MOMENTS

Moment

1

The moment when, after many years of hard work and a long voyage you stand in the centre of your room, house, half-acre, square mile, island, country, knowing at last how you got there, and say, I own this, is the same moment when the trees unloose their soft arms from around you, the birds take back their language, the cliffs fissure and collapse, the air moves back from you like a wave and you can't breathe.

No, they whisper. You own nothing.

You were a visitor, time after time climbing the hill, planting the flag, proclaiming.

We never belonged to you.

You never found us.

It was always the other way round.

MARGARET ATWOOD

Moment

Contributors

Audemars Piguet

Contributors

16 route de france

Lisa Davidson, Alexandra Keens,

P.O. bobx19

Elizabeth Simches et Bernard Wooding

1348 Le Brassus

Cécile Balavoine, Christophe Cachera,

Suisse

Antoine Corbineau, Marthe Durand, Raphaël Feuillâtre, Nicholas Galleti, B.D.

Directeur de la publication

Grat, Tim Gutteridge, Lucie Hugary,

François-Henry Bennahmias

Catherine Ianco, Adrian Jonee, Anne

Directrice adjointe

Laeter, Yann Le Duc, Sophie Massalo-

Audemars Piguet Actualités

vitch, Joséphine Micalle􀀯, Brigitte Ollier,

Coordination

François Ollivier, Paul Rousteau, Maréva Saravane, Benjamin Schmuck,

Rédaction

Paul Smith, Studio Takeuma, Marta de Tena, Jean-Michel Tixier, Philippe Tré-

Be Dandy

tiack, Natacha Wolinski

Présidente

Retrouvez Moments via l’application

Alix Declercq

Audemars Piguet Play ou sur

Rédactrice en chef

https://moments.ap.com

Manon Anselmi

ou sur issuu.com/moments_ap

Directeur Artistique

Moments is also available on

Collaboratrice

the Audemars Piguet app and at

Secrétaire générale de la rédaction

https://moments.ap.com/en

Secrétariat de rédaction

and on issuu.com/moments_ap

Iconographie Assistante de la rédaction Infographie Version anglaise

Contents

Watchmakers’ valley Olivier meets Olivier Luke Kirwan feat Dan Holdsworth In Cold Blood  Fernando Mastrangelo Travel in sound A journey in Finn Donegal Season agenda [Living Le Brassus]

6

[Crossed glances]

15

[Rewinding AP]

27

36

[Interval]

[Behind the scene]

38

[Rencontre]

50

56

64

[Travel notebook]

[Rendez-vous]

Moment

5

Breathe in

Moment

[Living Le Brassus]

Watchmakers’ valley Christoph Guhl watchmaker is tasked with assembling the several hundred parts over the course of two to three months. With surgeon like precision, the watchmaker starts by putting certain components together, testing them, taking them apart to hone or polish given sections – such as correcting the tooth of a gear by one-hundredth of a millimeter – until a satisfactory result is obtained.

7

Moment

Living Le Brassus

Subinde subinde publicum eius ianuis nec quas publicum regiam perrexit haec palatii multa perrexit introiit relationibus venisset publicum moliebatur decuerat.

Audemars, the company’s current

allow for minimal disturbance as de-

urine, while their movements were

chairwoman, is the great granddaugh-

sign and development teams work in

lubricated with the purest drops of oil.

ter of Jules Louis, and several other

concert over the course of three to five

tThe watch’s final adjustment is done

members of the Audemars clan still sit

years to turn an idea into a functioning

through a variable series of tests to

on the board.

horological artwork. Cases, straps, dials,

ensure regularity and accuracy, then the

Combining traditional craft with modern

hands, and winding crowns all begin

dial is added, the hands are attached, the

technological exactitude, Audemars Pi-

as sketches and are reworked over and

mechanism anchored to the case, and a

guet handcrafts each of its 32,000 wat-

again until the perfect blend of form

strap is finally affixed.

chers per year, with their most exten-

and function is achieved. Computer

sively produced models never exceeding

designers and art directors then colla-

It takes around six months for an Au-

1,000 units each. As one of the three

borate to evolve the sketch into a more

demars Piguet timepiece to come into

major Swiss watch producers, the brand

concrete vision on screen, working with

being, and this is only after years of desi-

finds itself in the rarefied company

actual dimensions and specifications

gning, conceptualising, and prototyping.

of Patek Philippe and Vacheron

until a prototype can be produced.

