2025Photo: Courtesy of Hotel Capelongue; Benoit LineroSave this storySaveSave this storySaveAll products featured on Vogue are independently selected by our editors we may receive compensation from retailers and/or from purchases of products through these links There’s so much to love about Provence (and thereby the best hotels in Provence), a region in southeastern France, beguiling travelers and wedding parties as much for its glamorous riviera as for its bucolic countryside that’s characterized by its vast sweep of grassy vineyards and fragrant lavender fields punctuated by Provençal farmhouses Roman aqueducts and old chateaus dating back to the 16th century clusters of medieval villages drenched in warm sunlight sparkle from one distant hill to another So when you tire of the glamorous crowds in the French Riviera consider renting a vintage car with Provence Classics and booking a hotel in the countryside of Provence to artistic boltholes and bucolic farmhouses there’s no shortage of great hotels in the Provençal countryside Auberge La Coste is the more affordable counterpart to the luxurious Villa La Coste offering a relaxed yet stylish retreat within the same breathtaking estate it provides guests with a charming stay surrounded by vineyards and access to Château La Coste’s renowned winery and cultural offerings Auberge La Coste is perfect for travelers seeking a refined Provence experience without the splurge La Divine Comédie is an intimate boutique hotel and restaurant in the heart of Aix-en-Provence offering a unique take on French cuisine alongside stylish accommodations with dishes that balance tradition and innovation Known for its attention to detail and thoughtful approach to both flavor and presentation the restaurant provides a relaxed yet refined dining experience combining modern comforts with timeless style La Mirande is a luxurious yet inviting hotel located in the heart of Provence Housed in a beautifully restored 18th-century mansion the hotel features charming rooms that combine classic Provençal decor with contemporary amenities Guests can enjoy exquisite dining at the on-site restaurant where seasonal ingredients are used to create refined and stunning views of the surrounding landscape make La Mirande an ideal retreat for those seeking a peaceful escape while immersing themselves in the beauty and culture of Provence a luxury boutique hotel housed within a majestic 17th-century estate derives its name from the sleepy hilltop village in which it resides offering panoramic views of Mont Ventoux and the surrounding countryside guests can bask in the tranquility of the sun-drenched property from the pool featuring its own optimal views of the nearby vineyards and olive groves before pampering themselves at the Spa des Écuries The property’s two restaurants extend over two respective terraces in which bistro-style cuisine is served at La Table du Ventoux while refined gourmet offerings can be enjoyed at the slightly more elegant La Madeleine Photo: Courtesy of La Colombe d'OrSituated only 20-minutes from the seaside near the top of the road that leads to the medieval village of Saint-Paul-de-Vence and only a 10 minute walk to Fondation Maeght albeit beautifully discreet La Colombe d’Or Originally opened in 1920 as a café bar before it evolved into an inn Paul Roux would accept art from the village’s residing artists–Picasso Matisse and Chagall were among the lot–in exchange for a stay or a few meals the family-run La Colombe d’Or is helmed by Paul’s grandson where in addition to the famed Calder mobile that decorates the outdoor pool and terrace feature an impressive collection of museum-worthy works from many of the greats Photo: Courtesy of Château Saint-Martin & SpaMoving slightly inland from the Riviera a 30-minute drive will get you to the hilltops of Vence where the historic Château Saint-Martin & Spa unites the best of both worlds forming the intersection of where the sea meets the mountains breathtaking sea views are visible from nearly every terrace yet salty air is replaced with scents of thyme and lavender that waft from the estate’s fragrant gardens Château Saint-Martin & Spa seamlessly blends modern comforts and luxurious amenities–from capacious suites to decadent design with the timeless charms characteristic of its pastoral setting– from dining in one of the on-site restaurants under a shady olive grove to indulging in a spa treatment in the garden gazebo Photo: Richard HaughtonJust one hour from Marseille near Aix-en-Provence sits immersed in the 600-acre grounds of the Château La Coste wine estate and open-air art museum A gracefully-executed departure from the old-world farmhouse stays common in the region the sprawling modern estate has become a haven for contemporary art lovers the stark white walls within the 28 minimalist suites are offset by the colorful artwork that adorn them as well as the warm wood furniture that punctuates the spaces Sliding glass doors open to courtyards that overlook the endless vineyards guests have access to a multitude of sensational dining options such as a restaurant curated by renowned Argentine chef Installation view. Credit: Stéphane ABOUDARAM | WE ARE CONTENT(S) Thank you for taking the time to speak with us, Mr. Ding Yi. Your exhibition "Prediction and Retrospection" at Château LaCoste has garnered much attention. To start, could you explain the inspiration behind this exhibition's title? D.Y: The title can be divided into two parts: "Prediction" and "Retrospection." I used a framework-type clue to show my works from the earliest series of Appearance of Crosses in 1988 to the recent ones related to constellation. This exhibition includes works from different eras and shows the experiments with various materials. My latest work, created four months ago, reflects certain clues and the latest thoughts I had towards the artistic realm. Alfredo, as the curator, how did you approach organizing this exhibition, given its dual focus on prediction and retrospection? What gave me the incipit for the curatorial