The Grand Charity Tournament - Art&Wine Auction for the India Project

CONTENT

Introduction

- The India Project - Education for Good

- Associazione Arte Continua

- Galleria Franco Noero

Mission lots

Lots presentation

- Lot 1 Loris Cecchini + Roagna Crichet Paje Barbaresco DOCG

- Lot 2 Simon Starling + Domaine Meo-Camuzet Clos de Vougeot Grand Cru

- Lot 3 Jason Dodge + Casanova di Neri Cerretalto Brunello di Montalcino DOCG

- Lot 4 Gabriel Kuri + Tenuta San Guido Sassicaia Bolgheri

- Lot 5 Martino Gamper + Bruno Giacosa Falletto Vigna Le Rocche Barolo Riserva DOCG

- Lot 6 Pablo Bronstein + Conterno Giacomo Monfortino Riserva Barolo DOCG

- Lot 7 Giovanni Ozzola + Domaine Dujac Charmes-Chambertin Grand Cru

- Lot 8 Mike Nelson + Domaine des Lambrays Clos des Lambrays Grand Cru

- Lot 9 Serse + Château Lafite Rothschild Pauillac

Artist biographies

- Loris Cecchini

- Simon Starling

- Jason Dodge

- Gabriel Kuri

- Martino Gamper

- Pablo Bronstein

- Giovanni Ozzola

- Mike Nelson

- Serse

Wine Producers

- Roagna

- Domaine Meo-Camuzet

- Casanova di Neri

- Tenuta San Guido

- Bruno Giacosa

- Conterno Giacomo

- Domaine Dujac

- Domaine des Lambrays

- Château Lafite Rothschild

The India Project - Education for Good

4 villages, 4 crèches, 22 years, 600 Ecolint students, 1,200 crèche graduates.

The India Project was founded in the year 2000 by Kate and Dave Harrison, teachers at the International School of Geneva (Ecolint). During a teacher exchange with Kodaikanal International School in Southern India, they developed a connection with the Betsy Elizabeth Trust (BET), a grassroots, charitable organisation whose mission was to bring early education to the most disadvantaged children in the outlying villages of Kodaikanal. The Harrrisons recognised this as an opportunity to develop a service-learning project to promote international and humanitarian values through education, empowerment and community action.

Ecolint students and teachers have returned to India every year since 2001, bringing support and momentum to BET community initiatives. The India Project team opened two new crèches in 2002 and 2003, and today there are three crèches serving 150 children. The team also fully funds a pre-school in the tribal village of Thamaraikulam and supports outreach programmes, including the installation of smokeless stoves in family homes and schools. Each of these projects supports the whole community through education and healthcare, helping to break the cycle of poverty. Making a difference in just one village helps to bring about social change throughout the wider community.

Attuvampatti is one such rural village, where the most vulnerable in the community exist on temporary, poorly paid jobs as labourers in the fields, forests and quarries. Living in extreme poverty in the margins of society, they lack access to clean water, healthcare, education and opportunity.

In 2003, life improved for these families in Attuvampatti when Peach Tree Crèche was opened by the India Project team, in partnership with BET. Peach Tree soon became a safe haven for 55 village children (aged 2-5). The crèche offers early education, nutrition and basic healthcare in a safe and caring environment. It frees mothers to work and provide for their families. It frees older siblings to attend school. It offers a better start in life.

The India Project funds the annual running costs of the Peach Tree Crèche programme, from children’s uniforms, three meals a day and basic healthcare, to classroom resources and teachers’ salaries. The learning conditions in the building remain far from ideal for pre-school children, with limited space and natural light, and no outdoor play area. New government regulations mean that the crèche no longer meets the requirements for pre-school buildings, and so, Peach Tree needs a new home. That dream is within reach.

Thanks to the incredible efforts of the Rigo-Saitta family in collaboration with Associazione Arte Continua, Galleria Franco Noero and Galleria Continua in 2018, Peach Tree Crèche was able to remain steadfast in its educational mission and community support throughout the pandemic, and a site has finally been secured for the new pre-school. Twenty years since Peach Tree Crèche first opened its doors, we now embark on an exciting project to build a purpose-built school with bright classrooms and a spacious playground. Your support contributes to this endeavour. Together, we can make a meaningful difference in the lives of those in need.

Thank you for helping us to build a brighter future for the next generation.

ASSOCIAZIONE ARTE CONTINUA

Associazione Arte Continua was established in San Gimignano in 1990 by Mario Cristiani, Maurizio Rigillo and Lorenzo Fiaschi. The association’s purpose has always been to connect reflection and research on current times, in their most interesting components, with the history of art we are living, in an attempt to continue today what was started by previous generations. Contemporary Art as an expression of our times and as a reflection on society, which joins the dialogue with local culture and historical centres; a story made of landmarks that are common heritage and craftsmanship knowledge.

The soul of Associazione Arte Continua was undoubtedly the “Arte all’Arte” experience: an inspiration, an idea, a model. A ten-year journey, from 1996 to 2005, which brought renowned national and international artists and curators to exchange views with the Tuscan territory.

Since 1999, Arte All’Arte has expanded its activity with the Rinascimento-Nascimento project. The project aimed to establish a new relationship between art, industry and landscape, creating a local alliance in order to do what has always been done in this area: asking the most interesting artists of the time to work not only for art, but also for the local communities. The specific purpose was to progressively transform industrial areas into workshops of a sustainable development model, feasible in the immediate future and capable of combining all the challenges presented by contemporary times, in terms of culture and economic-productive activity.

GALLERIA FRANCO NOERO

Founded in Turin in 1999, the gallery distinguished itself from the very start for its courageous and significant exhibition projects crossing all artistic languages, while maintaining a particular attention to conceptual practices and to the radicality of research.

Over the years, its program has maintained a constant evolution and growth, accompanied by the migration to eight different spaces in the city: a response to different architectural and planning needs, which has left artists free to create new projects in different places.

Since 2013, its center of activity has been the area around Via Mottalciata 10/b, in the northern part of Turin: a ductile space, completed in September 2020 with an openair area covering one thousand square meters located just a short distance from the main premises.

Alongside the organization of exhibitions in its own spaces and participation in major international fairs, the gallery collaborates with the most important Italian and international institutions as well as with the city itself, promoting the publication of books and supporting and contributing to the production of works and projects by its artists.