To do a Royal Oak or Millenary, is to

Constantin, while Tiffany & Co. and

wear a piece of history. It is the result of

Cartier use Audemars Piguet move-

The Le Brassus workshops, where

generations acquiring the finer points of

ments to this day.

master craftsmen sit meticulously

their trade, sitting at the workbenches,

polishing, bevelling, and decorating,

fixing their watchmaker’s loupes into

Although the company has acquired two

feature huge two metre high windows

their eyes, and holding the same tools

additional production sites in Le Locle

looking out on an immaculate view of

in their hands. As Simon Van Booy once

and Meyrin-Geneva, the vast majority

the Orbe River valley and letting in soft

wrote, “Actually, years mean nothing. It’s

of design, production, and assembly

northern light. It is perhaps due to this

what’s inside them.” As far as Audemars

of Audemars Piguet timepieces still

well known harmony with nature that

Piguet is concerned, what’s inside is 140

takes place at its 11,000 m² Le Brassus

has led to conjecture that the quality of

years of uninterrupted excellence.

headquarters. The facility’s understated

an Audemars Piguet chime was partly

interiors and protective sound barriers

due to tempering steel gongs in horse

9

Moment

Living Le Brassus

11

Moment

Living Le Brassus

Le Brassus workshops, where master craftsmen sit meticulously polishing, bevelling, and decorating, feature huge two metre high windows looking out on an immaculate view of the Orbe River valley and letting in soft northern light.

13

Subinde subinde publicum eius ianuis nec quas publicum regiam perrexit haec palatii multa perrexit introiit relationibus venisset publicum moliebatur decuerat.

Thispage: Subinde subinde publicum eius ianuis nec quas publicum regiam perrexit haec palatii multa perrexit introiit relationibus venisset publicum moliebatur decuerat.Subinde subinde publicum eius ianuis nec quas publicum regiam perrexit haec palatii multa perrexit introiit relationibus venisset publicum moliebatur decuerat.

Moment

[Crossed glances]

Olivier meets Olivier

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L’homme et la nature : un lien immuable, entretenu depuis des millénaires par des artisans d’exception. Tous ceux qui sont en quête d’excellence ont conscience qu’elle commence à la source.

Regards croisés d’Olivier Audemars et d’Olivier Krug. Rencontre de deux Maisons, toutes deux fondées au XIXe siècle, dont les valeurs communes sonnent comme une évidence : une créativité et une élégance empreintes d’un certain anticonformisme, un savoirfaire singulier, avec une attention absolue portée au détail.

1875

The watch is an expression of the mastery of the watchmaker.�

Olivier Audemars

1843

It is not possible to make a good wine except from good elements and good terroirs.

Olivier Krug

Moment

Crossed glances

Olivier Audemars

We were all born into that culture, the next generations are also educated in the same culture. It is true we work in high-end watchmaking, but it does not mean we are allowed to be snobbish.

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Eius disputationis sententias memoriae mandavi, quas hoc libro exposui arbitratu meo; quasi enim ipsos induxi loquentes, ne ‘inquam’ et ‘inquit’ saepius interponeretur, atque ut tamquam a praesentibus coram haberi sermo videretur.

Moment

Crossed glances

What are the links between Krug and Audemars Piguet?

it was really touch and go for a while.’

equestrium adventu cohortium, quae

Now, with at least half of the students

casu propinquabant, nec resistere planitie

J.A Legendary among the community of

on his courses coming from abroad, Joe’s

porrecta conati digressi sunt retroque

reputation as Ireland’s master basket

concedentes omne iuventutis robur

weaver ensures the legacy of his craft.

relictum in sedibus acciverunt. From his

makers the length and breadth of Ireland, Horgan settled in Leenane, Connemara in the 1970s with his wife Delores and set about teaching himself basket weaving while planting a forest of willows. From his workshop, warmed by a turf fire, he still makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

Weaving a ‘skib’ – a basket traditional to the west of Ireland – in colours that seem almost unearthly (but occur naturally around this part of the world), the dexterity of his craftsmanship is mesmeric.

‘When I came to live here I was able to make baskets, but I didn’t know much about traditional ones,’ he says, ‘and the only person in the 1970s left in Ireland making baskets in this way happened to be my neighbour.