rationale was this idea of the grid, which is indeed the basic structure for the digital realm today, the foundational element whereupon everything else is built, connected, experienced and circulated. That visual ‘digital matrix’ of his work is precisely the result not only of time mapping, but also of those societal codes that inform our lives now, when we are both physical and virtual at the same time. Your use of the cross sign, whether a '+' or an 'x', is quite distinctive. What does this symbol represent to you? Alfredo, how did you decide to highlight the cross sign in the exhibition's narrative? and how they can be interpreted in a new language as an innovative code. Your work is known for blending Eastern philosophy with Western aesthetics. How do you achieve this balance in your art? The Oscar Niemeyer Auditorium at Château LaCoste is a striking venue. How does its architecture influence the presentation of your work? Alfredo, what challenges and opportunities did the Oscar Niemeyer Auditorium present for curating this exhibition? Can you discuss the significance of the 'predictive' element in your work? Alfredo, from your perspective, what is the key message you want visitors to take away from this exhibition? Finally, what's next for you after this exhibition? Are there any new projects or directions you're excited about? We will see this exhibition even in other venues? Auronda Scalera is an art curator, lecturer, cultural strategist, and global ambassador for art and culture. She has been recognized as one of the Top 20 inspiring women in 2023 by NYC Journal. She regularly appears at art and technology conferences, serves as a lecturer, and advises on art and new technologies at prestigious institutions and events worldwide She is been the co-curator of Art Dubai digital section 2024 and curatorial consultant for Noor Riyadh Festival 2024. This is final building work of Richard Rogers, initiated before his June 2020 retirement from the firm he founded in London in 1977, and which in 2007 was renamed Rogers Stirk Harbour + Partners (RSHP). The art gallery designed by the Pritzker laureate cantilevers 27 meters off the hillside and over treetops in the Château La Coste vineyard, in France’s Provence region. To capitalize on the views that the location affords, the pavilion – all of 120 square meters – is almost entirely suspended off the sloping ground. This necessitated an ambitious structural solution. Wrapped in orange steel tubes that taper as it extends outwards into mid-air, the construction is the last architectural piece to appear in the Château La Coste vineyard, a recondite estate that is home to one of the world’s most important private collections of art and architecture, opened to the public in 2011 and featuring works by Tadao Ando, Frank Gehry, Jean Nouvel, and Renzo Piano. Touching the ground at a single end, the pavilion’s footprint in minimal. The rectangular block of steel with a satin finish is composed of prefabricated elements assembled on the site. Immersed in nature with an industrial look, the new art gallery presents carefully crafted details. Inside, where the color white predominates, the sculptural rectangular prism frames views of the landscape with a full-height, full-width window at one tip. Sorry, there arent any match using your search terms, please try again using other terms. FranceChevron Although the hotel is prepped for guests year-round, it's best to come from April until mid June (due to temperate weather), or between September and early November for seasonal cuisine and wine harvest season. Nice. What’s the crowd like?Couples and families. There is a total disconnect from city life here. Guests are encouraged to take walks, go biking, swim, or go picnicking on the property; indoors, you're meant to relax, play cards and billiards, and enjoy tea and cocktails. How about the little things, like mini bar, or shower goodies? How's the Wi-Fi at a castle?The Wi-Fi is free though sometimes a bit choppy. The towels, robes, and slippers feel plush and the linens are top notch. There is a mini fridge with complementary beverages. Room service is available from the main dining room. There is also an intimate private dining room upon request. Anything stand out about other services and features? Whether it’s childcare, gyms, spas, even parking—whatever stuck with you.Massages are given in a former family bedroom with a painting of its onetime inhabitant on the wall. Guided tours detailing the history of the chateau and its furnishings are even available upon request. As an anecdote, Queen Elizabeth once planted a tree when she stayed here as a guest of the family. The tree is still here on the grounds as is her room (#201). Bottom line: Worth it, and why?I would definitely visit again—maybe during the spring season this time?—and recommend the chateau to anyone who wants to escape it all in an authentic country castle setting. up-to-the-minute voice in all things travel Condé Nast Traveler is the global citizen’s bible and muse We understand that time is the greatest luxury which is why Condé Nast Traveler mines its network of experts and influencers so that you never waste a meal or a hotel stay wherever you are in the world Please enable JS and disable any ad blocker ShareSaveLifestyle TravelBest Of France: The Spa At Villa La Coste In ProvenceByCarrie Coolidge Forbes contributors publish independent expert analyses and insights I am a Manhattan-based luxury travel and real estate writer.Follow AuthorFeb 13 10:00am ESTShareSaveThis article is more than 5 years old.An aerial View of Villa La Coste Château La Coste is the beautiful winery in Le Puy-Sainte-Réparade in Provence France known for its award-winning wines incredible architecture and world-class art collection But there is one more reason to spend time at the exquisite 600-acre property The Spa at Villa La Coste is a sleek and modern sanctuary At the entrance to the spa is a beautiful painting of a blue sky laden with clouds by Vietnamese artist Tia-Thuy Nguyen because soon you will be