by The Green Building Council of Australia.

One question that has framed the new building regards what it offers against Sydney’s most recent large-scale art gallery—the harbourside Museum of Contemporary Art (MCA). It’s about context, apparently.

The art set to be delivered by Sydney Modern/AGNSW is exhibited within a historical context. That is, art by the world’s oldest culture now sets the tone. Visitors are greeted at the front door by the Yiribana Gallery of Aboriginal and Torres Strait Islander art, which was moved from a lower floor in the existing gallery to the new building’s central entranceway.

It sees more than 160 new works, commissions and acquisitions, and communicates the importance of community and country to gallery visitors as soon as they step through the door.

“Some works in the new Yiribana Gallery consider notions of care and guidance through familial relationships,” explains the gallery’s senior curator of Aboriginal and Torres Strait Islander art, Cara Pinchbeck.

“While others offer philosophies for living and profile the intricacies of cultural inheritance or examine the ongoing complexities of history and resilience.” Alongside gems from AGNSW’s 150-year-old collection, a handful of new commissions representing Australia, the Asia-Pacific region and beyond, will debut, including works by Lorraine Connelly-Northey, Karla Dickens, Simryn Gill, Yayoi Kusama, Richard Lewer, Lisa Reihana and Francis Upritchard.

Few however, are arguably as unique and intriguing as Lee Mingwei’s meditative Spirit House. Pushing forward the notion of what it means to experience art in a gallery setting, Spirit House is an intimate, completive space that can only be experienced by one visitor at a time. Hidden away from the main pavilions and solely illuminated by sunlight that falls from an oculus above, the space houses a bronze Buddha.

On occasion, it can be found holding a wrapped riverstone, which visitors are invited to take with them as a grounding guide for their own spiritual journey. Mingwei’s intention is that once the stone has served its purpose, visitors return to the gallery to pay gratitude and leave the stone for another to take.

Set in motion by a profoundly spiritual moment the Taiwanese–American artist had with a Buddha from the AGNSW’s collection while visiting over a decade ago, the experimental installation is unlike anything Sydney has before seen— so special and so unique that it directly informed SANAA’s design.

“Everyone there is so brave,” Mingwei offers of Brand and his team.

“I think Michael really, really opened up a completely different way of how a person can relate to museums, because at least for the past decade, the discourse has been around asking what the role of a museum is, because they were established in colonial times.” The time for changing art’s landscape is now.

“How does [a major art institution] relate to us in a contemporary society, where we talk postcolonial mission and the world? I don’t know if it’s good or bad, but it’s an interesting point of departure and discourse for people to re-examine and reinvent the role of the museum in our lives” Sydney Modern will undoubtedly bolster Sydney’s reputation as a truly global creative city. To quantify the impact, the NSW government estimates that the gallery’s opening will inject more than $1 billion into the economy over the next two decades. While AGNSW says that it will increase (and hopefully diversify) gallery visitation by more than two million people a year. From a cityplanning perspective, the new build will eventually forge a cultural oasis away from, but close enough to the CBD.

“As Australia’s global city, Sydney has an incredible reputation as a destination for cultural tourists,” says Benjamin Franklin, NSW minister for tourism, Aboriginal affairs, the arts and regional youth.

“Arts and culture is central to our identity as a state, and intrinsic to how we interpret the world and our place in it.” Franklin further notes that this year alone, the NSW Government spent $1.4 billion on arts and creativerelated infrastructure.

“Not only do we have the best artists and creative organisations in the country, but from our regional arts centres to the Sydney Opera House, we also have the best theatres, concert halls, galleries and museums. The Art Gallery of NSW now joins the myriad assets that enhance NSW’s reputation as a creative powerhouse, and a desirable place to live, work and visit.” Mingwei has previously exhibited at some of the world’s most prestigious art institutions—New York’s The Metropolitan Museum of Art; London’s Tate Modern, Tokyo’s Mori Art Museum and Centre Pompidou, Paris, among others. He agrees that the new AGNSW campus and all it will bring is a once-in-a-generation opportunity for the city and all comers to forge a new relationship to art.

“Sydney Modern is going to be, and will be, so different from everything else because of the local heritage and the Aboriginal DNA within that institution. And there is nowhere in the world doing that.”

He sees it, in fact, as a newfound global role model. “I think Sydney Modern will definitely have its own special place in the world.”

artgallery.nsw.gov.au

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Painted Black

Dion Lee is teaming up with Cho Cho San for an Australian Fashion Week event.

By Horacio Silva 10/05/2024

The more things change, the more things stay the same. Nowhere more than in the fashion world. Despite the vagaries of taste, black remains the go-to colour of choice. Fitting, then, that for next week’s Australian Fashion Week, the perennially black-clad media darling Dion Lee has partnered with Pott’s Point Izakaya joint Cho Cho San on a black-themed late-night ramen bar.

Lee, based in New York and not showing in Sydney next week, has worked with the restaurant to create a menu inspired by his inky, haute-industrial aesthetic and favourite flavours.