O.K Tommy came down and showed me his donkey creel – and as he was the last person left in the country to make these,

workshop, warmed by a turf fire, he still Can you describe a particular technique or material that you see as an essential part of the making process for you?

J.A Legendary among the community of makers the length and breadth of Ireland, Horgan settled in Leenane, Connemara in the 1970s with his wife Delores and set about teaching himself basket weaving while planting a forest of willows. From his workshop, warmed by a turf fire, he still makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

Weaving a ‘skib’ – a basket traditional to the west of Ireland – in colours that seem almost unearthly (but occur naturally around this part of the world), the dexterity of his craftsmanship is mesmeric.

O.K Ibi victu recreati et quiete, postquam abierat timor, vicos opulentos adorti

makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

What does good taste mean to you?

J.A Sed (saepe enim redeo ad Scipionem, cuius omnis sermo erat de amicitia) querebatur, quod omnibus in rebus homines diligentiores essent; capras et oves quot quisque haberet, dicere posse, amicos quot haberet, non posse dicere et in illis quidem parandis adhibere curam, in amicis eligendis neglegentis esse nec habere quasi signa quaedam et notas, quibus eos qui ad amicitias essent idonei, iudicarent. Sunt igitur firmi et stabiles et constantes elige.

O.K Ibi victu recreati et quiete, postquam abierat timor, vicos opulentos adorti equestrium adventu cohortium, quae

21

“Devoted Krug lovers have one significant advantage over me…

They can recall and describe in minute detail, the first time they never tasted Krug champagne...” says Olivier casu propinquabant, nec resistere planitie porrecta conati digressi sunt retroque concedentes omne iuventutis robur relictum in sedibus acciverunt. From his workshop, warmed by a turf fire, he still makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

Where are you finding inspiration from currently?

O.K Constituendi autem sunt qui sint in

O.K Constituendi autem sunt qui sint in

De quibus tres video sententias ferri, qua-

amicitia fines et quasi termini diligendi.

rum nullam probo, unam, ut eodem modo

De quibus tres video sententias ferri, qua-

erga amicum adfecti simus, quo erga

rum nullam probo, unam, ut eodem modo

nosmet ipsos, alteram, ut nostra in amicos

erga amicum adfecti simus, quo erga

benevolentia illorum erga nos benevolen-

nosmet ipsos, alteram, ut nostra in amicos

tiae pariter aequaliterque respondeat,

benevolentia illorum erga nos benevolen-

tertiam, ut, quanti quisque se ipse facit,

tiae pariter aequaliterque respondeat,

tanti fiat ab amicis.

tertiam, ut, quanti quisque se ipse facit,

J.A Legendary among the community of

What is your first artistic memory?

makers the length and breadth of Ireland,

J.A Legendary among the community of

Horgan settled in Leenane, Connemara in the 1970s with his wife Delores and set about teaching himself basket weaving while planting a forest of willows. From his workshop, warmed by a turf fire, he still makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

Weaving a ‘skib’ – a basket traditional to the west of Ireland – in colours that seem almost unearthly (but occur naturally around this part of the world), the dexterity of his craftsmanship is mesmeric.

rity of his craftsmanship is mesmeric.

amicitia fines et quasi termini diligendi.

makers the length and breadth of Ireland, Horgan settled in Leenane, Connemara in the 1970s with his wife Delores and set about teaching himself basket weaving while planting a forest of willows. From his workshop, warmed by a turf fire, he still makes functional baskets to order, but his more artistic designs have been displayed in galleries internationally.

Weaving a ‘skib’ – a basket traditional to the west of Ireland – in colours that seem almost unearthly (but occur naturally around this part of the world), the dexte-

tanti fiat ab amicis. De quibus tres video sententias ferri, quarum nullam probo, unam, ut eodem modo erga amicum adfecti simus, quo erga nosmet ipsos, alteram, ut nostra in amicos benevolentia illorum erga nos benevolentiae pariter aequaliterque respondeat, tertiam, ut, quanti quisque se ipse facit, tanti fiat ab amicis.

Moment

Olivier Audemars

I would say one that is very important for us is that the watch has to be as beautiful inside as it is outside. Even if the customer never sees the movement of his watch, he must know that the movement is beautiful and finished by hand.