so relaxed that you will soon feel like you are floating above the earth The stunning sauna at the Spa at Villa La Coste is seen above Designed by An Award-Winning Architect and Interior Designer The facilities are astonishingly beautiful as one might expect at this exquisite art-filled boutique hotel The thermal area features two private hammams one of which is designed for two people to enjoy There is also a Vichy shower and dry float rooms has a beautiful wood-paneled ceiling lit with tiny LED lights that resemble stars and a glass wall that overlooks the thermal area A relaxation area features several reclining beds, each separated by a sheer white curtain. Each of the beds face a large window with the winery’s vineyards seen in the distance. The spa is intimate with seven treatment rooms each of which are luxurious and private with views of the winery’s beautiful landscape Every treatment room is equipped with a private full bathroom that includes a walk-in shower and a changing area One treatment room is double in size and designed for couples It has a private garden and is equipped with two massage beds and has a large bathroom with a walk-in shower and a Roman bathtub There are a wide range of body treatments from which to choose Yoga and meditation sessions are available upon request The Spa menu is priced in a simple fashion Facials and massages are offered as 60 and 90 minute sessions The cost is simple—regardless of the treatment selected it will cost 140 Euros for a 60 minute session and 200 Euros for a 90 minute session “Finishing touches” (hand therapy or foot therapy) are offered for an additional minutes and cost 90 Euros Treatments can be extended to include a 30-minute body exfoliation which costs an additional 90 Euros if elected A 30-minute body exfoliation can also be added at a cost of an additional 70 Euros the package includes brunch and costs 190 Euros Other lunch and brunch packages are also available that include a body treatment or facial A Therapy Room at the Spa at Villa La Coste There is a wide selection of muds and exfoliants available and the expert therapists will help you decide which treatment is best for you The spa’s warm mud treatments are ideal for relieving stress The mud comes in a beautiful palette of colors which directly relate to the seven chakras (energy systems of the body) Muds used for the treatments are naturopathic and contain a high minerality which increases vitality draws deeper toxins from cells and revitalizes skin Each treatment offers a targeted solution and are massaged into the skin Mud Treatment options include amber and rose black mud geranium and poppy red mud jasmine and vetiver green mud A Vichy Shower at The Spa at Villa La Coste which detoxify and stimulate circulation while eliminating dry skin and flooding the body with negative ions Guests can choose from a warmed black magnesium scrub poppy seed and lavender salt scrub or a salt scrub infused with Gascony plums and cranberries (which contains anti-oxidants and essential fatty acids) there is a salt scrub infused with French Celtic salt and sea algae that is detoxifying and hydrating while also being nutrient rich Aromatherapy massages use organic aromatherapy oils that relax the central nervous system and boost the lymphatic system Therapists will vary techniques depending on each individual’s needs after a consultation is performed each guest is asked to select an aromatherapy oil or balm (a difficult choice with oils ranging from cedar and chamomile to rose and bergamot and jasmine and verbena A rich and medicinal balm is also available A soothing foot bath is given before the massage commences More comes in a beautiful palette of colors which directly relate to the seven chakras The gold cellular age restore treatment uses three types of naturally occurring gold and rare frankincense This treatment plumps tired skin while increasing collagen levels and reducing inflammation The therapist will start by performing a thorough cleanse and exfoliation with lymphatic massage followed by three nourishing mud masks your face will be covered with a paper mask infused with Boswellia extract Neroli Hydrolat and vegetable-derived hyaluron acid while the therapists uses a sonic wave wand to massage the skin The facial ends with a tightening and brightening gold face cream This anti-aging facial is ideal for those with mature The glowing radiance treatment is ideal for sensitive skin The treatment begins with an aloe vera and pomegranate cleanse and a gentle black currant and honey exfoliation the therapist will apply a powerful essential oil made of damask rose and sandalwood to stimulate energy in the skin cells to relax the central nervous system A face and shoulder massage to remove blockages and restore natural luminance is included A sculpture by artist Tracey Emin is seen at the entrance to Villa La Coste The hammam ritual is 75 minutes and the cost is 220 Euros humid environment in which a body exfoliation is followed by a mud massage The warmth of the room allows the body and mind to relax and unwind so that this powerful primitive tradition of cleansing and grounding can be felt The cost of the 60 minute dry float treatment is 180 Euros The mineral properties of the mud penetrate the dermal layer while you lie cocooned in a warm water bed an energetic body treatment brings the guest back into balance The Vichy shower treatment entails a body exfoliation and massage under multiple shower heads and flowing water This unique experience is both rehydrating and extremely invigorating The cost of the 60 minute treatment is 180 Euros For more information about the Spa at Villa La Coste, click on this link. Château La Coste is pleased to work with the Fondazione Nicola Del Roscio and Gagosian Gallery to present a specially curated exhibition of photographs taken by American painter, Cy Twombly. The exhibition comprises of thirty photographs of subjects including intimate spaces, landscapes, and natural subjects, taken between 1985 and 2008. From his days as a student at