The Peninsula - Spring 2018 by The Antithesis

FROM THE CEO

ith the arrival of every Spring season, the art world blossoms back to life after a brief hiatus, so for this issue of The Peninsula magazine, we have chosen art and culture as our prevailing theme. The Peninsula Hotels has strong associations with art and is known for its support and recognition of local arts and culture around the world. By partnering with art museums, galleries and curators, each Peninsula property is able to provide an exceptional showcase for both established and emerging local and international artists. Art the world over continues to boom, whether it be for investment or for purely aesthetic appreciation. Major international auction house figures rose dramatically last year, with Christie’s leading the way through its sale of seven of the 10 most expensive artworks sold in 2017. Hong Kong's own ever-burgeoning arts scene takes centre stage during the month of March, when the city once again hosts Art Basel, Art Central, and a host of other events, further cementing its reputation as the cultural hub of Asia. In this issue, we delve into the art of Hong Kong’s own homegrown talent, Ng Lung Wai. Having undertaken several museum exhibitions and large-scale installations in addition to demonstrating a deep profile of technical ability through his diverse portfolio, Ng’s work is becoming collectable among prestigious international private collectors and institutes on a global scale. At the more established end of the scale, Sir Peter Blake is one of the best-known British artists of his generation and has achieved the rare status of an artist who continues to work well into his eighties with great commercial success, whilst simultaneously having entered the canon of art history as a master. A regular and valued contributor to The Peninsula magazine, photographer Antonio Saba recently released a coffee table book of his most significant photographs of the last few years. Aptly titled ‘Chasing Beauty’, the book features a stunning collection of 75 vastly diverse images, including a number taken at Peninsula hotel properties. We also take a glimpse at the incredible diversity of artists from Australia, whose collective work is a reflection of the strength and richness of the country’s cultural scene. I hope you will enjoy this issue and as always, I look forward to welcoming you back to our hotels.

Clement K M Kwok Chief Executive Officer

CONTENTS SPRING 2018

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FROM THE CEO MAKING A POINT Born and raised in Hong Kong before the return of the sovereignty, Ng Lung Wai is a visual artist very much influenced by Western eugenics. As with many Hong Kongers from the 1970s of Chinese ethnic decent, culturally he feels “Chinese”, despite the inevitable inf luence drawn from a hybrid lifestyle that was not uncommon among this generation of Hong Kongers.

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CROSSING GENERATIONS Sir Peter Blake’s work has always had a universal appeal and is widely collected and exhibited internationally. He is one of the best-known British artists of his generation and has achieved the rare status of an artist who continues to work well into his eighties with great commercial success, whilst simultaneously already having entered the canon of art history as a master.

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THE ART OF DIVERSITY Categorising any group of artists is always a difficult and tenuous prospect. Art historians have long since marshaled artists into stylistic groups, the last century witnessed a proliferation of ‘isms’: Expressionism, Fauvism, Cubism, and Surrealism to name just a few. In the 21st century we have become skeptical of the cut and dry application of such words, for when we consider the work of any two artists residing beneath the same artistic label there are, more often than not, far greater differences than meet the eye. There is an incredible diversity of artists and art making in Australia, and moreover it is a reflection of the strength and richness of the country’s cultural scene.

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ART IN RESIDENCE The Peninsula Hotels has always been inextricably linked with art, and is known for its support and recognition of local arts and culture around the world. By partnering with art museums, galleries and curators, each Peninsula property is able to provide an exceptional showcase for both established and emerging local and international artists.

CONTENTS 2 SPRING 2018

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AN EXTRAORDINARY JOURNEY A regular and treasured contributor to The Peninsula magazine, photographer Antonio Saba recently released a coffee table book of his most significant photographs of the last few years. Aptly titled ‘Chasing Beauty’, with forewords by the renowned Italian art critic Vittorio Sgarbi and journalist Cristina Mazzantini, the large format book features a stunning collection of 75 vastly diverse images which take its readers on a fascinating global journey.

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A MAJESTIC RESTORATION On the corner of Bogyoke Aung San Road and Alan Pya Pagoda Street in the downtown Pabedan district of Yangon sits a rather beautiful old lady, who like a fine wine sitting quietly in a dark underground cellar, has aged relatively gracefully, considering she has been sitting in the same position on the same street since 1896. This old lady is in fact a building which once housed the headquarters of the Burma Railway Company, and in just a few years from now, she will be majestically reincarnated in the form of The Peninsula Yangon.

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JEWEL OF THE SEA In 1921, D.H. Lawrence wrote in his book ‘Sea and Sardinia’: “This land resembles no other place. Sardinia is something else. Enchanting spaces and distances to travel - nothing finished, nothing definitive. It is like freedom itself. Sardinia is out of time and history.” Almost 100 years later, nothing much has changed…

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A LIFE LESS ORDINARY The Peninsula magazine sits down for a chat with powerhouse Beverly Hills couple - renowned plastic surgeon Dr. Gabriel Chiu and his wife Christine, socialite, fashionista and philanthropist extraordinaire, and discovers that beneath the glamorous life that the couple apparently lead, there’s much more than meets the eye.

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GOING INTERNATIONAL The third edition of the annual The Peninsula Classics Best of the Best Award held on 8 February 2018 marked the international debut of this prestigious event, this year coinciding with the celebrated Salon Rétromobile in Paris, where international motoring connoisseurs have converged over the past 43 years for the first classic car event of the season.

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THE PENULTIMATE ‘Pipi’ by Melvin Sokolsky

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CONTRIBUTORS The Peninsula Hong Kong Salisbury Road, Kowloon, Hong Kong Telephone: (852) 2920 2888 Facsimile: (852) 2722 4170 E-mail: phk@peninsula.com The Peninsula Shanghai No 32 The Bund, 32 Zhongshan Dong Yi Road Shanghai 200002, The People’s Republic of China Telephone: (86-21) 2327 2888 Facsimile: (86-21) 2327 2000 E-mail: psh@peninsula.com The Peninsula Beijing 8 Goldfish Lane, Wangfujing, Beijing 100006, The People’s Republic of China Telephone: (86-10) 8516 2888 Facsimile: (86-10) 6510 6311 E-mail: pbj@peninsula.com The Peninsula Tokyo 1-8-1 Yurakucho, Chiyoda-ku Tokyo , 100-0006, Japan Telephone: (81-3) 6270 2888 Facsimile: (81-3) 6270 2000 E-mail: ptk@peninsula.com The Peninsula New York 700 Fifth Avenue at 55th Street, New York, NY 10019, U.S.A. Telephone: (1-212) 956 2888 Facsimile: (1-212) 903 3949 E-mail: pny@peninsula.com The Peninsula Chicago 108 East Superior Street (at North Michigan Avenue), Chicago, IL 60611, U.S.A. Telephone: (1-312) 337 2888 Facsimile: (1-312) 751 2888 E-mail: pch@peninsula.com The Peninsula Beverly Hills 9882 South Santa Monica Boulevard, Beverly Hills, CA 90212, U.S.A. Telephone: (1-310) 551 2888 Facsimile: (1-310) 788 2319 E-mail: pbh@peninsula.com The Peninsula Paris 19 Avenue Kléber, Paris 75116, France Telephone: (33-1) 5812 2888 Facsimile: (33-1) 5812 2999 E-mail: ppr@peninsula.com The Peninsula Bangkok 333 Charoennakorn Road, Klongsan, Bangkok 10600, Thailand Telephone: (66-2) 861 2888 Facsimile: (66-2) 861 1112 E-mail: pbk@peninsula.com

KATE BRYAN

CHRISTINE LAM

Kate Bryan is a British art historian, curator and arts broadcaster who started her career at The British Museum. In 2016 she became Head of Collections for Soho House globally, and in the same year wrote and presented the art television series ‘Galleries on Demand’ which aired every week in 2016 on Sky Arts. She is also a judge on the Sky Arts television series ‘Artist of the Year’ and has been a contributor to the arts television programme ‘The Culture Show’. Prior to her current engagements, Kate worked in the commercial art world as an art dealer in Hong Kong and London.

Christine graduated from the Hong Kong Design Institute with a degree in animation but soon realised that her passion lies in graphic design. A creative of many talents - she bakes, hand makes clothes and accessories, and speaks fluent Japanese. Christine draws inspiration from music as well as movies and she is the Chief Designer for The Peninsula magazine.