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Olivier Krug

You cannot make great champagne without using the best grapes, best wine, and best terroir. You might come close to something when using mediocre quality but you can’t rely on this otherwise you will lose your reputation; this is why we never ever compromise on quality.

Moment

Crossed glances

25

Moment

Moment to Moment Birds flying high, you know how I feel Sun in the sky, you know how I feel Breeze driftin’ on by, you know how I feel (refrain:) It’s a new dawn It’s a new day It’s a new life for me, yeah It’s a new dawn It’s a new day It’s a new life for me, ooh And I’m feeling good Fish in the sea, you know how I feel River running free, you know how I feel Blossom on the tree, you know how I feel (refrain) Dragonfly out in the sun, you know what I mean, don’t you know?

Butterflies all havin’ fun, you know what I mean Sleep in peace when day is done, that’s what I mean And this old world is a new world

Artist: Nina Simone Lyric writers: Cy Grant, Leslie Bricusse & Anthony Newley

27

[Rewinding AP]

Luke Kirwan feat Dan Holdsworth Graceful moment

Moment

Rewinding Audemars Piguet

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“I’m looking for a way to express the space of perception somewhere between technology and human nature.”

Moment

Rewinding Audemars Piguet

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Moment

Rewinding Audemars Piguet

33

Dan

“I think they thought I’d stay a few nights but I ended up exploring the remote, sublime nature there for four weeks. I really got immersed in the valley.”

Moment

35

Seconds

Moment

[Interval]

Truman Capote In Cold Blood

Mom took us kids to San Francisco. She run off with Dad’s truck & all of the many souvenirs he brought from Alaska. I believe this was in 1935 (?). ... In Frisco I was continuously in trouble. I had started to run around with a gang, all of which were older than myself. My mother w s always drunk, never in a fit condition to properly provide and care for us. I run as free & wild as a coyote. Their was no rule or discipline, or anyone to show me right from wrong I came & went as I pleased ­until my first encounter with Trouble. I was in & out of Detention Homes many times for running away from home & stealing.

I remember one place I was sent to. I had weak kidneys & wet the bed every night. This was very humiliating to me, but I couldn’t control myself. I was very severely beaten by the cottage mistress, who had called me names and made fun of me in front of all the boys. She used to come around at all hours of the night to see if I wet the bed. She would throw back the covers & furiously beat me with a large black leather belt ­pull me out of bed by my hair & drag me to the bathroom & throw me in the tub & turn the cold water on & tell me to wash myself and the sheets. Every night

was a nightmare. Later on she thought it was very funny to put some ointment on my penis. This was almost unbearable. It burned something terrible.

She was later discharged from her job.

But this never changed my mind about her & what I could have done to her & all the people who made fun of me.

Then, because Dr. Jones had told him he must have the statement that very afternoon, Smith skipped forward to early adolescence and the years he and his father had lived together, the two of them wandering all over the West and Far West, prospecting, trapping, doing odd jobs: I loved my father but there were times when this love and affection I had for him drained from my heart like wasted water. Whenever he would not try to understand my problems. Give me a little consideration & voice & responsibility. I had to get away from him. When I was sixteen I joined the Merchant Marine. In 1948 I joined the army ­the recruiting officer gave me a break and upped my test. From this time on I started to realize the importance of an education. This only added to the hatred and bitterness I held for others. I began to get into fights. I threw a Japanese policeman off a bridge into the water. I was court­martialed

for demolishing a Japanese cafe. I was court­martialed again in Kyoto, Japan, for stealing a Japanese taxicab. I was in the army almost four years. I had many violent outbursts of anger while I served time in Japan & Korea. I was in Korea 15 months, was rotated and sent back to the states ­and was given special recognition as being the first Korean Vet to come back to the territory of Alaska.

Big write up, picture in paper, paid trip to Alaska by air, all the trimmings. ... I finished my army service in Ft. Lewis, Washington. Smith’s pencil sped almost indecipherably as he hurried toward more recent history: the motorcycle accident that had crippled him, the burglary in Phillipsburg, Kansas, that had led to his first prison sentence: ... I was sentenced to 5 to 10 years for grand larceny, burglary and jailbreak. I felt I was very unjustly dealt with. I became very bitter while I was in prison. Upon my release I was supposed to go to Alaska with my father ­I didn’t go ­I worked for a while in Nevada and Idaho ­went to Las Vegas and continued to Kansas where got into the situation I’m in now. No time for more. He signed his name, and added a postscript: «Would like to speak to you again. There’s much I haven’t said that may interest you. I have always felt

37

a remarkable exhilaration being among people with a purpose and sense of dedication to carry out that purpose. I felt this about you in your presence.»