Black Mountain College during the early 1950s until his death in 2011 at the age of 83, Twombly captured his daily life in photographs. He recorded the verdant landscapes of Virginia and the coasts of Italy; close-up details of ancient buildings and sculptures; studio interiors; and still lifes of objects and owers. Beginning in the early 1990s, Twombly used specialized copiers to enlarge his Polaroid images on matte paper, resulting in subtle distortions that approximate the timeless qualities of his paintings and sculptures with their historical and literary allusions. Text description provided by the architects. Rogers Stirk Harbour + Partners (RSHP) with Château La Coste are pleased to present the completion of Richard Rogers’ final work begun before his retirement from practice in June 2020. Château La Coste, a 500-acre area of outstanding natural beauty is an internationally renowned destination for art and architecture. Set in Château La Coste’s vineyard, the Richard Rogers Drawing Gallery is a 120m2 gallery space that cantilevers off a hillside amongst trees above a historic Roman track, overlooking the ancient ruin of La Quille and the Luberon National Park. It joins the Château La Coste’s Architectural & Art Walk, amongst pavilions by renowned architects including, Renzo Piano, Tadao Ando and Jean Nouvel. © Stéphane ABOUDARAM | WE ARE CONTENT(S)The external orange steel beams taper as the construction floats outwards into mid-air. Where the building touches the ground, it does so subtly, belying the robust engineering below ground that supports the structure from just one end. Industrial in nature but with elegant handcrafted details, the building is itself a sculpture in this landscape. © James ReeveThe physics of the building cantilevering as it is in combination with the region’s seismic activity requires bridge type engineering and construction techniques The building and its materials needed to be flexible The cables at the entrance that ground the structure contract and expand sensitive even to the local climate’s fluctuating temperatures The poured resin gallery floor flexes in harmony with the structure You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email ProvenceChevron Le Puy-Sainte-RéparadeChevron Set the scene.Squirreled away outside a village near Aix-en-Provence this is part of the 600-acre Château La Coste a wine estate and contemporary arts center and distant foothills from the terrace conjures a state of reverie Attention to detail resounds in everything from the Prouvé-inspired desk lamp to the museum-quality original drawings on the walls Even the air conditioning is hidden by a white metallic silhouette of lavender stalks What’s the story?The brainchild of Irish real-estate whizz Patrick McKillen and his team Château La Coste was formerly a local vineyard that was rebooted with a host of new biodynamic vines every piece of furniture here is coherent with the clean-line modernist aesthetic The collaborating architects and artists who come and go at Villa La Coste reads like a who’s-who of the contemporary arts scene—Frank Gehry Paul Matisse—and you might catch a glimpse of Bono and friends or hip French filmmaker and photographer JR What can we expect from our room?With wall-to-ceiling sliding glass doors white-on-white suites conjure a fantasy apartment both in comfort and design: tall four-poster beds with gauzy curtains and private sunbeds surrounded by roses and lavender The upper-level rooms have slate plunge pools and a rolling valley view Terraces are natural spots for wine sipping and star gazing Adventurous travelers can opt for the Jean Prouvé luxe cabin in the woods How about the food and drink?The close-to-nature philosophy runs through in each of the four contrasting restaurants all of which feature organic produce—some plucked from the Jean Mus-designed kitchen garden— and locally sourced fish and meats Breakfast is a feast of freshly-baked cakes and fresh fruit; lunch is at the country-style café La Terrace (try the killer quinoa salad with homegrown beetroot) next to the wine boutique or at the Restaurant Tadeo Ando where Provençal dishes including fricassee of lamb and roast scallops Dinner can either be at the Villa La Coste restaurant a jewel-box square of glass with hanging Louise Bourgeois sculpture and ultra-fresh regional plates featuring punchy main dishes such as chargrilled beef with vegetables Expect a dramatic show in the open kitchen The chef’s trademark BBQ texture extends to fruit-based puddings such as roast apples with vanilla pannacotta topped with grilled pistachios What sort of person comes here?Art and architecture lovers What’s the neighborhood scene like?You won’t find much in the sleepy village of Le Puy Saint-Réparade but there’s a terrific chocolate factory in the neighboring village With Aix-en-Provence only a 15-minute drive away there’s an extensive choice of cool boutiques and restaurants The historic Café des Deux Garçons on the plane-tree-lined Cour Mirabeau is a pure joy for people-watching A final note: is it worth it?Villa La Coste’s combo of culture-meets-nature appeal goes way beyond most other hotels. All listings featured on Condé Nast Traveler are independently selected by our editors. If you book something through our links, we may earn an affiliate commission. In a recondite enclave reached through country roads – in Le Puy-Saint-Réparade a village in France’s Provence región – is the Château La Coste winery The landscape of vineyards engages in dialogue with works by architects and artists like Tadao Ando Now joining the display of contemporary architecture is the art gallery designed by Renzo Piano Building Workshop The 285-square-meter pavilion is embedded into the valley Striking a contrast with the concrete walls and glass facades a roof resembling ships’ sails echoes the rows of grapevines through their slender metal arches a 160-square-meter space will be accommodating scupture and photography exhibitions The rest of the building is used for wine preservation there arent any match