DAVID ELLIOTT Born in 1972 in Hope, British Columbia, David Elliott moved to Hong Kong in 2003. While travelling extensively around the world for photographic shoots and film projects as a model and actor, his fascination with the dynamic changing landscapes around Southeast Asia, Hong Kong, China and the Himalayas eventually cemented his stay in the Orient. Guangdong, once the home of his great grandfather Chow Dong Hoy, is where David’s creative vision began to shape. Greatly inspirational to his growth behind the camera were his great grandfathers well-recognised Canadian frontier photos - imagery that really told the stories behind the lens. Elliott’s own portrayal of people connects intimately, inspiring our appreciation of their courage, humility and love of life. Extensive urban explorations and back country travel have allowed David to show the unique characteristics of certain countries, with his documentary fine art imagery preserving the long-standing elements within a modern edged framework. The vast nature of his body of work varying from project to project is unified by a unique stylistic flow. The photographer’s attentive contemplation of each subject draws on his two decades behind and in front of the camera, giving rise to images that are both imaginative and thought-provoking.

ANTONIO SABA Born in Sardinia, Antonio spent his childhood in his hometown of Cagliari. After completing his studies at the Istituto Europeo di Design in Milan in 1987, where he specialised in advertising photography, Antonio began working professionally, mostly for Italian clients until 1996. In 1997 he set up his own studios in Milan and Cagliari shooting primarily for international clients and magazines. In 2013 Antonio began working in Dubai where he is now based fulltime, shooting more and more for the Middle East and the Far East markets. His projects today span across the world. In addition, he works as a personal photography consultant for one of the most important Royal Families in the United Arab Emirates.

ANN TSANG Ann Tsang is the Editor-In-Chief and Creative Director for The Peninsula Magazine, as well as several luxury custom publications in Asia and the United States. She began her career in television, working for many of the world’s biggest broadcasters, and also ran her own marketing consultancy before founding The Antithesis, a bespoke, luxury publishing venture in Hong Kong.

The Peninsula Manila Corner of Ayala & Makati Avenues, 1226 Makati City, Metro Manila, Philippines Telephone: (63-2) 887 2888 Facsimile: (63-2) 815 4825 E-mail: pmn@peninsula.com Reservations can also be made through: The Peninsula Global Customer Service Centre 5/F, The Peninsula Office Tower, 18 Middle Road, Kowloon, Hong Kong Telephone: (852) 2926 2888 Facsimile: (852) 2732 2933 E-mail: reservationgcsc@peninsula.com Toll Free from: Australasia • Australia: 1 800 116 888 • China: 4001 200 618 • India: 000 800 852 1388 • Japan: 0120 348 288 • Korea: 00798 8521 6388 • Singapore: 800 8526288 • Taiwan: 00801856908 • Thailand: 1800011888 Europe • France: 0800 915 980 • Germany: 0800 181 8418 • Italy: 800 789 365 • Russia: 810 800 2536 1012 • Spain: 900 937 652 • Switzerland: 0800 562923 • UK: 08007830388 Americas • Argentina: 0800 888 7227 • Brazil: 0800 891 9601 • Canada: 1866 308 8881 • Mexico: 01 800 123 4646 • USA: 1 866 382 8388 Middle East • Bahrain: 800 065 90 • Saudi Arabia*: 800 865 6047 • UAE: 800 065 0628 * Toll-free access number is only available through Saudi Telecom Company (STC). www.peninsula.com E-mail: info@peninsula.com

Published by: The Antithesis G/F, 1 Pak Tze Lane Central Hong Kong Tel: +852 2851 1150 Email: info@theantithesis.net Editor-in-Chief and Creative Director: Ann Tsang Graphic Designer: Christine Lam Cover Image: Antonio Saba

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THE PENINSULA is published by The Hongkong and Shanghai Hotels, Limited. Incorporated in 1866 and listed on The Stock Exchange of Hong Kong (00045), HSH is the holding company of a Group which is engaged in the ownership, development and management of prestigious hotel, commercial and residential properties in key locations in Asia, the United States and Europe, as well as the provision of transport, club management and other services. The Peninsula Hotels portfolio comprises The Peninsula Hong Kong, The Peninsula Shanghai, The Peninsula Beijing, The Peninsula Tokyo, The Peninsula New York, The Peninsula Chicago, The Peninsula Beverly Hills, The Peninsula Paris, The Peninsula Bangkok, and The Peninsula Manila. Projects under development include The Peninsula Istanbul, The Peninsula London and The Peninsula Yangon. The property portfolio of the Group includes The Repulse Bay Complex, The Peak Tower and St. John’s Building in Hong Kong; The Landmark in Ho Chi Minh City, Vietnam; 1-5 Grosvenor Place in London, UK, and 21 avenue Kléber in Paris, France. The clubs and services portfolio of the Group includes The Peak Tram in Hong Kong; Thai Country Club in Bangkok, Thailand; Quail Lodge & Golf Club in Carmel, California; Peninsula Clubs and Consultancy Services, Peninsula Merchandising, and Tai Pan Laundry in Hong Kong.

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ORDERING FROM ADVERTISERS: Advertisers warrant and represent that the descriptions of the products or services advertised are true in all respects. THE HONGKONG AND SHANGHAI HOTELS, LIMITED assumes no responsibility for claims made by advertisers. THE HONGKONG AND SHANGHAI HOTELS, LIMITED, its officers, directors, employees or agents make no recommendations as to the purchase or sale of any product, service or item. All views expressed in all articles are those of the authors and are not necessarily those of THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All content contained within this magazine is the sole property of THE HONGKONG AND SHANGHAI HOTELS, LIMITED and may not be reproduced in any manner whatsoever without authorisation. (c)Copyright 2018 by THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All rights reserved. The Peninsula is a trademark of The Peninsula Intellectual Property Limited.

FRIDAY AUGUST 24

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CONSIGNMENTS INVITED

1995 McLAREN F1 Sold for $15,620,000

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MAKING A POINT TEXT: ANN TSANG IMAGES: NG LUNG WAI COURTESY OF A2Z ART GALLERY, HONG KONG

Born and raised in Hong Kong before the return of the sovereignty, Ng Lung Wai is a visual artist very much influenced by Western eugenics. As with many Hong Kongers from the 1970s of Chinese ethnic decent, culturally he feels “Chinese”, despite the inevitable influence drawn from a hybrid lifestyle that was not uncommon among this generation of Hong Kongers.

n his solo exhibition “One Person – Two Systems” a reflection of Ng Lung Wai’s cultural identity, the artist once again invokes poignant and iconic portraits. Working with a new range of materials, which juxtapose cultural references recalling Ng’s observations of the developing landscapes, it is through these works that we see Eastern and Western tools of artistic creation, or the familiar objects representative of war strategy games, becoming the points or pixels. With craftsmanship equally as remarkable as that of the artist’s earlier works exhibited in his ‘1960s Icon’ exhibition, Ng, with his own take on Pointillism, constructs artworks with a surgical like precision. Neo-Impressionists Georges Seurat and Paul Signac pioneered the technique dubbed ‘Pointillism’, which was revolutionary for its time. Bored of traditional paintings, certain artists of the era were searching for new ways to make “impressions” of landscapes and day-to-day life. Seurat and Signac looked to science for inspiration, and discovered how to trick the eye into seeing more in a painting than the sum of its parts: an arrangement of coloured dots. Informally known as stippling art or dot art, since its inception, Pointillism has influenced many artists working across a diverse

range of mediums, and today we see traces of it in modern art, fashion, and tattoos. The technique uses distinct dots of colour, which are meticulously arranged in patterns to compose a cohesive image. While Impressionists such as Claude Monet and Vincent van Gogh often used small dabs and strokes of paint as part of their technique, Pointillism artists took this idea a step further, by painting tightly packed, individual dots of pure colour. When viewed from afar, the viewer’s mind and eye blur the dots together to create detailed images, comprising a fuller range of tones than the dots alone provide. Through his own unique take on Pointillism, Ng works with a versatile range of materials to express his desired outcome, often replacing paint with symbolic collectible items, such as lapel pins, or memorable and suitably iconic paraphernalia. Taking influence as a young Hong Kong man, from the 1960s culture, particularly Western culture, Wai has not only portrayed the images of iconic and important personalities which resonate in popular culture due to the subjects’ important place in history individually, but he also takes his creations to the next level by using specifically relevant materials for each individual icon.

In December 2017, Ng unveiled his latest installation project at the Concord Commercial Building located on Hong Kong’s Kings Road. The first of its kind in the SAR, this was the largest installation artwork that the artist had ever attempted, comprising of more than 6,000 miniature Marilyn Monroe portraits, each being one of the 6,000 pixels that make up his Elvis Presley portrait. Continuing his study of popular iconic figures, Ng again used his very unique “Contextual Pointillism” technique to highlight important stories and messages, whilst simultaneously reflecting on the mysterious relationship between the two 1950s stars Monroe and Presley.