MISSION LOTS

You can contribute to this important cause by acquiring mission lots, which include charitable packages and initiatives that have a real, tangible impact. When you engage with mission lots, you have the opportunity to stand alongside us in our mission and make a positive difference, regardless of the size of your donation. Every bid matters, and your attendance at this event is highly valued by our team

Install 3 smokeless cookstoves in 1 family home

Provide sandals for each child for 3 creches (150 children)

Provide school bag & pencil case for 50 graduates

Provide one school bag & pencil case for 100 graduates

Support one creche child for 1 year

Install 10 smokeless cookstoves in 10 family homes

Provide one sweater for each child in three creches

Feed a creche (50 children, 5 teachers) for 1 month

Cover the annual salary of a creche cook

Cover the annual salary of a creche teacher

Cover the annual salary of a creche nurse

LOTS

Laminascapes (paper 5)

2023

Nylon fibres, on handmade Japanese paper, aluminum frame

34 x 51 x 4 cm

LOT 1

Loris Cecchini

Roagna

Crichet Paje Barbaresco DOCG

2011

Piedmont, Barbaresco

Red wine, 1.5 l

Starting price: 8.800,00 EUR

LOT 2

Simon Starling

La Source (demi-teinte)

2009 Photograph

86.4 x 99.7 cm

Edition of 50

Domaine Meo-Camuzet

Clos de Vougeot Grand Cru

2018

Burgundy, Clos de Vougeot

Red wine, 1.5 l

Starting price: 4.300,00 EUR

LOT 3

Jason Dodge

Top image: Edition of 20

Left image: Edition of 120 + 20 AP

Right image: Edition of 20 + 6 AP

Casanova di Neri

Cerretalto Brunello di Montalcino DOCG

2006

Tuscany, Brunello di Montalcino

Red wine, 1.5 l

Starting price: 2.500,00

Untitled (1-100-0000)

2023

Adhesive labels on vintage magazine page

33.5 x 25.5 cm

LOT 4

Gabriel Kuri

Tenuta San Guido

Sassicaia Bolgheri

2011

Tuscany, Bolgheri

Red wine, 1.5 l

Starting price: 6.200,00 EUR

LOT 5

Martino Gamper

Baem’bu Vase .1

2017 Bamboo, black spirit stain, lacquer

22 x 7.5 cm

Bruno Giacosa

Falletto Vigna Le Rocche Barolo Riserva DOCG

2007

Piedmont, Barolo

Red wine, 1.5 l

Starting price: 2.250,00 EUR

Pablo Bronstein

American 2011

Hand coloured etching on Somerset velvet 300gsm

61 x 40 cm

LOT 6

Conterno Giacomo

Monfortino Riserva Barolo DOCG

2013

Piedmont, Barolo

Red wine, 1.5 l

Starting price: 6.000,00 EUR

2023

Giclee Print from integrated image, framed with museum glass

41.5 x 59.5 cm

LOT 7

Giovanni Ozzola

Scars Towards Ourselves

2018

Burgundy, Cote de Nuits

Red wine, 1.5 l

Starting price: 5.500,00 EUR

Domaine Dujac

Charmes-Chambertin Grand Cru

LOT 8

Mike Nelson

Quiver (Glove, New York, 2010)

2010

Etching

24 x 19.5 cm

Edition of 25 + 5 AP

Domaine des Lambrays

Clos des Lambrays Grand Cru

2014

Burgundy, Clos des Lambrays

Red wine, 1.5 l

Starting price: 1.600,00 EUR

LOT 9

Serse Canneto 2023

Graphite on paper

28.5 x 19.5 cm (paper)

50 x 40 cm (passpartout)

Pauillac

2012

Bordeaux

Red wine, 1.5 l

Starting price: 7.200,00 EUR

Château Lafite Rothschild

Loris Cecchini

Loris Cecchini (Milan, 1969) lives and works in Milan.

One of the most prominent Italian artists on the international stage, he has exhibited his works throughout the world with solo exhibitions in prestigious museums such as Palais de Tokyo in Paris, Musée d’Art Moderne de Saint-Étienne Métropole in SaintPriest-en-Jarez, MoMA PS1 in New York, Shanghai Duolun MoMA of Shanghai, Museo Casal Solleric in Palma de Mallorca, Centro Galego de Arte Contemporánea in Santiago de Compostela, Kunstverein of Heidelberg, Centro per l’Arte Contemporanea Luigi Pecci in Prato and Fondazione Arnaldo Pomodoro in Milan.

Loris Cecchini has participated in numerous international exhibitions, including the 56th, 51st and 49th Venice Biennale, the 9th and the 6th Shanghai Biennale, the 15th and 13th Rome Quadrennial, the Taiwan Biennale in Taipei, the Valencia Biennale in Spain and the Biennale of Urbanism/Architecture (UABB) in Shenzhen, China.

Loris Cecchini has also taken part in several collective shows, including exhibitions at the Ludwig Museum in Cologne, PAC in Milan, Palazzo Fortuny in Venice, Macro Future in Rome, MART in Rovereto, London’s Hayward Gallery, The Garage Centre for Contemporary Culture in Moscow, Palazzo delle Esposizioni in Rome, Musée d’Art Contemporain of Lyon, Shanghai’s MOCA, the Deutsche Bank Kunsthalle in Berlin and others.

He has created various permanent and site-specific installations, particularly at Villa Celle in Pistoia and in the courtyard of Palazzo Strozzi in Florence, at the Boghossian Foundation in Brussels and for the Cleveland Clinic’s Arts & Medicine Institute in the United States, at Les Terrasses Du Port in Marseille, and recently at the Shinsegae Hanam Starfield in Seoul and at the Cornell Tech Building in New York.

Simon Starling

Simon Starling (Epsom, 1967) lives and works in Copenhagen.

Starling works often involve replicating or reconfiguring familiar objects as a means of engaging the present, often to the point where they become something else entirely. His creations consist of one connection after the other, with increasingly convoluted variations along a thought that is constantly searching for the essence, the origin of things, the prototype. The process of transfiguration of an object, or of a substance into another, as well as the alteration of natural elements, are, as the artist described his work: “the physical manifestation of a thought process”.