using your search terms Almost a decade after his death, the pavilion designed by Oscar Niemeyer (1907-2012) for the Château La Coste vineyard in the French region of Provence has been inaugurated this hidden estate is also home to one of the world’s most important private collections of art and architecture Scattered amongst the grapevines are works by Tadao Ando the building contains a 380-square-meter exhibition gallery and a 140-square-meter auditorium seating an audience of 80 The project was designed in the period between 2010 to 2013 from the time Niemeyer received the invitation to build the pavilion and especially from 2011 on after his team had made several technical visits to the site to discover the talent of one of the most modern designers of the past century The creations of Pierre Paulin (1927–2009) one of the most influential French designers of his day fully and indubitably embody these qualities it is the freedom of his creative and mental process that becomes his stylistic signature So much so that from 1969 to 1972 he designed a modular habitat program conceived as an alternative to traditional furnishings allowing everyone to formulate their own interiors through the combination of different parts The exhibition Pierre Paulin Program: Des idées courbes Des formes libres at Chateau La Coste in Provence (until 03/09) pays tribute to the Program the apt name for a habitat concept that became the forerunner of a new art de vivre Inside a lovely vineyard located in one of the oldest wine regions of France Paulin’s creations are displayed in the space of the Auditorium Oscar Niemeyer named for the pioneering Brazilian architect (1907-2012) who made it his final project designed in 2010 when he was already over 100 years old A long-distance dialogue between Paulin and Niemeyer both faithful to the principles of Modernism and admirers of the expressive potential of curves which softly adapts to the hills of the rural landscape with an organic functional quality and use of new materials and technologies typical of Pierre Paulin which together with the sixth central model defines the Program now part of the collections of Centre Pompidou and Louis Vuitton Emblematic pieces placed in possible configurations to stimulate imagination and interaction on the part of the user A habitat formulated in different sections by modular shelving systems such as Module U (1972) and Module B (1970) and by furnishings elements that develop the idea of an articulated floor inspired by a trip taken by Paulin to Osaka similar to an origami that permits free arrangement of the four corners in a reclined position while at the same time acting as a storage unit for books and magazines the large sofa-island whose modular seats can be combined in infinite configurations and arrangements One living area features the iconic Big C sofa and the Club C chair (both from 1971) sinuous lines of the Moon Table (1969) and Miami Table (1968) which formed by five pieces incorporates seating and surface elements promotes and conserves the designer’s works The aim is to offer an enhanced overview of the work of Pierre Paulin making the incredibly modern character of his research fully visible Photo © Stéphane Aboudaram | We Are Content(s) The largest diffusion magazine in the luxury & design world Privacy Policy(function (w,d) {var loader = function () {var s = d.createElement("script") tag = d.getElementsByTagName("script")[0]; s.src="https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load" false);}else if(w.attachEvent){w.attachEvent("onload" loader);}else{w.onload = loader;}})(window He graduated from Milan Polytechnic in 1964 and began to work with experimental lightweight structures and basic shelters he founded the Piano & Rogers studio and won the competition for the Centre Pompidou in Paris Piano collaborated with engineer Peter Rice he established the Renzo Piano Building Workshop Renzo Piano has been awarded the highest honors in architecture including; the Pritzker Prize; RIBA Royal Gold Medal; Medaille d’Or Archive Architecture Martin Herbert Features19 April 2023ArtReview “In our preoccupation with mediating the world and perhaps they were drawn a long time ago” Isabel Nolan’s artistic practice is an expansive one in terms of media The Dublin-based artist’s formats include painting figurative and geometrically patterned rugs The cast of characters who populate her work includes metaphysical poets millennia-old totemic sculptures and our planet’s sun which Nolan prefers to paint as near the end of its life That luminary emphasis is appropriate for her constellating model of meaning-making a related interest in looking at Western culture in subjective ways to glean new readings from it and a deep ambivalence about humanity its relationship to the rest of the natural world and our future on the planet articulated through absurdism and melancholy and compensatory beauty and tenderness Nolan took time out from installing her latest show – at Château La Coste Aix-en-Provence – to discuss how her art’s many moving parts fit together ArtReview One thing that characterises your work is an interest in what one might call ‘downwardness’ – from floor-based sculptures suggestive of chandeliers to paintings of lowering suns Isabel Nolan I guess it’s to do with noticing a preoccupation with verticality and the veneration of height and light in Western culture power is represented and articulated through motifs that represent ascension or elevation as the ideal state for humanity it’s the same pattern always telling me I ought to be impressed by height it’s easy to forget how strange it is that these metaphors are powerful so introducing contradictory or oppositional impulses is a way of unpicking these tropes visually disrupting something generic and positing the lowly the imperfect and the indistinct as beautiful It’s different to valorising abjection but probably shares some of the same desire to disrupt When you photographed the deathbed statue of John Donne in St Paul’s Cathedral [For ever and ever and