Ng is undoubtedly an extremely exciting and versatile artist. His works induce a level of exhilaration borne from the visionary brilliance of his composition and his level of natural enthusiasm unquestionably exudes through his practice. Simply having the foresight to compose portraits with such a diverse selection of materials causes his audience to revel in contemplation upon discovering his artworks for the first time. ‘One Person – Two Systems’ runs from 24 March - 29 April 2018 at A2Z Art Gallery, 20 Gage Street, Central, Hong Kong a2z-art.com

‘I is for Idols’ (1991) Silkscreen Print, 51 x 72.2 cm

CROSSING Generations TEXT: KATE BRYAN IMAGES: SIR PETER BLAKE

Sir Peter Blakeâ&#x20AC;&#x2122;s work has always had a universal appeal and is widely collected and exhibited internationally. He is one of the best-known British artists of his generation and has achieved the rare status of an artist who continues to work well into his eighties with great commercial success, whilst simultaneously already having entered the canon of art history as a master.

‘Sgt. Pepper’ (album artwork) (2007) Silkscreen Print, 49.5 x 49.5 cm

component is the desire to make art that could serve as the visual equivalent of pop music. His unforgettable album cover features a strange and wonderful collection of characters including Charlie Chaplin and Marilyn Monroe huddled around The Beatles in their memorable uniforms. The juxtapositions formed by the cut and paste collage exemplifies Blake’s style, they are certainly an unexpected motley crew but the assembly is not disconcerting or visually jarring. It is a piece that clearly draws upon references from many periods and subcultures, yet done without irony or critical undertones. It is a psychedelic celebration of icons of the past and present, a transcendental album design that became an artwork in its own right, residing in the homes of millions of music lovers the world over.

n 1983, what was then The Tate Gallery in London staged a retrospective exhibition of Peter Blake’s work. This was followed by a period holding the National Gallery’s prestigious position of Associate Artist from 1994-1996. In 2007, Tate Liverpool held a major retrospective of the artist’s work, further sealing his status as a British national treasure. Accordingly, Blake became a Royal Academician in 1981, a CBE in 1983, was awarded an Honorary Doctorate from the Royal College of Art in 1998, and in 2002 he received a knighthood for his services to art. Blake is most commonly known for creating the artwork for one of the most celebrated moments in 20 th Century music history, the Beatle’s album ‘Sgt. Pepper’s Lonely Hearts Club Band’ of 1967. This one work reveals many of Blake’s preoccupations; a key

‘A is for Alphabet’ (1991) Silkscreen Print, 51 x 72.2 cm

‘Eiffel Tower’ (Paris Quartet) (2010) Silkscreen Print, 44 x 67 cm

‘Some Sources of Pop Art VII’ (2009) Silkscreen Print, 81.5 x 81.5 cm

The artist has an innate fascination with popular culture and mass entertainment that clearly manifests itself in his work. Blake’s inclusive and non-elitist approach to making fine art no doubt stems from the combination of his period in art school with what the artist describes as the ‘working class pursuits’ of his family. Born in Kent in 1935, Blake attended the Gravesend Technical College and School of Art after wartime evacuation. There he was tutored not just in life drawing but typography, silversmithing and design. In addition to his well-rounded creative schooling, his teachers also gave their students a taste for high culture such as classical music and old master painting. In contrast, at home Blake’s world was one of football matches, music halls, wrestling and jazz clubs. As time passed he, like most of his generation, became increasingly caught up in the phenomenon of the rock and roll music scene and also became a collector of discarded objects - he can still be found scouring car boot sales to this day. In the mid1950s, once accepted at The Royal College of Art in London, Blake began to find a way to synthesise his interest in both high and low art forms. His success in doing so would mark him out as key artist

of his generation amidst an exciting wave of pop artists, both in Europe and the U.S. Throughout his career, Blake has appropriated motifs and influences from a myriad of cultural genres, including music, fashion, magazines, sport and film. He is unlike his American Pop Art counterpart Andy Warhol, who also famously appropriated from popular culture, but did so in a direct and cold manner, mostly rendering his subject as an empty vessel. Blake shows nothing but a joyous admiration for his sources, positively venerating his carefully chosen subjects, whether they are the Union Jack flag or James Dean. He has often been described as a ‘fan’, presenting the things he admires or finds interesting in an uncomplicated fashion, clearly delighting in his subjects. This is perhaps best illustrated by his iconic Alphabet Series of 1991, a hugely personal and witty work that shows the artist’s favourite thing or a subject that he finds interesting for each letter of the alphabet. M is of course for Marilyn, K is for the King (Elvis Presley), J for James Dean. A more obscure reference is O for Ornithology, a delightful insight into Blake’s diverse interests.

‘Dancing Over Hong Kong’ (2011) (HK Butterfly Man Series) Silkscreen collage on canvas, 152.4 x 91.4 cm

‘Flower Street, Hong Kong’ (2011) (HK Butterfly Man Series) Silkscreen collage on canvas, 152.4 x 91.4 cm

‘Main Street, Hong Kong’ (2011) (HK Butterfly Man Series) Silkscreen collage on canvas, 152.4 x 91.4 cm

‘Queen's Road Central, Hong Kong’ (2011) (HK Butterfly Man Series) Silkscreen collage on canvas, 152.4 x 91.4 cm

The Alphabet Series brings together much of the imagery that has attracted Blake since the 1960s. It is a cornucopia of pop culture references that the artist has continued to return to, expand and reinvent throughout the past six decades. Blake’s print series entitled ‘Replay’ takes its cue from his collage paintings of the 1960s. These works were a radical departure from the traditional parameters of painting still upheld by the conservative art establishment of the time. Blake employed collaged components to his work, for instance adding a photograph of Marilyn Monroe to the surface or other pin-ups from mass-produced print materials. The works have brash, shiny surfaces as a result of the decision to use ordinary gloss paint, therefore eliminating the artist’s hand. The pictures were treated in bold primary colours, given sharp geometric patterns and their form was treated with calculated simplicity. These pieces speak directly of the aesthetic of Pop Art and show Blake lending his work a very literal quality. In many respects their bluntness and directness remind us of how a teenager or serviceperson might cut out a pin up or icon and roughly post them on to their wall or locker. It is important to recognise that though visually much of Blake’s work seems uncomplicated and simple, it is in no way a straightforward refashioning of existing images, devoid of conceptual potency or significance. Blake makes careful choices in his subjects, and perhaps more importantly, he makes crucial compositional decisions, ordering the picture plane in an incredibly specific way that ultimately results in the viewer being given direct access to the subject presented. The fact that the pieces seem so simply put together lends them their power; they invoke an immediate relationship with their audience, much like the pop music Blake admired and stated he was keen to emulate as a young artist. He may well bask in the warm glow of popular culture and entertainment, but closer engagement reveals how his work goes much deeper than this. In his visual references, sometimes obscure and sometimes incomparably iconic, Blake quietly translates current cultural trends and attitudes in an understated, even poetic manner, deftly presenting social interests and concerns to the contemporary audience experiencing them. Testament to his genius and the enduring success of his work is the manner in which the appeal of his artwork continues to grow as time passes. In some respects they act as time capsules for future generations looking back to these past eras. The highly personal quality of Blake’s work is underscored by the fact that it is not simply icons of popular culture that find their way into his inventory of appropriated imagery. Throughout his long career the artist has created a visual dialogue with contemporary artists and old masters alike. In several key works, Blake directly references other artists or pays subtle homage to them. ‘The First Real Target’, a painting dating from 1961, which was revisited as a

silkscreen print in 2008 and 2009, is an ordinary archer’s target with the questioning title written across the top in collaged typeface. The work is in dialogue with the paintings of targets by the American pop artist Jasper Johns and the abstract American painter Kenneth Noland, Blake’s transatlantic peers of the time. Considered one of his most significant works, it is important as it shows the artist contemplating the works being made in his time and taking them on a stage further. Others painted targets, but Blake employed a real target in his piece, transforming something metaphorical to something with literal connotations. Although he is at core a Pop Artist, Blake also displays a fundamental interest in figurative realism. His work often explores and references Victorian imagery, illustrative art, folklore and myths. This is beautifully demonstrated in his Venice and Paris Suites. Blake combines vintage postcards and photographs of these romantic locations and invents his own nostalgic scenes by adding collaged components. The imagery is painstakingly sourced; images of Victorian dancers, musicians, elephants, figures of all ages and types, carriages and even fairies are given a new lease of life in his whimsical scenes. Another body of work that takes Blake’s collage work in a different direction to his bold pop work is The Butterfly Man Series. The Butterfly Man is a Victorian character reminiscent of childhood picture books and vintage illustration. Seen with a flock of multicoloured and individually collaged butterflies, the quirky 18th Century protagonist is shown in Paris, London and Venice, taking over familiar locations, conducting a wave of winged colour. In its use of the butterfly, the series recall the motif commonly employed by Damien Hirst, a leading figure amongst a generation of artists termed YBAs (Young British Artists) who owe Blake and his peers a debt of gratitude for paving the way for their work of the 1990s. Blake is a known admirer of the YBA generation and since its emergence has supported their work in his position as a curator and teacher. Another key figure of the YBAs, Tracey Emin, appears in one of Blake’s more recent painting series, ‘Marcel Duchamp’s World Tour’. In showing Emin playing chess with the early 20 th Century master, Blake also points out the incredibly important role that Duchamp played for Emin and her generation too. The art of Sir Peter Blake has a distinct and charming cyclical quality, drawing attention to his peers, old masters, modern art figureheads and also to the scores of artists who graduated in the decades after Pop Art and who were propelled into a healthy British art scene that Blake and his generation helped to cultivate. In its constant renewal of imagery, both cherished and newly appropriated, the artwork of Blake has continued to remain a vibrant force on the international art scene, as the artist constantly creates new departures in his work, showing no signs of fatigue.