His work has been shown in solo exhibitions in international public and private institutions, including: Pinacoteca Agnelli, Torino, Italy (2023); Modena-Galleria Estense, Modena, Italy (2023); Frac Ile-de-France, Le Plateau, Paris, France (2019); Kanal-Centre Pompidou, Bruxelles, Belgium (2018); Musée Regional d’Art Contemporain, Sérignan, France (2017), Japan Society, New York, USA (2016); Nottingham Contemporary, Nottingham, UK (2016); Experimental El Eco Museum, Mexico City, Mexico (2015); Casa Luis Barragán, Mexico City, Mexico (2015); The Art Club of Chicago and Museum of Contemporary Art, Chicago, USA (2014), Monash University Museum of Art, Melbourne, Australia (2013); Staatsgalerie Stuttgart, Stuttgart, Germany (2013); Tate Britain, London, UK (2013; 2009), Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2011); Kunsthalle Münster, Münster, Germany (2003); Hammer Museum, Los Angeles, USA (2002); Seccession, Wien, Austria (2001); Moderna Museet, Stockholm, Sweden (1998). His work has been shown in Biennials and international group exhibitions such as: Fondazione Sandretto Re Rebaudengo, Guarene, Italy (2022); Museum Für Kunst und Gewerbe, Hamburg, Germany (2022); Royal Academy of Arts, London, UK (2022); Museum Folkwang, Essen, Germany (2022); Kunst Museum Winterthur, Winterthur, Switzerland (2021); Den Frie Centre of Contemporary Art, Copenhagen, Denmark (2021); 6th Istanbul Biennial, Istanbul, Turkey (2019); 12th Shanghai Biennial, Shangai, China (2018); Manifesta 12, Palermo, Italy (2018); 5th Yokohama Triennale 2014, Yokohama, Japan (2014); 6th Nordic Biennial for Nordic Contemporary Art, Moss, Norway (2011); 53rd Biennale di Venezia, Scotland Pavilion, Venice, Italy (2009); Biennale di Lyon, Lyon, France (2007); 8th Sharjah Biennial, Sharjah, UAE (2007); 26th Bienal de São Paulo, São Paulo, Brazil (2004); 50th Biennale di Venezia, Venice, Italy (2003); Manifesta 4, Frankfurt am Main, Germany (2002). He was awarded with the Turner Prize in 2005 and was selected for the Hugo Boss award in 2004.

Jason Dodge

Jason Dodge (Pennsylvania, 1969) lives on Møn, Denmark.

Over the past twenty years, Jason Dodge has been producing sculptures and exhibitions that speak of absence, distance, haptic and visual perception. His work is often compared to poetry and, like much poetry, demands the reader or viewer to be present and to look into themselves as conduits of meaning. By reading a poem or a sculpture something new is made. Dodge says: “it is not what something means that is important, it is how something means”. His works are not meant to be deciphered, but are rather machines for deciphering.

His work has been shown in solo exhibitions in international public and private Institutions, including: Museum für Gegenwartskunst Siegen, Siegen, Germany (2022); Museum of Contemporary Art (MACRO), Rome, Italy (2021); Guimarães, Vienna, Austria; Akwa Ibom, Athens, Greece; Gern en Regalia, New York, USA; Gilles Drouault galerie/multiples, Paris, France; MOREpublishers with Gevaert Editions, Brussels, Belgium; Galleria Franco Noero, Torino, Italy (2020); Castello di Rivoli Museo d’Arte Contemporanea, (Rivoli), Torino, Italy; Fondazione Morra Greco, Naples, Italy (2019); The University of Chicago, USA (2018); Schinkel Pavillon, Berlin, Germany (2017); Institut d’Art Contemporain Villeurbanne/Rhône-Alpes, Villeurbanne, France (2016); American Academy in Rome, Rome, Italy (2013); Kunstverein Nürnberg, Nurnberg, Germany (2012); MCA - Museum of Contemporary Art Chicago, Chicago, USA (2011); Kunstverein Hannover, Hannover, Germany (2010). He has also taken part in many group exhibitions in institutions such as: Jeu De Paume, Paris, France (2022); Museo di Palazzo Mocenigo, Venice, Italy (2022); Tai Kwun, Hong Kong (2020); MCA Chicago, USA (2019); Kunsthalle Wien, Wien, Austria (2019); Hammer Museum, Los Angeles, USA (2018); Centre Pompidou-Metz, Metz, France (2018); KW Institute for Contemporary Art, Berlin, Germany (2017); MIT List Visual Arts Center, Cambridge, USA (2017); Centre d’édition Contemporaine, Genéve, Switzerland (2016); Witte de Whith, Rotterdam, The Netherlands (2014); MUDAM - The Contemporary Art Museum of Luxembourg, Luxembourg (2013); Frankfurter Kunstverein, Frankfurt am Main, Germany (2011); Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy (2010); His work has been shown in biennials and international group exhibitions such as: 9th Liverpool Biennial, Liverpool, UK (2016); 55th Biennale di Venezia, Lithuanian Pavilion, Venice, Italy (2013); 12th Biennale de Lyon, Lyon, France (2013); 3rd La Triennale, Palais de Tokyo, Paris, France (2012); 8th Taipei Biennial, Taipei, Taiwan (2012); 30th São Paulo Biennial, São Paulo, Brazil (2011); 6th Nordic Biennial for Nordic Contemporary Art, Moss, Norway (2011). Besides his artistic practice, Dodge is the founder of the poetry imprint Fivehundred Places which has published 25 monographic books of poems by contemporary poets including Ishion Hutchinson, Eileen Myles, CAConrad, Dorothea Lasky and Matthew Dickman.

Gabriel Kuri

Gabriel Kuri (Mexico City, 1970) lives and works between Mexico City and Bruxelles.

Gabriel Kuri’s art maintains an effective balance between poetic sensibility and conceptual skill. In his works, comprising installations, photographs, drawings and sculptures, he displays personal observations of the day-to-day life into the terrain of formal aesthetics, setting up a creative dialogue of many tropes including cultural identity, history and, temporality. Kuri’s world is structured on a playful language and festive decoration made by common objects and materials of low-level commerce for their physical properties and particular meanings. A recurring theme is time and how the objects can incarnate its signs. Kuri’s works become involuntary sculptures that commemorate the flow of time, with each element relating to each other and refusing any hierarchy between the everyday and art: objects and fragments, protagonists in different contexts, seem to acquire new meanings through his works.