later wrote about their ‘ordinary fallibility… yielding a little to gravity’s sickly pull’ IN In part it’s just a response to what I’m drawn to That statue in some ways looks unremarkable but the knees really attracted my attention and I thought about them for years after I first saw them though I find their raison d’être very problematic so finding something like the statue is perhaps a way of mediating or even mitigating my own interest in this stuff A way of being interested in St Paul’s that’s more complex than simply saying it’s beautiful not a researcher in any kind of systematic way It’s much more intuitive and irresponsible and hopefully the work communicates that my attraction to this stuff isn’t necessarily predicated on the story it’s supposedly telling us That other ways of looking at this material and engaging with the culture are interesting and nuanced and suit my own sense of how confused things are It’s also to do with putting the body back into these histories – or maybe materiality his lips are so inviting and the folds of fabric between his knees look labial There’s also an antipathy to dirt and decrepitude the fact that bodies age and can let us down It’s often occluded in so-called high culture and made into something disagreeable and shameful as in the various photographs of tomb statues’ feet thorn-puller statues and pedestrians’ shoes in Curling Up With Reality [2012–17] IN There seems to be an idea that the foot is a rather unpleasant part of the body I suspect that prejudice is just to do with it being our point of contact with the surface of the world Take the tradition of foot-washing in the Christian church – it was practical and welcoming you’ve been walking for days in sandals or travelling on a donkey and your host offers to wash your feet – but it’s also a symbolic gesture dirty feet is a way of humbling yourself before a guest it’s escaping gravity – decreasing your contact with the ground is exalted Metaphorically there’s a powerful connection between the material world horizontality and decay – that’s the realm of feet In Western painting and statuary I think you don’t see the soles of people’s feet unless someone’s dead Also architecture rarely invites you to look downward at itself I thought about it a lot when I spent time in Vienna it’s such a grand city and people there seem very proud of that So when I did a show there I made a work that required people to look down If they’ve been out for a run on grass or sand AR The aforementioned Donne might be considered one of an alternative pantheon a clutch of figures who’ve shown up in your art Giordano Bruno and the fictional mobster Tony Soprano who you painted standing in Vienna’s main art museum but outsiders shaped by institutions that cannot encompass them or their beliefs So there is attraction and alienation in the relationship they have to the systems they’re invested in their commitment is extreme and they went about trying to implement their ideas in very public ways Mostly they’re driven by a desire to make a better world – but they’re bloody-minded they annoy people and so often they’re thwarted with a conviction that’s utterly compelling Their desire or their beliefs and their world don’t correspond the striving in spite of… I think being both recalcitrant and thwarted is important to creativity I put him in the Kunsthistorisches museum because he despises art From the first episode of the show he’s trying to angrily reorganise the world by his perverse desire for an American dream that’s passed I’m drawn to certain subjects and time periods and then there’s a lot of invention and projection in the way that I work with the past Sometimes I read a lot about them or their work but I’m not thorough getting excited and preoccupied by a person imagining all sorts of sympathies with them or to make something that speaks to the contingency of history AR The people you focus on tend to be independent thinkers often falling outside monolithic systems of thought do you have a sense of where your own comes from and back then I think if you grew up reading you learnt early on that there’s a lot of ways of looking at the world the conflict in the north was perpetually in the news So you learnt about Irish history and colonialism very early on homosexuality was still to be decriminalised Something like 97 percent of children in the country went to schools run by Catholic religious orders though I was fortunate not to have particularly religious parents important and devastating stories came out about the church My mam provided a feminist perspective on things As a kid she couldn’t get the schooling she wanted was compelled in so doing to give up her job had four children and realised that this wasn’t the best deal She was probably teaching us to read before we could walk Education was everything at home – she got herself to university in her fifties I was implicitly socialised into being sceptical into knowing that there’s always an agenda with power AR In that respect – looking at historical materials perhaps rewriting their narratives or bringing out latent aspects – I’m thinking about your recent works involving and invoking an ancient sculpture carved from a mammoth tusk called the Löwenmensch the earliest sculpture that we have from the Paleolithic period I’m fascinated by the decision to combine the uprightness of a human and the ferocity It interests me to think that this is a moment when humans began to remake the world for themselves but for more abstract or imaginative reasons someone carves a tusk and now the world is different That impulse to reformulate the world by physically changing material is fundamental to us as a species AR You’ve suggested in the past that it relates to mankind separating itself from nature which could be read as having profound reverberations down to the present it looks like an object that embodies a nature-culture debate but we have no idea why it was made or what beliefs the maker(s) had I’ve written about it as possibly predating that Western sense of human