The ART of DIVERSITY

TEXT: KATE BRYAN

‘Last Glance in the Glass’ Janet Laurence (2010) Duraclear on shinkolite acrylic, mirror, oil glaze, 100 x 140 cm

Categorising any group of artists is always a difficult and tenuous prospect. We have come to expect individuality and distinct approaches to art making and these are traits which every artist today works fervently to uphold. Art historians have for long marshalled artists into stylistic groups, the last century witnessing a proliferation of ‘isms’: Expressionism, Fauvism, Cubism, and Surrealism, to name just a few. In the 21st Century we have become skeptical of the cut and dry application of such words, for when we consider the work of any two artists residing beneath the same artistic label there are, more often than not, far greater differences than meet the eye.

‘Giraffes at Mt. Kenya’ John Olsen (2010)

ategorising artists by nationality, particularly contemporary artists, is a somewhat difficult prospect, and those featured in this article could conveniently be neatly categorised under the genre of ‘Australian Contemporary’. Thankfully the world is not a facile place, especially not our small, increasingly globalised world. There is an incredible diversity of artists and art making in Australia, marking a reflection of the strength and richness of the country’s cultural scene. The artists featured here vary greatly in their practice, conceptual stance, and range from freshly emerging to established artists, and veritable living masters. In every contemporary art scene across the world, it is for history and posterity to decide who may be remembered out of the thousands, whose work speaks past its age and resonates on a deep level for generations to come.

Reassuringly, at least two of these artists have already done so much in their long careers that any future history would be incomplete without them; John Olsen and Janet Laurence. Both artists are deeply connected to the natural environment, yet they each explore this phenomenon in vastly different ways. Olsen has held a lifelong preoccupation with the country’s diverse landscape, presenting its majesty in a myriad of forms and, crucially, cultivating his own unique language with which to describe Australian topography. Though his work is regionally orientated, its specificity does not hinder appreciation outside of Australia, rather Olsen articulates something universal and transcendent in all of his works, as testified to when he occasionally turns his attention to other lands such as Kenya or Spain.

‘Robertson’ Guy Maestri (2011) Oil and enamel on linen, 152 x 183 cm Olsen’s distinguished career has spanned over six decades and his work is unquestionably a huge source of inspiration for a host of younger artists such as Tim Summerton and Guy Maestri. These exciting young artists also share a continuing interest in the Australian landscape and render its forms and sentiment in their own unique ways. Maestri’s interest in landscape and human folly has taken him on a stylistic adventure, journeying from the Australian bush, farther afield to glaciers and even to Chinese communities. Summerton’s luminous abstract paintings, on the other hand, display a consistent and quiet brilliance as the artist contemplates the cornucopia of life in the gloriously rural area of Kangaroo Valley where he lives and works. These artists follow in the footsteps of Olsen who has lived for long periods throughout Australia, making deep connections with the topography he articulates in paint. Like Olsen, Janet Laurence has also made a huge impact upon contemporary Australian art and over the last 40 years has come to be regarded as the ‘architect’s artist’. Laurence investigates the multifaceted associations between organic phenomena and the built environment. As an artist, she skirts the boundaries of science and nature, creating hybrid forms in her photography, sculpture and installations. Her aesthetic is postmodern, often partly clinical, and yet her enquiry into the constantly changing forms of ecosystems and humankind’s relationship to the natural world is philosophical and timeless.

‘Night Nest’ Tim Summerton Oil on linen, 168 x 152 cm

‘Fertility Owl - Castle Bay’ (dyptich) Joshua Yeldham Blue Shellac on hand made carved paper, 200 x 200 cm

‘Outside Evening’ Andrew Taylor (2008) Oil on canvas Statistics underscore Australia’s reputation as an under populated country with vast areas of land that witnesses minimal human contact. Joshua Yeldham takes this as an interesting point of departure and works in what might be described a ‘quasi-naturalist’ manner. For each new series the artist immerses himself deeply into a particular rural or bush landscape for weeks at a time so as to make a literal and spiritual connection with the land. He is the eternal student of Mother Nature, creating potent and intricate paintings and sculptures as records of his experiences. Andrew Taylor also draws inspiration from pure landscape and, in his own way, allows its physical qualities to permeate his artwork by employing crushed metals and minerals directly onto the surfaces of his paintings. These materials are sourced directly from various mines throughout Australia, lending his work a shared history with the natural world they represent.

‘Baroque Interior’ James McGrath (2009) Oil on linen, 158 x 219 cm

James McGrath focuses his attentions on Baroque art and architecture, an ostentatious period in Western art history which is seldom referenced amongst the scores of postmodern artists. McGrath works across painting, photography and installation, cultivating new ways of looking at a grand aesthetic that is at once both recognisable but usually deemed somewhat irrelevant in todayâ&#x20AC;&#x2122;s lexicon of image making. McGrathâ&#x20AC;&#x2122;s appeal lies in the combination of his deep affection for the period and his unrelenting modern approach to form, often employing cutting-edge technologies in the creation of his work.

‘Bulukadaru’ Tony Lloyd (2010) Oil on linen, 120 x 216 cm Tony Lloyd’s paintings skirt the parameters of photo-realism, offering softer, less focused areas in composition and thus recalling cinematic approaches to visual arrangement, particularly the genre of film noir. This seems fitting for an artist who explores existential themes such as the limitless of things, our knowledge of space and time, and the connectivity of all matter. Though working within the realms of abstraction, Todd Hunter’s canvasses are also deeply expressive artworks and often exploree explicit and intimate themes of human nature. All of these artists are unified by nationality, or at least the country they live and work in, and they share a concern for representing and expressing their contemporary culture and world. Though they may display some mutual interests or even comparable approaches to their art in a superficial sense, there is no denying each of their unique qualities and unrelenting pursuit of artistic longevity. When these artists are taken as a whole, they represent an unforgettably impressive crosssection of Australia’s compelling contemporary art scene. Of course they represent only a minute fraction of the artists working in Australia today, yet they all deliver a small insight into something much bigger and exciting, promising a sustained interest in Australian contemporary art outside of the country for years to come.

‘Out in the Rain’ Todd Hunter (2011) Oil on Canvas, 160 x 140 cm

ART In RESIDENCE The Peninsula Hotels has always been inextricably linked with art, and is known for its support and recognition of local arts and culture around the world. By partnering with art museums, galleries and curators, each Peninsula property is able to provide an exceptional showcase for both established and emerging local and international artists.

Art Gallery at The Peninsula Beijing

Artist-in-Residence Studio at The Peninsula Beijing

ith the enormous surge of interest in Chinese Contemporary art over the past three decades, the newly renovated Peninsula Beijing is in a unique position to showcase and share the very best of this genre with its guests and visitors. The focus on art as part of the renovation of The Peninsula Beijing was an important part of the plan from the beginning, and so the hotel called upon the Executive Director of the Museum of Contemporary Art (MOCA) Beijing, Michael Suh, to curate its new collection, in collaboration with interior designer Henry Leung. As the project began to take shape, Suh was briefed extensively as to what was required, and after talking with the design team and learning about their vision, he instinctively felt that he could deliver something unique. “Even though I took the company’s brief, I was still given a good deal of freedom to interpret what The Peninsula actually represents,” says Suh. “This is why The Peninsula Beijing project was completely different to other hotels, many of which simply view art as decorative wall-fillers. The Peninsula and the designers wanted something that was both unique and integral to the overall design, as well as something special to share with visitors.” Suh has duly delivered a permanent, museum-quality collection of notable art pieces in the very heart of Beijing. The hotel as a museum concept is brought to another level with a dedicated art gallery on the fourth floor that is bathed in natural light. The space is equipped with museum quality hanging

and mounting facilities as well as specialist lighting to display art pieces in the best possible way. The objective of the gallery space is to give emerging artists an opportunity to showcase their work to guests of The Peninsula Beijing, in the hope that they may become more prominent in the future. The Peninsula Beijing’s Artist-in-Residence programme adds yet another dimension to its support of the arts, with selected artists being given the opportunity to spend up to three months creating works in a custom-built dedicated studio on the 14th floor of the hotel, whilst also living there. “This unique approach ensures that emerging artists can make a living at The Peninsula and that art is actually living within the Peninsula,” notes Suh. Much like The Peninsula Beijing has re-blossomed, the hotel in turn encourages the future blossoming of the next generation of China’s contemporary artists, thus giving back to the community. Tokyo’s contemporary art scene is notoriously difficult to navigate, with many of the best collections tucked away in addresses that are difficult even for locals to find. With Tokyo-born art curator Natane Takeda as their guide, even guests on a whirlwind schedule have the opportunity to view works by local artists, following an itinerary expressly tailored to their personal preferences, interests and needs through ‘Hidden Colours of Tokyo: An Insider’s Guide to the Contemporary Art Scene’, part of the hotel’s Peninsula Academy programme.