His work has been shown in solo exhibition in international and private institutions, including: The Douglas Hyde Gallery, Dublin, Ireland (2020); WIELS, Brussels, Belgium (2019); Oakville Galleries, Centennial Square, Oakville, USA (2018); Alte Fabrik, Rapperswil, Switzerland (2016); Aspen Art Museum, Aspen, USA (2015); The Common Guild, Glasgow, UK (2014); Parc Saint Leger-Centre d’art contemporain, Pougues-lesEaux, France (2013); Bergen Kunsthall, Bergen, Norway (2012); Institute of Contemporary Arts, Boston, USA (2011); Museion, Bolzano, Italy (2010); MUHKA - Museum of Modern Art Antwerp, Antwerp, Belgium (2003); Museo Tamayo, Mexico City, Mexico (2000); Le Magasin - Centre National d’Art Contemporain, Grenoble, France (1996). He has also taken part in many group exhibitions in Institutions such as: Museo Amparo, Puebla, México (2019); Kunstmuseum St. Gallen, Gallen, Switzerland (2018); Whitechapel Gallery, London, UK (2017); Musée des Arts Décoratifs, Paris, France (2016); MCA - Museum of Contemporary Art Chicago, Chicago, USA (2015); Centre Pompidou, Paris, France (2014); Walker Art Center, Minneapolis, USA (2012); Carrè d’Art – Musèe d’Art Contemporain de Nimes, Nimes, France (2011); The Sculpture Centre, New York, USA (2009); The New Museum, New York, USA (2007); MOCA - The Museum of Contemporary Art Los Angeles, Los Angeles, USA (2006); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2005); Serpentine Gallery, London, UK (2004); MoMA PS1, New York, USA (2002). His work has been shown in biennials and international group exhibitions such as: Biennial of Graphic Arts Ljubljana, Ljubljana, Slovenia (2017; 2015); East Wing Biennial, London, UK (2016); 12th Havana Biennial, Havana, Cuba (2015); 54th Biennale di Venezia, Venice, Italy (2011); 5th Berlin Biennial, Berlin, Germany (2008); 50th Biennale di Venezia, Venice, Italy (2003); Tirana Biennal, Tirana, Albania (2001).

Martino Gamper

Martino Gamper (Merano, 1971) lives and works in London.

Martino Gamper is a unique figure in modern design, blending the qualities of a refined craftsman with his understanding and re-working of industrial design and its history bending it to a vocabulary that is distinctly his own. This leads to works that appear as complete crossovers: unique pieces of furniture that are the result of irreverently and fearlessly cutting and using existing pieces, ranging from famously designed to the most anonymous and mass-produced, in order to create newly built quirky and angular pieces. His work finds expression not only in the spaces of art galleries and Museums but also in display windows, interior designs, one-off commissions and in industrially made items for restaurants, bars and shops across the world, each prominently retaining that quality of uniquely made pieces.

Martino Gamper’s personal experience and his strong spontaneity constantly resurface in his projects, characterized by a refined and precise knowledge of materials, shapes and aesthetics typical of Italian design.

His work has been presented in solo and group exhibitions in international public and private institutions such as: Accademia di Francia, Villa Medici, Rome, Italy (2019); Pirelli Hangar Bicocca, Milan, Italy (2018); Museo del Risorgimento, Turin, Italy (2017); City Gallery Wellington, Wellington, New Zealand (2017); Sir John Soane’s Museum, London, UK (2016); MIMOCA - Marugame Genichiro Inokuma Museum of Contemporary Art, Marugame, Japan (2015); MAXXI, Rome, Italy (2015); Serpentine Sackler Gallery, London, UK (2014); Palais de Tokyo, Paris, France (2014); NMNM - Nouveau Musée National de Monaco, Monaco (2013); V&A Musuem, London, UK (2012); Casa Museo Giorgio de Chirico, Rome, Italy (2012); FRAC Ile-de-France Le Plateau, Paris, France (2011); MAGASIN - Centre National d’art Contemporain de Grenoble, Grenoble, France (2010); Project Arts Centre, Dublin, Ireland (2008); Centre d´Art Contemporain Geneve, Geneva, Switzerland (2007); Design Museum, London, UK (2007); National Gallery, Oslo, Norway (2006). He has also taken part in biennials and international group exhibitions such as: XXII Triennale di Milano, Milan, Italy (2019); Salone del Mobile, Milan, Italy (2018; 2015; 2011; 2009; 2007); Fiskars Village Art & Design Biennale, Fiskari, Finland (2019); XVI Quadriennale di Roma, Rome, Italy; Beijing International Design Triennial, Beijing, China (2011); 2nd Hasselt Triennial, Hasselt, Belgium (2009); Manifesta 7, Bolzano, Italy (2008). In 2011 he was awarded the Moroso Award for Contemporary Art and in 2008 the Brit Insurance Designs of the Year Furniture Award for his project ‘100 Chairs in 100 days’.

Pablo Bronstein

Pablo Bronstein (Buenos Aires, 1977) lives and works in London.

Pablo Bronstein’s drawings, paintings, installations, films and performances are underpinned by his references to architectural styles and motifs ranging from the Baroque to the Postmodern period. While his architectural interventions play with notions of power and economy as they are manifested in architectural form, his performances, often working with groups of dancers, delineate both physical and social spaces through gesture and choreographed movement.

His work has been shown in solo exhibitions in international public and private institutions including: Sir John Soane’s Museum, London, UK (2021); Tate Britain, London, UK (2020); OGR Officine Grandi Riparazioni, Turin, Italy (2019); RISD Museum, Providence, USA (2019); RIBA - The Architecture Gallery, London, UK (2017); Tate Britain, London, UK (2016; 2013; 2010); Garsington Opera, Buckinghamshire and Saddler’s Wells, London, UK (2016); Nottingham Contemporary, Nottingham, UK (2015; 2009); The Museum of Fine Arts, Houston, USA (2015); REDCAT, Los Angeles, USA (2014); High ‘Line’, New York, USA (2013); Tate Modern, London, UK (2012); Kunsthal Charlottenborg, Copenhagen, Denmark (2011); Tramway, Glasgow, UK (2011); The Metropolitan Museum of Art, New York, USA (2009). He has also taken part in many group exhibitions in institutions such as: Tate Britain, London, UK (2023); Rhode Island School of Design, Providence, USA (2022); OGR Officine Grandi Riparazioni, Turin, Italy (2021); The Rotunda, Ickworth, UK (2019); The Whitworth, Manchester, UK (2019); The British Museum, London, UK (2019; 2018); Royal Academy of Arts, London, UK (2018); Graham Foundation, Chicago, USA (2017); The Whitney Museum of American Art, New York, USA (2016); Centre Pompidou, Paris, France (2016); Palais De Tokyo, Paris, France (2015); Hayward Gallery, London, UK (2015); De Appel, Amsterdam, The Netherlands (2014); Drawing Room, London, UK (2014; 2008); Stedelijk Museum, Amsterdam, The Netherlands (2013); The Rennie Collection, Vancouver, Canada (2013); SALT, Istanbul, Turkey (2012); Haus der Kunst, Munich, Germany (2011); Le Plateau, Paris, France (2010). He has participated in international exhibitions and biennials such as: 33rd Ljubljana Biennial of Graphic Arts, Ljubljana, Slovenia (2019); 5th Lisbon Architecture Triennale, Lisbon, Portugal (2019); 8th Bienal do Mercosul, Brazil (2011); Manifesta 8, Murcia, Spain (2011); Bucharest Biennale 4, Bucharest, Romania (2010); Performa 07, New York, USA (2007); 53rd International Kurzfilmtage Oberhausen, Oberhausen, Germany (2007); Tate Triennale, Tate Britain, London, UK (2006).