exceptionalism of our special separation from the rest of nature The title of one of my lion-human rugs is Löwenmensch – spanning earth and sky for forty thousand years (2018) But in our preoccupation with mediating the world and perhaps they were drawn a long time ago and St Jerome and St Paula appear in your current exhibition at Château La Coste beyond their relationship to lions (and lion’s paws) IN My interest in them is more generic than with the aforementioned people We have the historical evidence and the bonkers elements of their hagiographies fabulous details like St Columcille prophesising correctly that an inkwell would tip over in the afternoon or saying that he could see behind himself They follow and feed exactly the same metaphoric veneration of light As figures they also bridge interior and exterior worlds in a way I find fascinating – it’s the thinkers I like translation of the Bible influenced Western culture profoundly St Columcille changed the course of British history with the founding of his monastery on Iona the show at Château La Coste has a lot of imagery of waves and fish figures from Greek myths and dissolving suns It relates to something that we haven’t talked about a preoccupation with the movement not just from high to low but also from intimacy to vastness – I need pinpoints that allow me to look at long timespans The paintings and rug are all to my mind set in different eras it’s trying to take up as little space as possible AR A long-term preoccupation for you has been extinction whether in numerous paintings that seem to depict the collapse of the sun at some future point [e.g or even in that sense of a gravitational pull downward in so much of your work For someone who’s resistant to didacticism do you think your art engages with ecological issues I find what’s happening quite fucking terrifying But there’s a fantastic cognitive dissonance where you don’t really change huge amounts of your behaviour eat less meat and make shows that allude to rising sea levels always thinking that the worst is going to happen at any moment But the work always escapes my expressed negativity – and I find the scope of the universe the shows; plus there is a pleasure in making in resisting that negativity by deciding to keep on keeping on AR Because your work does have those consoling qualities – thinking also of your warm colour harmonies – or is structured on antinomies as when you shift mediums regularly within a single show This could again be related to a resistance to a single way of thinking in which some sort of relationship is being posited between many disparate things there are tensions that animate the exhibitions contradictions testing those binaries I talked about Maybe it’s partly an attempt at characterising my own experience which I could frame negatively as an inability to believe in metanarratives with the smallest possible ‘r’ that you can put on that I was writing something very short about Paul Thek recently but one of the things I’m aware of when I’m working is that I’m trying to love the world At certain moments when I feel very connected to the world looking at one of those rare artworks that stop you in your tracks reading something utterly compelling or whatever There’s something interesting here and some of it we invented it for ourselves Isabel Nolan’s exhibition 499 Seconds is on view at Château La Coste, Le Puy-Sainte-Réparade, through 4 June Yuwen Jiang Features J.J. Charlesworth Features Munem Wasif Features Stephanie Bailey Features Fi Churchman Features ArtReview Newsartreview.com02 May 2025 The painting, worth €50 million, has sustained visible scratches The 10 Exhibitions to See in May 2025 ArtReview Previewsartreview.com02 May 2025 Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing AdvertisementHow the Museum Became a Weapon William Shoki Opinionartreview.com02 May 2025 In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality Vyjayanthi Rao to curate 2026 Sharjah Architecture Triennial Mia Stern Newsartreview.com02 May 2025 She will be joined by Tau Tavengwa as associate curator Ari Emanuel buys Frieze from Endeavor ArtReview Newsartreview.com01 May 2025 The entertainment company’s own former chief executive has acquired Frieze for a reported $200m Inaugural Annie Leibowitz prize awarded to photographer of migrant experiences ArtReview Newsartreview.com01 May 2025 Zélie Hallosserie to receive $10,000 for her documentary work in Calais Helmut Lang Has Always Been Provocative Claudia Ross ReviewsArtReview01 May 2025 Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human flesh IKOB Feminist Art Prize announces winners ArtReview Newsartreview.com01 May 2025 Matt Copson: Never Grow Up Martin Herbert ReviewsArtReview30 April 2025 “What’s living with no hope?” asks the artist’s big animated baby at KW, Berlin. One thing is certain: we can’t stop watching Disability Is Not a Separate Category of Personhood Alice Hattrick Opinionartreview.com30 April 2025 The disabled experience is increasingly visible in the artworld yet an ableist political landscape is constantly on the attack. This affects us all We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy art and wine are inseparable and absolute musts The leading producer of rosé wines in France Vins de Provence AOP supplies about 6% of world production The châteaux and wine estates go hand in hand with works of art and open-air galleries Provence offers landscapes with striking contrasts where vines and sculptures of all kinds go well together Easy to recognize with the enormous silver spider guarding its entrance Château La Coste is one of the wine-growing venues which is an absolute must in Provence With its legs planted in the water of the pool Louise Bourgeois’ spider is one of the 38 contemporary works of art on the estate You can see the works of many artists spread around the vines the contemporary art centre and the many buildings on the estate: Oscar Niemeyer Jean Nouvel and even Frank O.Gerhy provide an exceptional setting Château La Coste also has a wine-growing