39 ‘Hutong’ by Zhang Du at The Peninsula Beijing

‘The Bund’ by Zhou Jun at The Peninsula Shanghai Within the hotel itself, The Peninsula Tokyo has brought Japanese and international artists together to create one of Tokyo’s most unique art collections. Working with art consultancy Art Front Gallery, the hotel’s collection consists of approximately 1,000 pieces created by nearly 60 artists, 90 percent of them Japanese, once again showing The Peninsula’s support of the local art scene. Interior designer Yukio Hashimoto wanted to showcase traditional Japanese artisanal techniques, and so selected only the most skilled of craftspeople and artists. The list of artisans involved in the creation of the hotel is long and distinguished – running from Stucco artist Shuhei Hasado, who created the wall that serves as the backdrop to the front desk, to Jotairo Saito, a kimono artist who was

brought in to fashion the showcase bench in The Lobby as well as the walls in The Peninsula Suite. From The Lobby to The Spa, Salon de Ning to Sir Elly’s Restaurant and beyond, the formidable task of selecting the art to feature throughout The Peninsula Shanghai went to Hong Kongbased curator Sabrina Fung, and to enhance the vast range of locations within the hotel, she traversed the globe to source the works, from China to Switzerland, Spain to Finland and back again. The end result is a veritable treasury of work, which whilst wildly diverse, also has a visible thread of commonality running through it that brings the whole hotel together. “It's a very eclectic collection, assembled over different periods, but it all works together as a whole,” states Fung. The nature of the

collection as she describes it, seems to be a reflection of the city of Shanghai, influenced strongly by the various events of its past. However while taking these assorted influences on board, it is a city whose overriding style throughout reflects its more recent past, and is one of Art Deco. Likewise, accents of Art Deco are recalled through the hotel’s artwork. “Shanghai has a history and within the hotel we needed references to Art Deco, but you can’t buy Art Deco,” explains Fung. “There are no artists creating it, so I had to find ways to relate to that style. There are references to the location of the hotel, or the history of the city, and the philosophy, as well as motif references to Art Deco and the particular use of colours. With special commissions, artists often provide some striking and some

softer examples of their work. For The Peninsula Shanghai, we chose the more striking pieces as this makes more of a private collection.” “A reciprocal advantage between the East and the West should be limited to the exchange of technical ideas and materials – but never the adulteration of cultural and spiritual values,” is a statement that was once made by the ‘Father of Modern Art in Thailand’, the late Professor Silpa Bhisari. These words aptly describe the impressive and visionary art collection at The Peninsula Bangkok, which has significantly increased in value over the past two decades since the hotel opened. The hotel is home to one of the most diverse and distinctive collections of Asian contemporary art by 25 artists from eight South East Asian countries.

Artworks at The Peninsula Tokyo

‘Anniversary’ Alex Katz (2003) at The Belvedere, The Peninsula Beverly Hills

The task of selecting the right mix of works by both recognised and emerging artists from a field that previously remained unknown or mistakenly disregarded, was a daunting one, but one which brought together oil paintings, watercolours, sculptures and mixed media works by not only artists from Thailand, but also Vietnam, Indonesia, the Philippines and China, representing an applaudable commitment to showcasing Asian talent. With a new dawn rising for Philippine contemporary art, The Peninsula Academy’s ‘Art in the Hills: 27 Years of Philippine Contemporary Art’ programme at The Peninsula Manila takes guests and art enthusiasts alike on a private guided tour of the Silangan Gardens, the Pinto Art Museum, and galleries housing the works of Elmer Borlongan, Geraldine Javier, Mark Justiniani, Ronald Ventura, Alfredo Esquillo and Winner Jumalon, and other Filipino artists whose works are now being snapped up at Sotheby’s and Christie’s Southeast Asian Paintings auctions. At The Peninsula Beverly Hills, the new look Belvedere restaurant features a breathtaking collection of contemporary artworks by renowned international artists including Yayoi Kusama, Robert Indiana, Alex Katz, Sean Scully, Fabienne Verdier, Tsuyoshi Maekawa, Nancy Graves, and Josef Albers. Guests have the unique opportunity to dine against a backdrop of work by these prominent artists, many of whom have work in museums such as the Whitney Museum of American Art, the Saatchi Gallery and The Metropolitan Museum of Art. Through an ongoing partnership with Circa 1881, an initiative by private art collectors to share their collections with the public through curated art programmes, The Peninsula New York regularly presents a curated installation of artwork by renowned contemporary artists on the walls of the hotel Lobby and Gotham Lounge. Each artwork on display is accompanied by a label with a unique QR code linking to peninsula.com, where more in-depth information on the work is available. Today, each Peninsula hotel is a truly special place where guests can enjoy not only the highest standard of hospitality and service, but also artworks and exhibitions of museum quality, elevating the overall guest experience to being an art in itself.

An EXTRAORDINARY Journey TEXT: CRISTINA MAZZANTINI IMAGES: ANTONIO SABA

A regular and treasured contributor to The Peninsula magazine, photographer Antonio Saba recently released a coffee table book of his most significant photographs of the last few years. Aptly titled â&#x20AC;&#x2DC;Chasing Beautyâ&#x20AC;&#x2122;, with forewords by the renowned Italian art critic Vittorio Sgarbi and journalist Cristina Mazzantini, the large format book features a stunning collection of 75 vastly diverse images which take its readers on a fascinating journey.

47 The Peacock at Bagni di Pisa Tuscany, 2017

Virgin or Semiramidis Santa Maria ad Balnea, Fonteverde, Tuscany, 2017

ou can portray reality, as many photographers do, or you can realise something that you imagined by portraying and painting it with the colours of your most intimate visions, which is what an artist would do. The ability of being able to “create an imagined reality” is the signature of Italian photographer Antonio Saba today. This ability, so evident in his work, is the outcome of the photographer’s long path towards professional maturity, which covers not only his technical skill, but also an explosive evolution of his artistic sensibility. Saba’s artistic progression began way before his technical and photographic studies began. From a very young age, his curiosity and fascination with artists whom he started to discover, observe, and spend time with, became an integral part of his personality and his life. After moving overseas (first to America, then to the UK and now his current home of Dubai) from his home town of Cagliari in Sardinia, Saba continued to spend time with several prominent artists and became friends with most of them, absorbing inspiration and motivation from their work and their way of existence. Thanks to the driving force of his curiosity that permeates every aspect of his life, Saba started his studies in photography at the Istituto Europeo di Design (IED) in Milan, assimilating basic theory from the books of Russian artist Wassily Kandinsky and Italian designer Attilio Marcolli, which became strong foundations for his technical and expressive education. He continued to nourish his talent by following and studying artists that inspired him: Stanley Kubrick, Ridley Scott, and Federico Fellini in cinema; Caravaggio, Hopper, and Picasso in painting; Bjork, Radiohead, and Bon Iver in music; Gregory Crewdson, Robert Mapplethorpe, and Ansel Adams in photography. The commonality among all of these artists is the ability to bring their dreams to reality. Saba has always had the most experimental, innovative and talented artists as his ‘muses’, all of whom combine real and usual elements with points of view and landscapes that are unusual and otherworldly, just as the photographer himself does today.

