Steel giants: the 200-ton installation “Effondrement of Arcs”

When I recently spent a birthday weekend in the South of France with my friends, art collectors and patrons from Recklinghausen, I met a special encounter: The French artist Bernar Venet, one of the internationally outstanding sculptors of the present. His monumental steel sculptures adorn the metropolises around the world – from New York to Paris. Since 1987 the steel arch “Arc de 124,5°” has been located in Berlin at Urania place, a gift from France for the 750th anniversary of the city.

When I look at Bernar Venet’s colossal steel sculptures, the question arises as to how the individual, heavily torn, intertwined fragments are bent. Probably hardly by hand. Bernar Venet’s answer: “With the crane.” Accompany me and Bernar Venet on an exclusive walk through his art foundation in Provence.

In the former factory hall you can see early works by Bernar Venet from 1961 to 1966, pictures and reliefs from 1976 to 1984 as well as the “Indeterminate Surfaces”, which were created between 1995 and 1999

Three years ago Bernar Venet, who decided in 1963 to remove the “d” from his first name, founded his foundation. The artistic retreat of the sculptor, who, alongside Pierre Soulages, Martial Raysse and Robert Combas, is one of France’s post-war empires with the highest auction results, is off the beaten track of the Côte d’Azur in Le Muy, a small town above Cannes and Saint-Tropez.

“I work 28 hours a day, nine days a week,” says Bernar Venet, who exhibited at the Documenta in Kassel in 1977 and the following year at the Venice Biennale

On the site of a former factory and a water mill from the 16th century, Bernar Venet found a place that allowed him to combine three things: firstly, to exhibit his gigantic works in a hangar-like hall and a sculpture garden. Secondly, to show his important, minimalistic art collection for the first time publicly. And thirdly, to produce such large formats as never before.

My hosts Bernar and Diane Venet

Bernar Venet and his wife Diane, with “Venet Foundation”, made it their task to make accessible and show the work of other artists friends like Donald Judd, Sol Lewitt and Dan Flavin, to the public. On our walk through the five-acre property he bought in 1989, we walk past work by Anthony Caro, Carl Andre, Richard Long, Tony Cragg, Tony Smith, Philip King, Robert Morris, Larry Bell, and Ulrich Rückriem – and the chapel built by Frank Stella for the sculpture garden and decorated with metal reliefs.

In 2017 also the US artist Fred Sandback is honored with the solo exhibition “Pedestrian Space”. And occasionally the collection of Bernar Venet is supplemented by new exhibits. The largest work in the park was created by Venet himself: a 200-ton sculpture of steel arches, which, by the way, are not the result of a mathematical calculation, but are followed by chance. There I stand, dive into the landscape of the South of France, listen to the sound of the river, notice the chirping of the crickets, and can not turn my gaze from these steel giants.  BvH

In the former factory, the visitors always open up to surprising vistas

Visit to the Venet Foundation:

Guided tours are offered in the summer (until 15 September) Thursday afternoons and all-day Fridays. Duration of guided tours approx. 1.5 hours. Only possible with online pre-registration on pre-defined dates. Entrance fee 15 Euros. More information at venetfoundation.org.

The Solo Exhibition 2017:

In the gallery, the solo exhibition “Pedestrian Space” by the US artist Fred Sandback is shown in 2017 …

… view from the gallery to Bernar Venet’s monumental works outside

The Sculpture Park:

View to the former factory, today the center of the Bernar Venet Foundation – infront the work of the artist

The pool is a design by the artist François Morellet in 2008

“Each of my works starts with a 30 to 40 centimeter model. I can see what is artistically interesting. I am looking for aspects that have not existed before, and how I can push the boundaries of sculpture a bit.”

Venet, who lived in New York for almost five decades, described his basic concept as “undefined lines”

Nestled in a romantic park in the South of France …

… is the 16th century mill, which contains parts of Bernar Venet’s collection as well as his private rooms

The Endre, a 29 kilometer river in Le Muy, a place in Provence. The romantic park of the Bernar Venet Foundation stretches on both sides

A tunnel with an “aww”: Through the corrugated hallway of rusty Corten steel, visitors reach the Endre river, which runs along the five-hectare park

“When the sun is at the right angle, there are hundreds of light bubbles glittering inside,” says Bernar Venet, describing the walls perforated by holes

In the studio of Frank Stella, Bernar Venet was inspired by six imposing wall reliefs: “I had a huge respect for him, he was already a giant back then. Still, I wrote a number on a piece of paper, Stella added 40 percent, and I collected the sum within a year.”