Giovanni Ozzola

Giovanni Ozzola (Florence, 1982) lives and works in Canary Islands.

Ozzola is a multidisciplinary artist working with photography, video and with more traditional media such as engraving on slate on slate or sculpture casting. Ozzola’s practice demonstrates a deep sensitivity towards the phenomenon of light and its various physical characteristics. His main thematic interests lie in conceptualizing and representing infinitude and exploration, both geographical and introspective.

A selection of his most recent solo shows includes “For a little while” (Galleria Continua, Parigi, 2023); “Traces of Wind” (Galleria Continua, Beijing, 2022); “I didn’t see you” (166 Art Space, Shanghai, 2021); “Atto Unico” (Galleria Continua, San Gimignano, 2021); “Bunkeres y Estrellas” (XVI Bienal Internacional de Fotografia, Museo de Bellas Artes de Santa Cruz de Tenerife, Tenerife, 2021); “If I Had to Explain, You Wouldn’t Understand” (Fosun Foundation Shanghai, 2019); “Octillion” (Galleria Continua, San Gimignano, 2019); “Sin Tiempo” (Galleria Continua, Les Moulins, Boissy le Chatel, 2019); “Algo Tuyo y Mío” (Centro Foundacion UNICAJA, Malaga 2018 e Almeria 2019); “Rutas de Sangre” (Claustros del convento de San Francisco de Asis, Basilica Menor, La Habana, 2018); “Fallen Blossoms - Whispering” (Galleria Continua, 798, Beijing, 2017); “Relitti e camere con stelle”, curato da Davide Ferri (Untitled Association- Lynchen, Berlino, 2017); “Adrift” (District 6 Museum, Cape Town, 2016).

His most recent group shows include “Kronos e Kairos” (Foro Romano e Palatino, Parco Archeologico del Colosseo, Rome, 2019); “Recto Verso” (Foundation Louis Vuitton, Paris, 2018); “Insights” (Shanghai Exhibition Centre, Shanghai, 2018); “Sculpture Projects Pingyao” (Pingyao Diesel Engine Site, Shanghai, 2018); “Mostra Premio Cairo” (Palazzo Reale, Milan, 2017); “LANDSEASKY: Revisiting Spatiality in Video Art”, curated by Kim Machan (tour exhibition: MAAP, Seoul, 2014).

Mike Nelson

Mike Nelson (Loughborough, 1967) lives and works in London.

Mike Nelson is known for complex large scale installations created by layering elements drawn from literature, cinema, cultural and social symbols, evoking a sense of unreality suspended between mystery and marginality. Spaces, both in Museums and galleries, as well as off site redundant buildings, are each time radically transformed by architectural interventions. The effect is that of totally altering their original perception, and involving the visitor in the physical experience of a place that amplifies the concept of sculpture through the construction of labyrinthine sequences of rooms and the presence of disparate objects that lead to multiple associations and interpretations.

His work has been shown in solo exhibitions in international public and private institutions, including: Hayward Gallery, London, UK (2023); Palazzo dell’agricoltore, Parma, Italy (2021); Town House Building, Kingstone University, London, UK (2020); Protocinema, Istanbul, Turkey (2019); Tate Britain, London, UK (2019; 2010); OGR - Officine Grandi Riparazioni, Turin, Italy (2018); The Institute of Contemporary Art, Miami, USA (2017); Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2016); NMNM - Nouveau Musée National de Monaco, Monaco (2016); Tramway, Glasgow, UK (2014); The Power Plant, Toronto, Canada (2014); Kunsthalle Münster, Münster, Germany (2014); CAG – Contemporary Art Gallery, Vancouver, Canada (2013); Malmö Konsthall, Malmö, Sweden (2012); MoMa PS1, New York, USA (2011); Douglas Hyde Gallery, Dublin, Ireland (2009; 1999); ACCA - Australian Center for Contemporary Art, Melbourne, Australia (2007); The British School at Rome, Rome, Italy (2005); Mamco - Musée d´art moderne et contemporain, Geneva, Switzerland (2005); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2004); Institute of Contemporary Art, London, UK (2001); Camden Art Centre, London, UK (1998); Galerie im KunstlerHaus, Bremen, Germany (1997); Transmission Gallery, Glasgow, UK (1994). His work has been shown in Biennials and international group exhibitions such as: 12th Gwangju Biennale, Gwangju, South Korea; 13th Lyon Biennale, Lyon, France (2015); 2nd Mardin Biennial, Mardin, Turkey (2012); 54th Biennale di Venezia, British Pavilion, Venice, Italy (2011); Singapore Biennale, Singapore (2011); Prospects New Orleans Triennial, New Orleans, USA (2010); Tate Triennale, London, UK (2009); 26th São Paulo Biennial, São Paulo, Brazil (2004); 8th International Istanbul Biennial, Istanbul, Turkey (2003); 13th Biennale of Sydney, Sydney, Australia (2002).

SERSE

Serse (San Polo di Piave, 1952) lives and works in Trieste.

Having dismissed colour, he consistently researches graphite drawing. From Serse’s graphite sparks one of the most intense reinterpretations of the landscape-theme in contemporary art: seas, aquatic surfaces, plants reflections on the water, cloudy skies, high mountains, snowy forests and natural spaces lacking human figures and transformed by light and shadow. For Serse, as a medium, graphite “allows both making the tautological gesture of drawing, and realizing a work that does not lie about its nature of pure drawing”.