Hickock did not write with his companion’s intensity. He often stopped to listen to the questioning of a prospective juror, or to stare at the faces around him ­particularly, and with plain displeasure, the muscular face of the county attorney, Duane Wen, who was his own age, twenty­eight. But his statement, written in a stylized script that looked like slanting rain, was finished before the court adjourned for the day: I will try to tell you all I can about myself, though most of my early life is vague to me ­up until about my tenth birthday.

My school years went quite the same as most other boy my own age. I had my share of fights, girls, and other things that go with a growing boy. My home life was also normal, but as I told you before, I was hardly ever allowed to leave my yard and visit with playmates. My father was always strict about us boys [his brother and him] in that line. Also I had to help my dad quite a lot around the house. ... I can only remember my mother and dad having one argument that amounted to anything. What it was about, I don’t know.. . . My dad bought me a bicycle once, and I believe that I was the proudest boy in town. It was a girl’s bike and he changed it over to a boy’s. He painted it all up and it looked like new. But I had a lot of toys when I was little, a lot for the financial condition that my folks were in. We were always what you would call semi­poor.

Never down and out, but several times on the verge of it. My dad was a hard worker and did his best to provide for us. My mother also was always a hard worker. Her house was always neat, and we had clean clothes aplenty.

I remember my dad used to wear those old fashioned flat crown caps, and he would make me wear them too, and I didn’t like them. ... In high­school I did real well, made above average grades

the first year or two. But then started falling off a little. I had a girl friend. She was a nice girl, and I never once tried to touch her anyway but just kissing. It was a real clean courtship. . . . While in school I participated in all the sports, and received 9 letters in all. Basketball, football, track and baseball. My senior year was best. I never had any steady girl, just played the field. That was when I had my first relationship with a girl. Of course I told the boys that I’d had a lot of girls. ... I got offers from two colleges to play ball, but never attended any of them. After I graduated from school I went to work for the Santa Fe railroad, and stayed until the following winter when I got laid off. The following spring I got a job with the Roark Motor Company. I had been working there about four months when I had an automobile wreck with a company car.

I was in the hospital several days with extensive head injuries. While I was in the condition I was in I couldn’t find another job, so I was unemployed most of the winter. Meantime, I had met a girl and fallen in love. Her dad was a Baptist preacher and resented me going with her. In July we were married.

All hell broke loose from her dad until he learned she was pregnant. But still he never wished me good luck and that has always gone against the grain. After we were married, I worked at a service­ station near Kansas City. I worked from 8 at night till 8 in the morning.

Sometimes my wife stayed with me all night ­she was afraid I couldn’t keep awake, so she came to help me. Then I got an offer to work at Perry Pontiac, which I gladly accepted. It was very satisfactory, though I didn’t make a lot of money ­$75 a week. I got along good with the other men, and was well liked by my boss. I worked there five years. . . . During my employment there was the beginning of some of the lowest things I have ever done. Here Hickock revealed his pedophiliac tendencies, and after describing several sample

experiences, wrote: I know it is wrong.

But at the time I never give any thought to whether it is right or wrong. The same with stealing. It seems to be an impulse. One thing I never told you about the Clutter deal is this. Before I ever went to their house I knew there would be a girl there. I think the main reason I went there was not to rob them but to rape the girl. Because I thought a lot about it. That is one reason why I never wanted to turn back when we started to. Even when I saw there was no safe. I did make some advances toward the Clutter girl when I was there. But Perry never gave me a chance.

I hope no one finds this out but you, as I haven’t even told my lawyer. There were other things I should have told you, but I’m afraid of my people finding them out. Because I am more ashamed of them (these things I did) than hanging....

I have had sickness. I think caused from the car wreck I had. Spells of passing out, and sometimes I would hemorrhage at the nose and left ear. I had one at some people’s house by the name of Crist ­they live south of my parents. Not long ago I had a piece of glass work out of my head. It came out the corner of my eye. My dad helped me to get it out. ... I figure I should tell you the things that led to my divorce, and things that caused me to go to prison. It started the early part of 1957. My wife and I were living in an apartment in Kansas City. I had quit my job at the auto­mobile company, and went into the garage business for myself. I was renting the garage from a woman who had a daughter­in­ law named Margaret. I met this girl one day while I was at work, and we went to have a cup of coffee. Her husband was away in the Marine Corps. To make a long story short, I started going out with her. My wife sued for divorce. I began thinking I never really loved my wife.