An Ordinary Day at Miramare, Cagliari, Sardinia, 2017

Unconventional Party Montevecchio, Sardinia 2017

The Naids Nymphs at Grotta Giusti, Tuscany, 2017

La Santa La Senda, Costa Rica, 2017

Photography originated as an accurate yet mechanical representation of reality which gradually drove painting - which was a more figurative medium - to become increasingly abstract. In the 20 th Century, thanks in part to the development of new technology that created infinite possibilities for image manipulation, photography turned into an art form in itself and became a new and rapidly evolving medium, able to transform, decode and interpret reality. Nowadays, since images can capture what words alone cannot, and with millions of cellphones, cameras, and satellites constantly shooting and filming the world around us, photography has become the planet’s most widespread medium. Antonio Saba seeks to capture his subjects in a cultured and expressive way that avoids the temptations of ready-made realism or Photoshop. He is interested not in the ordinary, but in the extraordinary. He attempts to make dreams real, first through his imagination, and ultimately his camera lens. His imagination mixes things taken from reality with those from dreams, and blends distant images to invent new ones, creating unique and remarkable fragments of reality, which leave a memorable impression on the viewer. Saba’s creative process is similar to that typical of iconic paintings. Working directly on the image before the lens finally captures it, every photographic project speaks of his erudite iconographic research into historical repertoires and adventurous experiments in the artistic world. The photographs showcased in this captivating monograph are fully representative of Saba’s life and artistic path. Dense with significance and open to multiple interpretations, they are unforgettable visions that do not disappear easily from the mind, but remain within. They absorb your attention as you gaze into them, seeking that which goes beyond reality. For this reason, Saba’s works are essentially portraits of dreams.

A MAJESTIC Restoration TEXT: ANN TSANG IMAGES: DAVID ELLIOTT

On the corner of Bogyoke Aung San Road and Alan Pya Pagoda Street in the downtown Pabedan district of Yangon sits a rather beautiful old lady, who like a fine wine sitting quietly in a dark underground cellar, has aged relatively gracefully, considering she has been sitting in the same position on the same street since 1896. This old lady is in fact a building which once housed the headquarters of the Burma Railway Company, and in just a few years from now, she will be majestically reincarnated in the form of The Peninsula Yangon.

y protecting and promoting its spectacular and impressive heritage in the course of what is inevitable urban development, the city of Yangon is uniquely poised to become one of the most vibrant and attractive modern cities in Southeast Asia. Yangon boasts one of the most spectacular and diverse urban landscapes in the world. It is also the home of what is possibly the finest collection of colonial British architecture anywhere in Asia, with literally hundreds of late 19 th Century buildings occupying an area of several square miles in the downtown area. Much of the modern history of Yangon can in fact be traced through its colonial architecture. From the former Reserve Bank of India, which recorded every moment of the country's fiscal history, to the now-derelict Pegu Club, once the watering hole of choice for officers of the British colonial government, to our ‘old lady’ (the former Myanmar Railway Headquarters Building - MRB) who is the primary focus of this article, most of these buildings have colourful and storied histories, having survived war, natural disaster, numerous changes of ownership, and the onslaught of increasing modernisation and urbanisation. In the book 30 Heritage Buildings of Yangon: Inside the City that Captured Time (Serindia Publications, 2012), author Sarah Rooney includes the MRB, and examines its past, present and future. “The building was originally constructed as the headquarters of the state-run Burma Railways, which later became a private company that leased the country’s railway system from the government in 1896. It was the largest commercial undertaking in the country and the railway system did much to facilitate trade and open up access throughout Myanmar. At that time the company took over, the country had 886 miles of single line and 134 miles of sidings; within just over a decade the track had been almost doubled to 1,529 miles with 329 miles of sidings,” states Rooney. “The entire administration of the country’s railway system was controlled from this building, which also contained offices for the General Manager of the Railways Board, the Chief Engineer, Traffic Manager, and Controller of Railway Accounts. In addition to these offices, the catering and advertising departments were also located in this building. Ads were good business for the Burma Railways Company, which boasted in 1925 that over three million people would see ads displayed on station platforms, refreshment stands, waiting rooms, book stalls, and timetables.”

Rooney reports in her book that in 1992, when the building served as an office for the Ministry of Railways, Serge Pun & Associates (Myanmar) Ltd. signed a 30-year lease on the structure. “The city of Yangon is an old city with an architectural heritage that we are enormously proud of,” says Pun in the chapter. “The old railway headquarters had such an impact on Myanmar’s transportation industry. I envisage the building being restored to its original design, with care taken to use high quality construction materials and traditional handiwork. My desire is to bring the glory back to the building so it will once again be a place where people can come and celebrate their special and memorable occasions.” In the same year that 30 Heritage Buildings of Yangon: Inside the City that Captured Time was published, the Yangon Heritage Trust was founded by Dr Thant Myint-U and a group of like-minded architects, business people, historians, and others dedicated to preserving the city of Yangon’s unique architectural legacy, to address the need for a comprehensive urban plan that integrates Yangon’s existing urban fabric with the needs of a rapidly developing city. One of the Trust’s major projects was the compilation of the Yangon City Heritage list, which contains almost 200 historical buildings, mostly schools and government buildings from the British colonial era, as well as temples and pagodas that cannot be demolished or modified without approval. The list also includes the MRB. "The challenge is how to repurpose these buildings in a way that is financially viable while at the same time respectful of their architectural structure and heritage status," notes Rooney. "Not all of these buildings can be turned into museums and art galleries…the important issue will be ensuring that renovations are in keeping with their original design and aesthetic." The MRB is one of the buildings that is well on the way to meeting this challenge, as it is currently undergoing a complete

restoration to return it to its former glory and rise once again to become the future Peninsula Yangon operated by The Hongkong and Shanghai Hotels, Limited (HSH). “The MRB is an impressive example of distinctive Victorian architecture, incorporating Gothic details and local materials such as laterite stone and Burmese teak, making it a truly unique structure in the heart of the city,” states Historic Buildings Consultant James Weir, whose company was approached “to provide advice as to sensitive, appropriate repairs of elements of the structure, as well as to champion the significance of the site to Burmese and British history.” The unique appearance of the MRB is probably unmatched by any other colonial civic monument in Yangon, predominantly achieved by its façades of fairfaced laterite and brickwork. In addition, it possesses one of the largest intact collections of historic cast iron decorative elements. Comprising three ‘wings’ around an expansive courtyard, the MRB is a three-storey loadbearing masonry building with timber upper floors and steel roof framing. It was built in phases through its history, the earliest being in the late 1880s to the early 1890s when the three railway companies were consolidated, ultimately being realised in its present-day extent by the early 1940s. Its historic structure and fabric has, somewhat surprisingly, remained largely intact. While the exterior of an historic building may be its most prominent visible aspect, restored interiors effectively immerse visitors in the building’s history. Unlike ‘interior décor’ of today, architectural interiors of historic buildings were conceived as an integral part of the building design and character. Important elements include architectural features such as staircases, columns, beams, and the various finishes and materials that make up the walls, floors and ceilings.

The ambience and character of historic interiors are a result of fine craftsmanship by tradesmen of a past era. These original features are distinctive markers of the buildingâ&#x20AC;&#x2122;s architectural and historical pedigree. The architectural material palette of a bygone era imparts colour, texture and patterns, eliciting vivid images and memories of the past. In the MRB, these include the lofty timber ceilings, robustly carved teak staircases, elaborate plaster cornices, and vibrant terrazzo flooring. Many of these original elements of the building have been carefully removed and placed in safe storage prior to being restored to their former glory and re-instated in their former locations, with a view to recreating an immersive experience for future guests of The Peninsula Yangon. At the groundbreaking ceremony held in February 2017 to mark the commencement of construction to develop the MRB into The Peninsula Yangon, Clement K.M. Kwok, Managing Director and Chief Executive Officer of HSH, commented: â&#x20AC;&#x153;Our strategy is to invest in exceptional projects with a long-term outlook. We are excited to move forward with this development and to be part of history as Myanmar becomes increasingly important on the global stage as a business and tourism destination. It is a dynamic, fast-growing and exciting market. We believe The Peninsula Yangon will truly reflect the heritage and beauty of the city and we are confident that it will become an iconic landmark that locals can be proud of, as it brings a new level of distinction to the Myanmar hospitality scene.â&#x20AC;?