A selection of his most recent solo shows includes: “Ondes Tracées” (Galleria Continua, Paris, 2022); “Qui tutto è aperto. Fogli d’Acqua” (St Regis, Galleria Continua, Rome, 2020); “Water Veils” (Modern Studio, Shanghai); “Serse” (Tan Guobin Museum, Changsha, 2017); “Aquí todo está abierto. Nada es cercano, nada es lejano” (Museo Nacional De Bellas Artes, Havana, 2017); “Paysage Analogue dessins 1994-2014”, Musée d’Art Moderne et Contemporain de Saint Étienne, 2014); “Serse - Koh-i-noor” (Museo d’Arte Moderna e Contemporanea, Rimini, 2012); “Geometriche dissolvenze” (Ex Pescheria, Trieste, 2010).

Wine Producers

Roagna

Roagna is a family-owned Piemontese producer based in Barbaresco. It has been making wine in the district since before its official classification in 1890, and is particularly known for its Barbaresco Crichët Pajé cuvée, one of the highest-priced wines made in Italy. The estate is made up of vineyard parcels that have been gradually acquired over the years. Today, Roagna owns 12 hectares (30 acres) of vines, including four small plots in the Barbaresco cru vineyards Asili, Carso, Montefico and Pajè, plus 7ha (17 acres) at Pira in Castiglione Falleto, Barolo. In addition, there are several collaborations in place with owners of other prestigious vineyard plots. The portfolio is headed by the Crichët Pajé wine, as well as a Barbaresco Riserva and a range of other single-vineyard Barbaresco wines.

Roagna also makes a Barolo from the Pira vineyard, a Dolcetto d’Alba and a Barbera d’Alba, as well as a red and white wine under the Langhe DOC. The range is completed by the Opera Prima, a multi-vintage blend of Nebbiolo. The Roagna winery is now led by Luca, who now represents the fifth generation of the family, and by his father Alberto. They both work in the vineyard and in the cellar, following nature and patiently respecting the course of time, without intruding into the ripening of the grapes. Balance is the watchword of their philosophy: that of the plants and living beings that animate the vineyard and that of the natural processes that, in the cellar, give rise to the wine. The cultivation of vines and the vinification work in the cellar is based on principles stated in a “Manifesto Roagna”, divided into ten points, among which we read: use of old vines, biodiversity, prohibition of pesticides and herbicides, exclusive use of yeasts indigenous and long maturations. The wines produced contain the essence of this virtuous and enlightened production philosophy and represent the great and modern expression of a craftsmanship that has been handed down for generations. For this reason Roagna doesn’t use herbicides, pesticides or fertilizers in the vineyards, and a cover crop of grass forces the vine roots deeper to search for nutrients. In the winery, fruit undergoes a long wild yeast fermentation with a submerged cap, and the wines are aged in large oak casks to minimize wood flavors. The Roagna wines are then bottled without fining or filtration.

Domaine Meo-Camuzet

Domaine Méo-Camuzet is a wine producer located in Vosne-Romanée in the Côte de Nuits. It produces some of the most celebrated wines from the Côte d’Or from a range of grand cru vineyards, including Richebourg, Clos de Vougeot, Corton and Echézeaux. Most of Méo-Camuzet’s wines are made from Pinot Noir, and are known for their delicate aromatic concentration. The founder of the estate was Etienne Camuzet, an early-20th Century politician based in Paris, who offered parts of his estate to a variety of sharecroppers to farm. Eventually, it came into the hands of Jean-Nicholas Méo in 1986, who realized that the extensive sharecropping meant that only a small portion of vines were under the domaine’s control.

He set out a long-term strategy to regain the plots from the sharecroppers who were currently working them, with the goal of eventually having estate-grown fruit and bottling under his own label, Méo-Camuzet. One of these landholders was iconic Burgundy producer Henri Jayer. He had farmed the domaine’s land to bottle under his own label for about 40 years. He retired in 1988 and helped to advise Jean-Nicholas on the reacquisition of his vines. Méo-Camuzet now has 14 hectares (35 acres) of vines, including a part of the Cros Parantoux Premier Cru site, which was made famous by Jayer.

The objective of the estate is to produce wines that combine structure and finesse, concentration and charm. This balance must be achieved, while respecting the personality of the terroir and the vintage. To do this, it’s necessary to show a great deal of respect at each stage of the wine-making process. And that must start in the vineyard. Most of the vineyards are farmed as organically as possible, but Méo-Camuzet has chosen not to be certified, in order to be able to treat vines as the vintage dictates. Along with the grand cru wines, there are several wines made from premier cru vineyards along the Côte de Nuits, as well as a number of more generic village-level and Bourgogne wines

Casanova di Neri

Founded in 1971 by Giovanni Neri who with his great vision and passion understood the huge potential of wine in the Montalcino territory, it was passed on to his son Giacomo in 1991. Casanova di Neri does in fact stand for the Casanova Estate of the Neri Family.. The production started in the Eastern part of Montalcino and was extended later in other areas. First came the Cerretalto vineyard, a unique terroir in a natural amphitheatre over the Asso river in which the old vines produced a Sangiovese different from the others, with small bunches of well distanced grapes, from which a selective variety was grown that was used in other vineyards particularly in Tenuta Nuova. The acquisition of Cerretalto was followed by that of Le Cetine, Pietradonice and then Podernovo. All this was done by researching the best soil and exposures so as to produce unique and recognizable wines. The first Brunello harvest was 1978. This was followed by Cerretalto 1981, Rosso di Montalcino 1982, Tenuta Nuova 1993, Pietradonice 2000, IrRosso di Casanova di Neri and the last one Ibbianco 2011. In the course of Casanova di Neri’s small yet great history, they have received awards from the most important reviews and opinion leaders of national and international wine critics.

Their wines are the fruit of exceptional combinations of soils and microclimates together with passionate and meticulous work enabling them to obtain constant results and to enhance the distinct features of the grapes throughout the different vintages. Giacomo Neri and his family manage the estate directly together with a group of collaborators with whom they form a closely knit team. Their 63 hectares of vineyards are the core of the estate and their greatest riches from which extraordinary grapes are produced that are the secret of their wines. In all there are 7 vineyards: Fiesole, Poderuccio, Podernuovo, Le Cetine, Pietradonice, Cerretalto and Spereta, all of them in different parts of the territory of Montalcino. The diversity of their soils, exposures, microclimates and of the ages of the vines creates the identity of their wines. Wines produced by them are proof that how Sangiovese in Montalcino can give exceptional irreplicable results, distinguished by a unique quality stemming from the combination of a territory that has always been dedicated to viticulture with the unstinting labour and infinite passion with which they confront it daily.