Because if I had, I wouldn’t have done all the things I’d done. So I never fought the divorce.

Moment

[Behind the scene]

Fernando Mastrangelo Tapped by Audemars Piguet to design their Art Basel Booth in 2019 and 2020, FM/S invites visitors to experience the Vallée de Joux - the Swiss Headquarters where all AP watches are created — through seamless gradients of tones and textures. Boulders extracted from the Vallée are crushed, cast and repurposed into walls, display cases, and furniture.

The entire booth was created within the walls of FM/S’ Brooklyn studio.

39

Moment

Behind the scene

The watch installation will include display stands that resemble spruce trees, made of silicon and filled with sand and silica. An assistant unrolls foam as part of the process of creating the trees. On the wall are semicircular frames that are used for casting round mirrors.

Wood cylinders are wrapped in rubber bark to create molds for the installation’s trees.

41

Artist and conceptual designer Fernando Mastrangelo creates his “Arctic� paintings with sand and powdered glass.

Moment

Behind the scene

43

Moment

Finishers sand a stalagmite-shaped cast-cement desk for the installation for Swiss watch company Audemars Piguet.

Behind the scene

45

The artist leans back in the gallery area of his 10,000-square-foot studio; in front is his Dream coffee table, which is cast in sand and meant to resemble stratified layers of earth. In addition to advancing his own work, Mastrangelo has become a champion of emerging young artists, hosting an annual exhibition and using his considerable social media might to promote them.

Moment

[Portfolio]

10:10 au Brassus

47

Moment

49

Breathe out

Moment

50

[Rencontre]

Travel in sound I step down onto the platform and locate the Amtrak train to Grand Central Terminal. Its metal exterior gleams faintly in the soft daylight, and its hidden engines emit a low drone; hydraulics hiss dramatically as the doors part.

The sound is suffused with anticipation, recalling to my mind a dry ice machine as it spurts its atmospheric cloud across an empty, blue-lit stage.

52

Moment

Rencontre

53

A Journey Through Upstate New York with Master & Dynamic

I board the train and find a vacant seat by

set of keys jingling in my pocket. I place

be performed. Medieval classical music,

the window. The engines begin to groan,

the memory foam ear pads, surrounded

with its held notes, simple harmonies, and

their tireless rumbling rising in intensity

in lambskin, over my ears. Instantly the

slow movements, fits perfectly with the

as the train eases away.

carriage cacophony shrinks to a distance,

long reverberations of a Gothic cathedral.

as if separated by a body of water. I feel

The more embellished and detailed mu-

Daylight floods the carriage. Trees flash

for the active noise cancelling switch on

sic of Mozart could be well appreciated

past along the bank. The murky mirror of

the side of the headphones, and flick.

in the intimate parlours and private halls

the Hudson River remains beside me; my

The low groans and murmurs disappear,

of his Viennese patrons. Pop music, in all

fellow traveller. Through the Lower Hud-

the ambient hums and whines sucked

its myriad forms, is often driven by per-

son Valley, we journey together in pa-

into a vacuum. I sit in this way, in silence;

cussive sounds and syncopated grooves.

rallel, disappearing occasionally behind

my eyes shut, my mind quiet.

Distinct and effective when performed

pylons or stations before reacquainting

in small clubs, or funnelled through the

ourselves again, fixed on our set paths,

I try to visualise the MW65 headphones’

powerful and sophisticated sound sys-

flowing southward.

inner workings: the hidden microphone

tems that amplify it across large venues,

array’s constant monitoring of back-

the same music could be a tumultuous

Laughter and conversation drift from

ground noise; the circuitry’s translation

mess in the natural acoustics of a Gothic

the end of the carriage. The disembo-

of these sounds into signals; and equal

cathedral.

died, tinny voice of the train driver vents

signals, emitted out of phase to those re-

from small speakers by the door, as a long

ceived, resulting in the opposing sound-

What about this setting? Sitting on a

bridge suspended over the river glides

waves cancelling each other out in per-

train, immersed in a sonic void; ready to

past my window. The low, constant groan

fect, oscillating collisions. It is a precise

be filled entirely with pure sound, unin-

of the engines is matched by a high-pit-

silence.