JEWEL of THE Sea TEXT: ANN TSANG IMAGES: ANTONIO SABA

In 1921, D.H. Lawrence wrote in his book ‘Sea and Sardinia’: “This land resembles no other place. Sardinia is something else. Enchanting spaces and distances to travel - nothing finished, nothing definitive. It is like freedom itself. Sardinia is out of time and history.” Almost 100 years later, nothing much has changed…

he magical island of Sardinia is a place suspended in time, a guardian of colour, light, rhythm, and tastes of childhood that have fortunately survived into modernity. It is a corner of a lost paradise, a place of tranquility and peace that perpetually maintains its characteristic happiness. The rugged landscapes suggest fragments of life and are dotted with features such as trees bent by the wind, abandoned carts among olive groves, and stretches of azure water that blend seamlessly into the horizon. The buildings make one lose track of time with their ruined walls cropped by windows; the same windows that are referred to by 1926 Nobel Literature Prize Winner, Sardinian-born and raised Grazia Deledda, as a poetic metaphor linking the past to the future. These buildings are houses, stables and small stores that have musty interiors full of objects that remind us of traditional work and everyday life. “Our depleted island bears the remains of one the most ancient European civilisations and at those magnificent buildings made of Sardinian rocks we still look at with pride,” wrote Deledda. “I was born in a place where solitude is a feeling that does not scare people. We are used to be alone in this big, wind-battered island. We are not talkative, and we are proud of our freedom. We speak an archaic Romance language that is closest to Latin that any other in Europe and talks of wars and battles for independence, of

a land invaded and exploited but never conquered. They tried to tell us that our language was only a dialect and that it was the dialect of ignorant herdsmen and shepherds, but we never believed them. We know we descend from proud warriors that have always been in charge of their destinies, even when they lost their battles. We are proud of the shepherds who descended from those warriors and we are proud to still carry on with those shepherding and farming traditions. Our depleted island bears the remains of one the most ancient European civilisations and at those magnificent buildings made of Sardinian rocks we still look at with pride.” For centuries, the territory known as Arzachena, situated between the sea and Mount Limbara in the north of Sardinia, has attracted human settlement due to its pleasant climate and fertile plains. Today, the region’s primary source of revenue is tourism, thanks to the spectacular natural beauty of the coastline and the landscapes. The modern town of Arzachena began to develop in 1786, around the church of Saint Maria della Neve. In 1920, Michele and Salvatore Ruzzittu formed the ‘Party of The Hamlets’, thus transforming the town into an independent commune. The 1960s brought with it a dramatic transformation to the area when a substantial property investment by Prince Karim Aga Khan led to the evolution of what is today known as the Costa Smeralda, opening up unprecedented economic and cultural opportunities.

Located in the hills above the Costa Smeralda, San Pantaleo has a history that dates to 800 BC and has for long been popular with artists and writers, drawn to the stunning natural beauty of the area. The best day of the week to visit is Thursday, when the pretty piazzetta becomes the location for the town’s colourful weekly open-air market. San Pantaleo sits among the monolithic granite boulders, white beaches and azure sea, making it a mystical and beautiful place. Natural springs and woods surround the region, an excellent spot for nature lovers to visit. A visit to Sardinia would be somewhat incomplete without a taste of the island’s wine. Located on the road between Arzachena and Porto Cervo, the Surrau winery produces an impressive portfolio of wines created using modern techniques whilst maintaining close ties to Sardinian tradition. Surrounded by vineyards, the winery is characterised by a sequence of transparent façades and walls of local stone that blend with the land. The vineyards owned by Surrau, with an area of about 50 hectares, lie in the eastern part of Gallura, a few kilometres from the sea, in sunny valleys, caressed by the Mistral winds. The varieties produced are Vermentino, Cannonau, Carignano, Muristellu, Cabernet Sauvignon and Syrah, all of which have great personality, drinkability and extraordinary balance. The cellar is a multifunctional space, designed to accommodate an audience of enthusiasts, connoisseurs or ordinary tourists, which offers a refreshing alternative to the traditional tourist itineraries in Gallura. Continuing along the road to Porto Cervo itself, tucked between the Galluran hills and the natural port on which it sits, the town continues to ooze opulence and since its development in the 1960s, it has remained one of most exclusive destinations for the international jet-set community. Multi-million dollar superyachts line the edge of the port, revellers pay €900 for a bottle of Cristal at Flavio Briatore’s famed Billionaire club, the ultra chic set gather at Phi Beach at sunset, and mere mortals simply people-watch in awe. In the evening, if you want peace, quiet and a respite from the glitzy restaurants of Porto Cervo, return to a table back at the Colonna Pevero’s Zafferano restaurant, which overlooks the stunning illuminated waterfalls which form part of the five pools, and enjoy an excellent à la carte dinner served by the enthusiastic and attentive staff. If you want to explore what is known as one of the most expensive islands in the world without completely destroying your bank account, then the Colonna Pevero is the place to do it fromluxurious yet affordable and with service of the highest level.

The north of Sardinia, in particular Porto Cervo, smells of the sea, perfumed herbs, and of course money...Those with copious amounts of the latter will undoubtedly choose to stay at Cala di Volpe, home for the summer for the excruciatingly rich, famous and those who aspire to be such. I suggest that you take another option, the Colonna Pervero Hotel, just minutes away from the need to be dressed up even for breakfast...Here you will be greeted by friendly staff, under the watchful eye of General Manager Luca Rombi (always pristine in his pinstripes) and you won't have to run and buy an overly priced kaftan to pop down to the hotel's bountiful breakfast buffet at the hotel's Le Piscine restaurant, which offers both indoor and outdoor seating, and which looks out onto the property's crowning glory, its multiple-level pools - a few of which allow for privacy for couples or families. The hotel is in a prime location which offers easy and quick access by car to some of the most exquisite locations in the north of the island - Porto Cervo itself, the beautiful village of San Pantaleo where you will find an excellent market every Thursday morning, and which is home to many of Sardinia's top artists, and one of the island's best beaches Spiaggia del Principe (The Prince's Beach), which is more sheltered from the Mistral winds than many of the other beaches. The Colonna Pervero has access to its own beaches, the private Piccolo and Grande Pevero - a mere 500 metres from the hotel. Book a room or suite with a sunbathing terrace and an excellent view of the pool and the ocean beyond on the 5th floor for maximum enjoyment. Developed in the late 1960’s by a wealthy Italian aristocrat Donà delle Rose, the tiny village of Porto Rotondo, a short and pleasant drive along the coast from the Colonna Pevero, is well worth a visit. At the heart of this charming village is the Piazzetta San Marco, a peaceful square where locals gather for conversation and tourists lounge in quaint cafes. An interesting work of art permanently displayed in Porto Rotondo is the Via del Molo, a street covered in a mosaic-style granite, created by French sculptor and local resident Emmanuel Chapalain, which depicts the marine eco-system. If you are fortunate enough to bump into him, you might just be invited to his huge glass-encased studio nearby, where he creates his spectacular sculptural works of art, fashioned mainly from metal. Not surprisingly, Sardinia has become the adopted home of many artists, and in the heart of San Pantaleo, another highly atmospheric village just outside Arzachena, you will find the studio of the artist simply known as ‘Bob’, easily recognisable by his colourful and playful artwork placed at the entrance.

A LIFE Less ORDINARY

TEXT: ANN TSANG

It’s a blistering hot and sunny afternoon in Beverly Hills and I am awaiting the arrival of renowned plastic surgeon Dr. Gabriel Chiu and his wife Christine at Petrossian on Robertson Boulevard, Mrs Chiu’s choice of place to meet. The staff of the restaurant is clearly at the ready, as the Chius preferred table is being prepared, just the way they like it. This may all sound rather pretentious, but in fact this powerhouse Beverly Hills couple are as down-to-earth as it gets…

hree days prior to this interview, an entire ballroom at The Peninsula Beverly Hills has been taken over for a photoshoot of socialite, fashionista and philanthropist, Mrs Christine Chiu, by the legendary photographer Douglas Kirkland for this magazine. PR people, photography assistants, hair and makeup artists and assorted other characters are scuttling around in between racks of gowns, lines of shoes and a vast amount of accessories, eager for the day’s proceedings to get underway. At the centre of this hive of activity is Christine Chiu, a diminutive figure, sitting in a director’s chair, being primped for Kirkland’s camera lens. She announces that she hasn’t been able to sleep all night. The aforementioned racks are visibly straining under the weight of the garments that they are holding up, all of which are Christine’s own. It transpires that these are no ordinary gowns, but the haute couture creations of designers including Giambattista Valli, Giorgio Armani, Christian Dior, and countless others. As an international fashion insider, much sought-after brand ambassador, event hostess and socialite, each season, Christine is a VIP guest of all the major houses during couture week, after which her chosen gowns are immaculately fitted for her petite frame. Now back to the interview. Christine arrives solo, profusely apologising for the fact that her husband, Dr. Gabriel Chiu, is running late as “he is still performing a surgery.” Dr. Chiu (incidentally, a direct descendent of the last Emperor of the Song Dynasty, Zhao Bing) is possibly Beverly Hills’ most successful and sought-after plastic surgeon, renowned for his gentle bedside manner and academic prowess, and of course for his scalpel

skills with his customised cosmetic contouring and corrective surgical procedures. Although he is unable to reveal the identities of his clients on the record, I can confirm that his patients are among the very highest echelons of Hollywood illuminati… A few minutes later, Dr. Chiu arrives in his custom-made Dolce & Gabbana scrubs, proffering apologies for not having had time to change. The couple’s manners are nothing short of impeccable. In 2017, board certified plastic surgeon, Dr. Chiu, founder of Beverly Hills Plastic Surgery, gave his clinic a "face lift" of its own. As the company’s Chief Creative Officer, Christine personally oversaw the design of the space, which is inspired by the classic modernity and timelessness of Chanel. The well-appointed furnishings, elegant materials and important art pieces now serve as the home for Dr. Chiu’s latest advances in non-surgical care and anti-aging medicine. "The goal of my new Aesthetic and Anti-Aging Institute is to provide not only the best pre-operative and post-operative care for our global patient base, but also to offer the best in aesthetic technology and advanced care in a luxurious environment to our expanding clientele requiring only non-invasive options," he explains. The Aesthetic Institute now complements Dr. Chiu's surgical treatments to complete the cycle of care for patients. "We know first-hand that the overall and ongoing processes of age delay, corrective care and maintenance is best served for every patient with a fully-integrated programme that incorporates advanced tools and technologies for firming or tightening, complexion enhancement or resurfacing options, scar healing and cellular reparation," notes the man to whom patients entrust a great deal in terms of their appearance.