As part of the signature offering ($50pp) guests are offered “Dion’s Martini” on arrival (his take on the classic vodka drink spiked with a black olive, natch), a Tokyo-style shoyu ramen with shitake mushrooms, smoked daikon and crunchy tempura shiso leaf, and a winning black sesame and cocoa soft-serve ice-cream replete with black cone. (Trust us, it tastes infinitely better than it sounds.)

Lee rarely strays outside his fashion lane, but a little blackbirdie tells us to expect an announcement soon about a major new collaboration. Let’s hope it involves black ice cream.

Cho Cho San x Dion Lee: Late Night Ramen Bar

Available from May 13-16, 5pm to late.

Signature set: $50pp includes Dion’s Martini, Tokyo Shoyu Ramen and Black Sesame Soft Serve.

To book click here

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A New Chapter for Jaeger-LeCoultre’s ‘Reverso Stories’

A special Reverso exhibit arrives in Sydney this week.

By Josh Bozin 08/05/2024

Few watch enthusiasts would be unfamiliar with Jaeger-LeCoultre and its enduring Reverso collection. Since 1931, the Reverso has been celebrated as one of the great dress watches of the 20th century.

In recent years, the watch has gone from strength to strength—in 2023 alone, we received the new Reverso Tribute Chronograph, the impressive Duoface Tourbillon, and the slimmer Reverso Tribute Small Seconds—capturing the imagination of casual observers, collectors, and those looking to scale the horological ladder.

Jaeger-LeCoultre
Jaeger-LeCoultre

It is also part of the cultural conversation thanks to exceptional branding experiences, such as ‘Reverso Stories’, a travelling experiential trunk show. Jaeger-LeCoultre is again summoning its movable experience to Australia, this time in the heart of Sydney’s CBD. For a limited time, eager fans can glimpse the Reverso collection up close via a multi-sensory exhibition tracing the history of this remarkable timepiece.

Presented in four chapters ( Icon, Style and design, Innovation, and Craftsmanship), the Reverso story will be told through the lens of Jaeger-LeCoultre’s expert watchmakers, who combine nine decades of craftsmanship, inventiveness, and design into one interactive experience.

As a bonus, guests will be privy to a large-scale art installation by Korean artist Yiyun Kang—commissioned by the Maison under its ‘Made of Makers’ programme—and the launch of three exceptional new Reverso timepieces, yet to be revealed. These watches will showcase skills such as enamelling, gold-leaf paillonage, and gem-setting, mastered by the manufacturer’s in-house Métiers Rares (Rare Handcrafts) atelier.

Jaeger-LeCoultre
Jaeger-LeCoultre

Completing the immersion into the spirit of Art Deco, guests will be able to enjoy a complementary refreshment post-experience at the pop-up Jaeger-LeCoultre 1931 Café.

‘Reverso Stories’ will be held in Sydney’s Martin Place from 10–19 May 2024. It will be open daily from 9 a.m. to 7 p.m. (and 5 p.m. on Sundays) and free to the public. Visitors are welcome to book online here or register upon arrival.

For more information, visit Jaeger-LeCoultre.

 

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Watch of the Week: TAG Heuer Formula 1 | Kith

The legendary sports watch returns, but with an unexpected twist.

By Josh Bozin 02/05/2024

Over the last few years, watch pundits have predicted the return of the eccentric TAG Heuer Formula 1, in some shape or form. It was all but confirmed when TAG Heuer’s heritage director, Nicholas Biebuyck, teased a slew of vintage models on his Instagram account in the aftermath of last year’s Watches & Wonders 2023 in Geneva. And when speaking with Frédéric Arnault at last year’s trade fair, the former CEO asked me directly if the brand were to relaunch its legacy Formula 1 collection, loved by collectors globally, how should they go about it?

My answer to the baited entreaty definitely didn’t mention a collaboration with Ronnie Fieg of Kith, one of the world’s biggest streetwear fashion labels. Still, here we are: the TAG Heuer Formula 1 is officially back and as colourful as ever.

As the watch industry enters its hype era—in recent years, we’ve seen MoonSwatches, Scuba Fifty Fathoms, and John Mayer G-Shocks—the new Formula 1 x Kith collaboration might be the coolest yet. 

TAG Heuer
TAG Heuer

Here’s the lowdown: overnight, TAG Heuer, together with Kith, took to socials to unveil a special, limited-edition collection of Formula 1 timepieces, inspired by the original collection from the 1980s. There are 10 new watches, all limited, with some designed on a stainless steel bracelet and some on an upgraded rubber strap; both options nod to the originals.

Seven are exclusive to Kith and its global stores (New York, Los Angeles, Miami, Hawaii, Tokyo, Toronto, and Paris, to be specific), and are made in an abundance of colours. Two are exclusive to TAG Heuer; and one is “shared” between TAG Heuer and Kith—this is a highlight of the collection, in our opinion. A faithful play on the original composite quartz watch from 1986, this model, limited to just 1,350 pieces globally, features the classic black bezel with red accents, a stainless steel bracelet, and that creamy eggshell dial, in all of its vintage-inspired glory. There’s no doubt that this particular model will present as pure nostalgia for those old enough to remember when the original TAG Heuer Formula 1 made its debut. 