Tenuta San Guido

Tenuta San Guido is much better known by the name of its most famous wine – Sassicaia. It is located in the Tuscan region of Maremma, and has its own single-estate DOC appellation (Bolgheri Sassicaia) applied to its flagship label. Sassicaia, one of the original Super Tuscan wines, is made up of Cabernet Sauvignon with a small amount of Cabernet Franc. It is known for its supple texture, elegance and perfume. The grapes that go into Sassicaia are picked just before they reach full ripeness, which contributes to finesse and fragrance as well as lower alcohol levels. After two weeks’ fermentation in stainless steel tanks, the wine is aged for around 24 months in French oak barrels (around 20 percent of which are new). Tenuta San Guido also makes Guidalberto and Le Difese from declassified Sassicaia fruit and from other estate vineyards. These two wines are classified as IGT Toscana. Guidalberto is a Cabernet Sauvignon – Merlot blend, and Le Difese Cabernet Sauvignon – Sangiovese, with a portion aged in American oak. In collaboration with the Santadi Co-op, the estate also owns Agricola Punica in Sardinia.

This operation produces three wines under the Isola Dei Nuraghi IGT classification. Sassicaia (“stony field” in English) was created as an experimental wine in the 1940s by the Marchese Mario Incisa della Rocchetta (a cousin of the Antinoris), who dreamed of making a wine to rival great Bordeaux. On settling at his wife’s estate, he experimented with several French varieties before focusing on Cabernet Sauvignon, noting the similarity between the local gravelly terrain and that of Graves in Bordeaux. His initial wines, which were heavier than other local wines, did not gain a warm reception and so, while production continued on a small scale, the first commercial release of Sassicaia did not happen until 1968. The wine was an immediate hit, and production was quickly modernised. In the 1980s, the Marchese’s cousin Ludovico Antinori began to plant his neighboring property, Ornellaia. The wine was initially released as a Vino da Tavola due in part to the lack of history of the coastal region it was made in, which was dismissed as swampy by many producers. But Sassicaia’s early acclaim prompted the introduction of the Indicazione Geografica Tipica (IGT) classification across Italy, as the authorities did not want Italy’s most famous wine to be labeled Vino da Tavola. In 1994, the single estate DOC and broader Bolgheri appellation were set up as planting across the entire Maremma rapidly increased.

Bruno Giacosa

Consistently billed as one of the greatest winemakers in the world, Bruno Giacosa is the third generation to produce wine at the family estate, founded in 1871. The story of Bruno Giacosa is as simple and unique as his wines, characteristics that have earned him the accolade of winemaker of Langa par excellence and his wines continue to arouse enthusiasm even years later. Great, simple and elegant wines that, without ostentation and immune to passing fashions, represent not only a terroir but the single vine. Bruno Giacosa’s character is reflected in his wines and vice versa, forming an inseparable duo. For this reason, his keynote address followed by awarding of an honorary degree at the University of Pollenzo in 2012 was not only fascinating, presenting an overview of the history of Italian wine-making, but also essential to understand and appreciate even more his wines.

Bruno Giacosa was born in the Langhe area of Piedmont in 1929 and the first fragrances he enjoyed were those of the wine of his grandfather Carlo who was already producing and bottling wines at the end of the 19th century.

Conterno Giacomo

Though most histories of the famed Giacomo Conterno estate begin with its namesake, the estate was founded by his father, Giovanni Conterno, in 1908. Giovanni placed emphasis on making premium quality Barolo only in great vintages using long fermentation and aging periods to create the best aging potential. Giovanni taught his son, Giacomo, well, and when he returned from serving in WW I, Giacomo had a vision to make a Barolo that would age for decades. Prior to Giacomo Conterno, winemakers made and sold Barolo in cask or demijohn. It was a wine intended for early drinking. In the 1920s, Giacomo realized his vision through extending the grapes’ maceration time and aging the wine in large, old wooden botti.

The estate managed to stay afloat and even prosper over the years thanks to the Italian tradition of giving Barolo as a prestigious Christmas gift; like just a few other producers, they had substantial orders from companies such as Fiat and Pirelli to feed their success. In the early ‘60s, Giacomo decided to pass the winery to his sons, Giovanni and Aldo, passing on his credo: “Only premium quality can bring prestige to the Langhe.” Giovanni and Aldo worked together until 1969, when Aldo branched off and founded his own estate, the Poderi Aldo Conterno. Giovanni brought his son, Roberto, to work with him in 1988, and Roberto took control of the estate upon his father’s passing in 2004. Until the 1970s, Poderi Giacomo Conterno owned no vineyards; the estate made its wines from select old-vine grapes that it purchased from farmers. But as farmers increasingly began bottling their own wine, the estate felt the need to purchase its own land; in 1974, the estate purchased the densely planted 17-acre Francia vineyard, one of Piemonte’s great monopole sites. Boasting southwest exposure and sitting about 400 meters above sea level, Francia’s grapes offer deep tannins, creating ideal cellaring wines--in fact, the estate bottles its renowned Monfortino from the very best grapes grown in the same vineyard. Giacomo Conterno hews close to tradition in crafting its wines, and the estate makes its Barolos with natural yeasts, temperature controlled fermentation and a lengthy maceration; after this, the wine is aged in large Slavonian botti and aged in bottle for four years. Known for its superb long-lived wines, this estate recently narrowed its focus strictly to Nebbiolo and Barbera. Giacomo Conterno uses only the highest quality grapes from Cascina Francia in Serralunga d’Alba for their two famed Barolos: the ‘Cascina Francia’ and the legendary ‘Monfortino’ Riserva.

The Monfortino Riserva Barolo is only made in excellent vintages and is aged for at least seven years in very large oak casks called botti. Conterno uses this traditional method to make its wines to avoid excessive vanillin sweetness. The Cascina Francia site makes both a single-vineyard Barolo and a Barbera d’Alba, and the Langhe Nebbiolo is the estate’s entry-level offering. Assuming a satisfactory vintage, production levels for the Barbera and Cascina Francia Barolo are around 20,000 bottles each a year. In exceptional years, around 7000 bottles of Riserva may be produced.