terrupted by the outside world; each tiny

ched whine of air conditioning units

detail whispered directly in my ear. An

overhead. A table vibrates aggressively to

As I gaze at the opposite riverbank, un-

inhaled breath, the rasp of fingers across

my left, rattling the thoughts in my head.

dulating like a waveform above the light

a guitar string, the slightest, final rever-

I open my suitcase, and draw my pair of

grey water, I consider which song I will

berations of a decaying note. This is a

Master & Dynamic headphones from

choose to test these headphones for the

unique musical context.

their canvas bag. The arched leather band

first time. David Byrne of Talking Heads,

is soft in my grip, the aluminium details

in How Music Works, writes that the

smooth against my fingertips. It feels so-

creation of all music is subconsciously

lid and durable, but no weightier than the

shaped by the context in which it will

masterdynamic.com

Moment

Rencontre

55

“Instantly the carriage cacophony shrinks to a distance, as if separated by a body of water…

The low groans and murmurs disappear. I sit in this way, in silence; my eyes shut, my mind quiet”

Moment

[Travel notebook]

Finn Ni Fhaolain — A journey in Finn Donegal Steep cliffs, lush green fields and tiny clusters of colourful square houses emerge from drifting fog. Streams rush down rocky paths carved on htillsides as you hear the sounds of sheep emerging through the mists – welcome to one of the most secluded places on earth.

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Moment

Travel notebook

59

«I never thought I’d emigrate to the West of Ireland or even live in a rural area. But within six months I had relocated my family from the hustle and bustle of Cape Town, to sleepy Bundoran.»

Legendary among the community of

showed me his donkey creel – and as he

there were 22 jobs on the noticeboard for

makers the length and breadth of Ireland,

was the last person left in the country to

12 graduating students,’ he recalls. ‘They

Horgan settled in Leenane, Connemara

make these, it was really touch and go for

were snapped up. There’s always been

in the 1970s with his wife Delores and set

a while.’ Now, with at least half of the stu-

a big demand for handmade ceramics;

about teaching himself basket weaving

dents on his courses coming from abroad,

Ikea wasn’t even on the island and there

while planting a forest of willows. From

Joe’s reputation as Ireland’s master basket

were no industrial competitors, so a lot

his workshop, warmed by a turf fire, he

weaver ensures the legacy of his craft.

of people bought functional, handmade

still makes functional baskets to order,

pots.’ The mill that was gradually repaired

but his more artistic designs have been

GUS MABELSON

and renovated over the years by Mabel-

displayed in galleries internationally.

Though not a commercial venture, the

son and his team. Buoyed by the calibre

Weaving a ‘skib’ – a basket traditional to

Design and Craft Council runs a Cera-

of graduates from Thomastown and a

the west of Ireland – in colours that seem

mics Skills and Design training course

network of highly skilled makers that

almost unearthly (but occur naturally

in the idyllic maker stronghold of Tho-

dot the country (including the renowned

around this part of the world), the dex-

mastown in Kilkenny – an essential place

Nicholas Mosse close by), Mabelson en-

terity of his craftsmanship is mesmeric.

in the story of Irish craft. Set up and run

thuses that ‘ceramics in Ireland has never

‘When I came to live here I was able to

by Stoke native Gus Mabelson since 1990,

been stronger’. And if anyone would know,

make baskets, but I didn’t know much

to address a gap in the employment mar-

he would.

about traditional ones,’ he says, ‘and the

ket for highly skilled potters, the school

only person in the 1970s left in Ireland

has operated amid the peaks and troughs

making baskets in this way happened to

of the Irish economy in a renovated mill

be my neighbour. Tommy came down and

on the banks of the River Weir. ‘In 1995

Moment

Travel notebook

61

Sam Crosse, senior arborist at Donegal, whose included ‘wood management, tree planting, parterres, walled gardens, ponds and all’. At the opposite, ‘Big Green Area’ where nature is in a real wild state

Moment

Travel notebook

Whilst there, Finn Ni Fhaolain had an epiphany about how human beings assign meaningto photographs.

She asserts that the moment had a presence and communicated something important to him.