TAG Heuer
TAG Heuer

Of course, throughout the collection, Fieg’s design cues are punctuated: the “TAG” is replaced with “Kith,” forming a contentious new brand name for this specific release, as well as Kith’s slogan, “Just Us.”

Collectors and purists alike will appreciate the dedication to the original Formula 1 collection: features like the 35mm Arnite cases—sourced from the original 80s-era supplier—the form hour hand, a triangle with a dot inside at 12 o’clock, indices that alternate every quarter between shields and dots, and a contrasting minuterie, are all welcomed design specs that make this collaboration so great. 

Every TAG Heuer Formula 1 | Kith timepiece will be presented in an eye-catching box that complements the fun and colour theme of Formula 1 but drives home the premium status of this collaboration. On that note, at $2,200 a piece, this isn’t exactly an approachable quartz watch but reflects the exclusive nature of Fieg’s Kith brand and the pieces he designs (largely limited-edition). 

TAG Heuer
TAG Heuer

So, what do we think? It’s important not to understate the significance of the arrival of the TAG Heuer Formula 1 in 1986, in what would prove integral in setting up the brand for success throughout the 90’s—it was the very first watch collection to have “TAG Heuer” branding, after all—but also in helping to establish a new generation of watch consumer. Like Fieg, many millennial enthusiasts will recall their sentimental ties with the Formula 1, often their first timepiece in their horological journey.  

This is as faithful of a reissue as we’ll get from TAG Heuer right now, and budding watch fans should be pleased with the result. To TAG Heuer’s credit, a great deal of research has gone into perfecting and replicating this iconic collection’s proportions, materials, and aesthetic for the modern-day consumer. Sure, it would have been nice to see a full lume dial, a distinguishing feature on some of the original pieces—why this wasn’t done is lost on me—and perhaps a more approachable price point, but there’s no doubt these will become an instant hit in the days to come. 

The TAG Heuer Formula 1 | Kith collection will be available on Friday, May 3rd, exclusively in-store at select TAG Heuer and Kith locations in Miami, and available starting Monday, May 6th, at select TAG Heuer boutiques, all Kith shops, and online at Kith.com. To see the full collection, visit tagheuer.com

 

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8 Fascinating Facts You Didn’t Know About Aston Martin

The British sports car company is most famous as the vehicle of choice for James Bond, but Aston Martin has an interesting history beyond 007.

By Bob Sorokanich 01/05/2024

Aston Martin will forever be associated with James Bond, ever since everyone’s favourite spy took delivery of his signature silver DB5 in the 1964 film Goldfinger. But there’s a lot more to the history of this famed British sports car brand beyond its association with the fictional British Secret Service agent.

Let’s dive into the long and colourful history of Aston Martin.

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What Venice’s New Tourist Tax Means for Your Next Trip

The Italian city will now charge visitors an entry fee during peak season. 

By Abby Montanez 01/05/2024

Visiting the Floating City just got a bit more expensive.

Venice is officially the first metropolis in the world to start implementing a day-trip fee in an effort to help the Italian hot spot combat overtourism during peak season, The Associated Press reported. The new program, which went into effect, requires travellers to cough up roughly €5 (about $AUD8.50) per person before they can explore the city’s canals and historic sites. Back in January, Venice also announced that starting in June, it would cap the size of tourist groups to 25 people and prohibit loudspeakers in the city centre and the islands of Murano, Burano, and Torcello.

“We need to find a new balance between the tourists and residents,’ Simone Venturini, the city’s top tourism official, told AP News. “We need to safeguard the spaces of the residents, of course, and we need to discourage the arrival of day-trippers on some particular days.”

During this trial phase, the fee only applies to the 29 days deemed the busiest—between April 25 and July 14—and tickets will remain valid from 8:30 am to 4 pm. Visitors under 14 years of age will be allowed in free of charge in addition to guests with hotel reservations. However, the latter must apply online beforehand to request an exemption. Day-trippers can also pre-pay for tickets online via the city’s official tourism site or snap them up in person at the Santa Lucia train station.

“With courage and great humility, we are introducing this system because we want to give a future to Venice and leave this heritage of humanity to future generations,” Venice Mayor Luigi Brugnaro said in a statement on X (formerly known as Twitter) regarding the city’s much-talked-about entry fee.

Despite the mayor’s backing, it’s apparent that residents weren’t totally pleased with the program. The regulation led to protests and riots outside of the train station, The Independent reported. “We are against this measure because it will do nothing to stop overtourism,” resident Cristina Romieri told the outlet. “Moreover, it is such a complex regulation with so many exceptions that it will also be difficult to enforce it.”

While Venice is the first city to carry out the new day-tripper fee, several other European locales have introduced or raised tourist taxes to fend off large crowds and boost the local economy. Most recently, Barcelona increased its city-wide tourist tax. Similarly, you’ll have to pay an extra “climate crisis resilience” tax if you plan on visiting Greece that will fund the country’s disaster recovery projects.

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