Domaine Dujac

Domaine Dujac is a wine producer based in Burgundy’s Morey-Saint-Denis appellation. It makes high-quality wines from Pinot Noir and Chardonnay, ranging from entry-level Bourgogne to wines made from some of the top Grand Cru vineyards in the Côte de Nuits, including Clos de la Roche and Le Chambertin.

The domaine was founded in 1968 by Jacques Seysses, who had spent the previous few years travelling around Burgundy learning the craft from the likes of Aubert de Villaine from Domaine de la Romanée-Conti and Charles Rousseau of Domaine Armand Rousseau. He purchased a small, run-down property in Morey-Saint-Denis and planted some Pinot Noir and Chardonnay. In the late 20th Century, Dujac expanded its estate, acquiring plots in Clos de la Roche, Clos St Denis and northern Bonnes-Mares. The domaine has also expanded further afield, taking control of plots in Romanée-Saint-Vivant and Chambertin. Since the 1960s, Dujac has made a few small changes to its winemaking style. Less new oak is used for the younger wines, and the winery is now air conditioned to allow for later malolactic fermentation.

Traditionally, whole bunch pressing was used, but now the grapes undergo a small amount of destemming if ripeness levels are not high enough. Other than this, the wines have been made in the same way for half a century: never filtered and very rarely fined. The annual production is about 90,000 bottles.

Domaine des Lambrays

Clos des Lambrays is one of four grand cru vineyards in Burgundy’s Morey-Saint-Denis appellation. The 8-hectare (21-acre) site produces some of the world’s most prized Pinot Noir wines, rivaled only by their grand cru counterparts along the Cote d’Or. Clos des Lambrays wines are noted for their rich, lush palate and elegant structure – less muscular than their northern neighbors in Gevrey-Chambertin. The vineyard occupies a significant portion of the Cote d’Or mid-slope immediately south and west of Morey-Saint-Denis village. The Clos de Tart Grand Cru vineyard is on the southern border of Clos des Lambrays, and the houses and roads of the village itself are on the slope below. Clos des Lambrays reaches higher up the Cote d’Or than any of the other grand cru vineyards in the appellation. Like many Burgundy vineyards (Clos de Vougeot is a prime example), the Clos des Lambrays has had many owners over the years, as the result of France’s Napoleonic inheritance laws.

Immediately after the French Revolution the site had more than 70 owners. Clos des Lambrays was reunified in 1868. Clos des Lambrays was promoted to grand cru status in 1981, shortly after the majority of the land was acquired by two brothers, Fabien and Louis Saier. Then a premier cru climat, the land had lain almost unused for 40 years, but the brothers lobbied for its promotion on the basis of its geological and topographical properties. Following the promotion, the vineyard underwent significant replanting and restoration work. The vines now average around 40 years old, although the youngest are not qualified to be included in the grand cru wines and are sold instead as Les Loups Premier Cru. The Clos des Lambrays vineyard is now almost a monopole of the Domaine des Lambrays. However, a small plot in the lower section of the site, less than one acre in total, is still owned today by Domaine Taupenot-Merme. The Clos des Lambrays is divided into three sub-climats: Meix Rentier in the eastern, lower corner, Les Larrets in the higher western corner and Les Bouchots in the north. The size differences between these plots are only small, but the terroir of the vineyard varies measurably. The lower portion has a much higher limestone content, while the upper part is dominated more by marl. The wines which result from the two sections are noticeably different in style, with the former being lighter and more delicate than the latter.

Château Lafite Rothschild

Château Lafite Rothschild is a wine estate in the Pauillac region of the Médoc, producing one of the most sought-after and expensive red wines in the world. Lafite Rothschild is known for its perfume, elegance, finesse and harmony, in contrast to the more powerful Latour and Mouton Rothschild. Nevertheless, great vintages can age for 50 years or more.

The estate began to earn its reputation as a winemaking property in the late 1600s; by the second half of the following century it was known as “The King’s Wine” at Versailles, and had a strong following in London. The acclaim did not diminish and in the 1855 Bordeaux Classification Lafite was ranked a first growth. It was bought by Baron James de Rothschild in 1868. Throughout much of the 20th Century, despite many sublime wines, Lafite Rothschild was regarded as an inconsistent producer but since the mid-1990s it has become more reliable – in fact, it regularly makes claims for wine of the vintage.

The Lafite Rothschild vineyard covers around 112 hectares (277 acres) on sunny, well-drained sites made up of fine gravel and sand over limestone subsoil. The vineyard is divided into three parts: the vines on the hillsides around the château provide the core material for the grand vin, while the adjacent Carruades plateau to the west is more responsible for the second wine that bears its name. Additionally a 4.5-ha (11-acre) plot in Saint-Estèphe also belongs to the estate; unusually it has permission to include the fruit in its Pauillac-classified wines. Around 70 percent of the vineyards are planted to Cabernet Sauvignon, with 25 percent to Merlot, 3 percent to Cabernet Franc and 2 percent to Petit Verdot.

The precise blend of Lafite Rothschild can vary. It often contains between 80-95 percent Cabernet Sauvignon, with Merlot making up much of the rest. The wine is aged for up to 20 months in new oak barrels.

Carruades de Lafite is the second wine, with a strong following in its own right. More Merlot (30-50 percent) appears in the final blend. It is aged for 18-20 months, with 80 percent in barrels and 20 percent in tank.

The neighboring property Duhart-Milon is under the same ownership, and managed by the same team as Lafite. Domaine Barons de Rothschild also owns the Premier Grand Cru Classé Château Rieussec in Sauternes, Château L’Évangile in Pomerol, and three Bordeaux brands, Légende, Saga and Résérve Spéciale. Properties further afield include Domaine d’Aussières in Languedoc, Los Vascos in Chile and Bodegas Caro in Mendoza, Argentina.

Mia, Alfredo and The India Project Team would like to offer a special thanks to:

Associazione Arte Continua

Galleria Franco Noero

Loris Cecchini

Simon Starling

Jason Dodge

Gabriel Kuri

Martino Gamper

Pablo Bronstein

Giovanni Ozzola

Mike Nelson

Serse

Roagna

Domaine Meo-Camuzet

Casanova di Neri

Tenuta San Guido

Bruno Giacosa

Conterno Giacomo

Domaine Dujac

Domaine des Lambrays

Château Lafite Rothschild