63

Moment

[Rendez-vous]

Season agenda Promouvoir le savoir-faire artisanal, investir un espace pour en faire un lieu inspirant, proposer une sélection unique… Quelles que soient leurs motivations premières, ces différentes adresses — physiques ou virtuelles — possèdent toutes un point commun : celui de mettre en lumière des artistes engagés et singuliers marquant leur temps et les générations à venir.

65

— Les marches architecture, design

Les Marches ressemblent à s’y méprendre à des blocs de béton brut.Leur dessin particulier est la base d’une infinité d’assemblages possibles, définissant des escaliers aux allures classiques et pourtant souples au corps.

L’ installation des Marches s’adapte à tous les environnements, de l’habitat au grand projet d’architecte.Elles forment des compositions à géométrie variable et un accueil confortable.

Nées dans les musées dans un esprit artistique, elles sont parfaites pour discuter, se reposer, travailler, conférencer, visionner, et pour les espaces du marché contract.

Des matériaux choisis avec le plus grand soin pour leurs qualités naturelles.Réalisées en mousse polyuréthanne avec une finition de peinture à effet de peau à base de latex. Innovantes dans leur conception, elles sont 100% recyclables, les produits composant la finition sont non toxiques, et elles peuvent s’utiliser en intérieur ou en

extérieur.Faciles à manipuler, elles pèsent chacune entre 10 kg et 14 kg.La construction s’effectue par empilement en un clin d’œil.

Smarin développe de nouvelles typologies et explore différents champs de la création liés à l’usage à partir d’objets-outils et de mobiliers-systèmes. Ces derniers permettent la construction d’espaces d’invention collective et proposent des situations d’interactions inclusives, créant une expérience commune. Ils invitent aussi à reconsidérer les mécanismes de la gestuelle et de proposer de nouveaux automatismes thérapeutiques. www.smarin.net

Moment

Rendez-vous

— Ecal open day 2019 art, design

We invite you to discover the various programmes of ECAL (Foundation Year, Bachelor, Master, Master of Advanced Studies) in lectures given by the Heads of Departments and by former students who will discuss their career (Auditoriums IKEA and Leenaards).

Both exhibitions will also run from 4 to 8 February, from 10am to 5pm.

ECAL/Ecole cantonale d’art de Lausanne 5, avenue du Temple · CH-1020 Renens www.ecal.ch

— Alicja Kwade show artist, designer

The Trans-For-Men, show features five sculptural pieces that engage in an intriguing dialogue with the museum’s interior spaces and surrounding scenery. Kwade drew inspiration from the concrete brutalism of the WeeGee Exhibition Centre and the building’s history as a printing house, particularly the heavy printing machines and giant rolls of paper that once filled the gallery spaces. All the exhibits are monumental, time-based installations that depict movement and metamorphosis while guiding the visitor through the space. The exhibition is curated

by Marie Nipper (Creator Projects) and EMMA’s Chief Curator Arja Miller. www.sabinemarcelis.com

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— The White Review issue 25 · book, art

This issue of The White Review features a roundtable on the subject of housing, marking two years since the Grenfell fire; our participants John Boughton, Seraphima Kennedy and Bridget Minamore discuss overcrowding, gentrification, fire hazards and austerity.

Founded in February 2011 by Benjamin Eastham and Jacques Testard, London-based literary-minded publication The White Review has become one of must-read magazines. Packed with varied, unexpected materialin all kinds of forms, The White Review brings a message from the future: it rises to meet readers’ and writers’ continuing needs to experience art and literature in a sensuous, delectable form; and it gives me the feeling that I have my finger on the pulse.’

Available online www.thewhitereview.org

— Gijang Waveon architecture, restaurant

Gijang near to Busan, port city, the second largest city in Korea, is famous for beautiful scenery of seashore rendered by inspiringly eroded rock, wave of clean seawater and groups of pine trees at a height of about 30 feet.

Waveon, the unique cafe in the beach, is located in a hill overlooking the shore in Gijang. Our client wanted to get a 500m2-sized building just for cafe where we can look down the sandy and rocky shore wherever we are. In fact, depending on where and how we see the beach, the sea shows diverse views for us. Accordingly, the significant matter of this project is how we can grasp and deal with the relationship between natural scene and architecture.

86 Haemaji-ro, Jangan-eup, Gijang, Busan, Korea www.waveoncoffee.com