It's

INCREDIBLY IMPORTANT FOR US TO GIVE BACK, IN THE

KNOWLEDGE THAT OTHERS CAN BENEFIT AND BE ABLE TO IMPROVE THEIR LIVES IN WHATEVER WAYS ARE POSSIBLE. THIS IS SOMETHING THAT WE’LL NEVER STOP WORKING ON…

With fully-appointed treatment rooms, relaxation lounge spaces and a warm welcoming waiting area, Dr. Chiu and his team offer a specific, highly-effective range of the newest technologies available in both ablative and non-ablative laser treatments, such as heat and light lasers amongst others, that work in tandem with the core range of surgical options and procedures offered at BHPS. When I ask the inevitable question about how the couple first met, Christine takes the reigns of the conversation. “We were both working at the same medical institute – Gabe was obviously a doctor, and I was in the marketing department. I actually never really noticed him, but one day he was asked to bring something to my office, and he asked me on a date,” she recalls with girlish laughter. “I mean, that’s so cliché…working in a medical establishment and dating the doctor?!” Dr. Chiu however persisted, despite being turned down a number of times, and eventually the Hong Kong-born Prince Charming managed to capture the heart of the Taiwanese beauty, and the rest as they say, is history. Mrs. Chiu has been an integral advisor in developing her husband’s brand and business for over a decade now. In addition to designing his office space and developing branded partnerships in the non-invasive Spa at BHPS, she also acts as a media spokesperson for the Institute. Talking is something she does rather well, as she peppers our conversation with eloquent observations and bubbly humour. “I’m feeling a little chubby right now,” she laughs, as she tucks into her late lunch of bone marrow. “I keep asking him if he’ll just do a little nip and tuck here and there, but he won’t listen to me!” Both Dr. and Mrs. Chiu are avid followers of fashion, as evidenced by their respective wardrobes, and although her purchases to some may appear to be frivolous, she views them more as art pieces, even heirlooms to be passed on to the next generation.

And this leads to the question of when the next generation might come about, given the couple’s hectic business and social schedule. “We’re working on it,” they reply, almost in tandem. There are many other things being worked on in the lives of this beauty and fashion power couple. In addition to her business, content and savvy branding, Christine is a multi-faceted influencer who is engaged in both the industries and communities she serves. Other than fashion, her personal passions revolve around art and philanthropy. Recognised as one of Vogue’s 100 Women of Style and Influence, she currently serves on more than 30 charitable organisation boards, including the UNICEF Chinese Children's Initiative, The Blue Ribbon for The Music Center, and the PLSA for Children’s Institute Inc. She is also involved in the Step Up Women’s Network, and the Assistance League, as well as the Art of Elysium, for which she and Dr. Chiu chaired a record breaking Heaven Gala, kicking off the Golden Globes weekend in 2017. The Chius are also both avid financial supporters of a number of organisations including the American Red Cross, Children Mending Hearts, the John Wayne Cancer Institute, Cedars Sinai, the St. Jude Children’s Research Hospital, The Prince of Wales Foundation, Project Angel Food, the Barbara Davis Center for Childhood Obesity, AVIVA, the Los Angeles Philharmonic, Center Dance Arts, the Music Center, and the New York Metropolitan Museum of Art. And on a final note, beneath the glamour and glitz of their lifestyle, lie two hearts of gold. The couple donates 50 cents from every net dollar they earn back to the community and to those in need. “We have both been so fortunate in our lives,” says Christine. “It’s incredibly important for us to give back, in the knowledge that others can benefit and be able to improve their lives in whatever ways are possible. This is something that we’ll never stop working on…” beverlyhillsplasticsurgeryinc.comc

GOING International The third edition of the annual The Peninsula Classics Best of the Best Award held on 8 February 2018 marked the international debut of this prestigious event, this year coinciding with the celebrated Salon RĂŠtromobile in Paris, where international motoring connoisseurs have converged over the past 43 years for the first classic car event of the season. 85

Lancia Astura Aerodinamica Coupé (Concours of Elegance UK), a 1936 Bugatti Type 57 SC Coupé Atlantic (Chantilly Arts & Elégance Richard Mille), a 1939 Alfa Romeo 8C 2900B Spider (Amelia Island Concours de Sport), a 1951 Ferrari 212 Export Cabriolet by Vignale (The Gran Turismo Ferrari Cup, Cavallino Classic), a 1957 Alfa Romeo Giulietta Sprint Speciale Prototipo (Concorso d’Eleganza Villa d’Este), a 1957 Ferrari 250 GT Cabriolet (Goodwood Cartier Style et Luxe Concours d’Elegance), and a 1964 ATS 2500 GTS Coupé by Allemano (The Quail, A Motorsports Gathering). These eight Best of Show winners were reviewed by 24 preeminent motorcar experts, designers, and notable celebrities from within the automotive world, with the winner being announced at a private dinner held against the glittering backdrop of The Peninsula Paris. Triumph for Bugatti Powered by a supercharged engine and considered by many to be the first supercar ever made, the winning vehicle in this year’s event was the impeccable 1936 Bugatti Type 57 SC Coupé Atlantic. This automobile is one of four Type 57 Atlantic models ever produced, with only three remaining in the world. It was designed at the height of the Art Deco movement by Jean Bugatti, Ettore Bugatti’s son. The iconic rivets on this automobile penned by Jean himself, are a result of the inability of the magnesium-alloy body panels to be welded for fear of them catching fire. This model, chassis number 57374, has passed through very few owners in its 82-year history. “What this award does is allow us to take a step back and admire the quality and beauty of the greatest classic cars in existence today,” said current co-owner Rob Walton of the car’s victory. Currently under the care of the Mullin Automotive Museum, the triumphant vehicle remains one of the most elegant crown jewels on the automotive circuit today.

niversally regarded as the leading motoring accolade for the most exceptional classic car in the world, the third annual The Peninsula Classics Best of the Best Award made its official international debut in Paris in February 2018, following the first two editions which were held during Monterey Car Week in California, culminating in a finale at The Quail, A Motorsports Gathering. “We were delighted to have had this opportunity to bring The Peninsula Classics Best of the Best Award to Paris this year, which I trust will further promote this distinguished honour on the concours circuit,” said The Hon. Sir Michael Kadoorie, co-founder of the award and Chairman of The Hongkong and Shanghai Hotels, Limited. “Concours d’Elegance originated in Paris in the 17th century as a gathering of horse-drawn carriages, and we are thrilled to have brought the modern-day equivalent back to this beautiful city; a fitting venue for such a distinct honour.” The Great Eight Once again, The Peninsula Classics Best of the Best Award brought together eight of the world’s nest automobiles from top concours events internationally, to compete for the international motoring world’s top accolade for most exceptional classic car. The award recognises excellence in masterful craftsmanship, attention to detail, tradition and ingenuity. Sir Michael Kadoorie, together with award co-founders Christian Philippsen, William E. “Chip” Connor and Bruce Meyer, created this award in the spirit of celebrating the best of what defines the automotive world for the year. The four founders are internationally known as some of the world’s foremost motoring experts, and have a shared passion for fine motor vehicles and impeccable restorations. This year’s eight nominated automobiles were first made between the years of 1929 and 1964 and included a 1929 MercedesBenz S Roadster (Pebble Beach Concours d’Elegance), a 1933/35

THE Penultimate

“I have always been attracted to everything nature has to offer. I cannot think of any plant, animal, or creature that inhabits this planet that has not fascinated me. I have never thought of any being in the universe as superior to another. There is no living thing on earth that I have seen that is more or less beautiful than another, though it is true that I am attracted to some of the inhabitants on Earth more than others. As a photographer, I indulge my affinities until I am ready to move on and explore new challenges because I have visually exhausted my vision on a given subject. I believe personal affinities are genetic idiosyncrasies that are unique to each individual. In my life, indulging my vision has brought many surprises that I would have never thought of consciously. It is this chemistry that I believe is the creative force in all of us.” Melvin Sokolsky