estate which produces certified Coteaux d’Aix-en-Provence and IGP des Portes de Méditerranée organic wines which makes it a choice location for those who love to discover wines Château La Coste also offers visits of its winery designed by the French architect Jean Nouvel Voir cette publication sur Instagram Une publication partagée par Château de la Gaude (@chateaudelagaude) At just 10 minutes from the centre of Aix-en-Provence Château de La Gaude is one of the most beautiful art and wine venues in the region Its typically Provencal bastide offers a superb view of the Montagne Sainte-Victoire and the many French-style formal gardens on the estate which are listed Monuments Historiques Château de La Gaude has some exceptional pictures and sculptures by the artist Philippe Pasqua which are exhibited directly in the gardens or in the rooms of the château the estate hosts many exhibitions by well-known contemporary artists As art is one of the site’s major assets Château de La Gaude is planning to open a new exhibition area in the near future came to live in Château Vignelaure at the foot of the Montagne Sainte-Victoire He started by developing the château’s wine-growing estate and gradually improved the quality of its vintages Château Vignelaure is currently one of the region’s references as its red and rosé wines (organic and labelled Coteaux d’Aix-en-Provence) are particularly appreciated there Art also occupies an important place in Château de Vignelaure The estate also has an underground art gallery His exceptional art collection includes works by César and even Miro… The Château has changed hands several times since 1960 but Georges Brunet’s successors have all wished to preserve a château where art and wine could live in perfect harmony Une publication partagée par Château Vignelaure (@chateauvignelaure) The Commanderie de Peyrassol is an absolute must in the region and it stands out from the other estates in this ranking because it is located in Flassans-sur-Issole Founded in the 13th century by the Order of the Knight Templar the Commanderie de Peyrassol has almost 850 hectares of land The Commanderie served first as a resting place for the pilgrims going to the Holy Land Peyrassol produces AOP Côtes de Provence wines which are listed among the most prestigious in the designation In addition to being an exceptional wine-growing estate the Commanderie de Peyrassol is also an art venue contemporary works by artists such as Daniel Buren stand tall in this unique landscape dotted with vines The Commanderie de Peyrassol also offers many art-linked activities notably the Rendez-vous Art & Vin two days per year and also the “Alchimie accords mets-vins” Wine workshop the “l’Alchimie de la vue et du toucher” Art workshop and even “l’Alchimie chez Jeanette” which allows you to experiment with the menu of a two-starred chef and advisor to the Commanderie All the dates and arrangements for the events for this year can be consulted on the Commanderie de Peyrassol site Right in the middle of the Aix-en-Provence vineyard in Rognes the Domaine de Bonisson is home to an 18th-century bastide and its Italianate terrace which overlooks the vineyard the estate is a centre for creativity advocating open-mindedness The Château de Bonisson produces organic AOP Coteaux d’Aix-en-Provence wines meticulously made with the Le Dorze family’s savoir-faire The Château used to welcome many artists who wished to make the most of the tranquillity of the place to create their works and are currently exhibited in its “Bonisson Art Center” art gallery The centre allows artists to exhibit their talent and visitors who can freely enjoy a multitude of contemporary art exhibitions and even Conceptual Art… In addition to these art exhibitions the Château Bonisson offers its visitors original events such as concerts in the vineyards with tastings and discovery evenings with a starred chef around a gourmet meal… Une publication partagée par Bonisson Art Center (@bonisson.artcenter) The new gallery (pictured) is nestled amongst Le Puy-Sainte-Réparade artist enclave, that was christened by Sean Scully last year Pictured: Ufan with Ten Days May – June Pictured left: Ten Days May – June While the surrounding French countryside and vineyards did inspire the work Ufan says his artistic concepts do not fundamentally change as a result of location 'A space with nothing in it is the most beautiful,' says Ufan 'the metaphorical aspect is lacking and thus somewhat bland.' To address this blandness Ufan is installing large tableau and two sculptures at the site The paintings and sculptures are intended to reinforce Ufan’s existing work existential meaning only when it can harmonise with the surrounding space and thus transform the space into a new one,' says Ufan For more information, visit the Château La Coste website escapism and design stories from around the world direct to your inbox VIEW GOOGLE MAPS curator and globally recognised human rights activist he began his training at Beijing Film Academy and later continued at the Parsons School of Design in New York City.His work has been exhibited around the world with solo exhibitions at Stiftung DKM Munich (2009); Sherman Contemporary Art Foundation and participation in the 48th Venice Biennale in Italy (1999 and the 29th Sao Paulo Biennial in Brazil (2010) Ai Weiwei's "Sunflower Seeds" was installed in the Tate Modern Turbine Hall Ai Weiwei participated in the Serpentine Gallery's China Power Station exhibition in 2006 and the Serpentine Gallery Map Marathon in 2010 The last solo exhibitions included Ai Weiwei in the Chapel on view at Yorkshire Sculpture Park through November 2 which was organized by the Mori Art Museum and traveled to North American venues in 2013–14 Ai collaborated with architects Herzog & de Meuron on the “bird’s nest” stadium for the 2008 Beijing Olympics and on the Serpentine Gallery He has been the recipient of numerous awards and honors including the Václav Havel Prize for Creative Dissent from the Human Rights Foundation in 2012 Archive Urbanism-Landscape