Now the reliefs are part of this chapel in the sculpture park and Stella the best friend of Venet

“The collection represents the history of our lives”, says Venet about his works shown here and those of his friends, who are all unsalable

“There are many people who are able to experience access to art only in the public space and discover with pleasure, what contemporary art is and can do.”

A new addition: This work of art will still find its place in the sculpture park

Larry Bell: Something Green, 2017, laminated glass, 244 x 1219 x 244 cm

Robert Morris: Labyrinth, 2012, Fencing, 213 x 1371 x 427 cm

A work of iron chains by the French artist Arman, a close friend of Bernar Venet – the 16th century mill in the background

Steel giants: The biggest work in the sculpture park comes from Bernar Venet himself

The tree trunks are produced in China with a lead alloy, each weighing six tons. Other objects are also produced in France and Hungary

Everything is ready for a lunch with friends on a perfect summer day in the South of France

Bernar et moi: Merci beaucoup!

Contact Bernar Venet:

bernarvenet.com

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In the dining room a painting of Haralampi G. Oroschakoff: the triptych „Russia – Death of Cleopatra – Byzantium”. Stools: American Colonial Period, Table: France 20.Jhd.

Who enters the commodious flat in the old building of Diana Countess of Hohenthal and Bergen and Haralampi Oroschakoff, resorts himself on a time journey and douses into the history of two aristocratic families: there are nearly no objects that do not tell a significant story. The Countess, who was born in Munich, whose family was appointed by Prince Friedrich August I. of Saxony into the earldom back in the sixteenth century, was raised in the Bavarian baroque castle Maxlrain. The Austrian Haralampi is descended from the old Russian noble family of the Bojaren Haralamow, that can be followed back to the eleventh century. Since 15 years the gallery owner and the international successful artist – whose pieces are exhibited by prominent figures like singer Vicky Leandros, designer Jette Joop or Princess Firyal of Jordan – live in Berlin with their children.

The gallery owner Diana Countess of Hohenthal with her husband, the artist and author Haralampi G. Oroschakoff in their Berlin apartment

MyStylery: Apparently you love the change: this apartment is already your third home in Berlin.
Diana von Hohenthal: The last apartment was too small – we needed more space. Now we are here for two years and feel very well. And we remained faithful to the old structures, a newly constructed building will never be an option.

The Vintage Versace chair comes from the Versace gallery in Fasanenstraße in Berlin and was bartered by art. In the back a baroque chest and the view to the study

MS: Where does your passion for old constructions come from?
DvH: I usually perceive newly constructed buildings as too sterile; I could never live in a puristic apartment. As I was raised in a castle with 150 rooms I need a lot of space, high ceilings and air to breath.

The painting “attack” by Friedrich Fehr (1918), in front of a shaman rod of Kazakhstan by the people of Or’schak

MS: Haralampi, you were raised as a son of a fabricant in Vienna and Cannes. And you still spend half of the year at the Cote d’Azur…
Haralampi G. Oroschakoff: The life in Cannes and the view over the ocean are my elixir of life. Down south is a whole other creativity, which is mainly because of the light. Cannes is the core of the whole family.

The chandellier in the dining room is Art Deco from Vienna

In the Oroschakoff’s library, the walls are traditionally kept in red. Art Deco chairs invite you to leisurely browse

MS: Here you immediately notice especially the oriental details and colourful walls.
HGO: The walls in my workroom are red, red is so inspiring. The dining hall is turkeys and the salon always peach-colored. Yet it has always been like this in all our apartments…
DvH: We put everything together which we got, including heirlooms like the baroque commode in the salon or the oriental-artist carpet. That is how the mix of old and new, modern and antique came up.

“Polis / Republican gardens” of Haralampi Oroschakoff G. (1992). Beside the founder time chest and family photos, a Louis XVI chair

MS: Do you always agree in terms of interior?
HGO: Usually. But we have different perspectives in terms of tidiness. Diana tends to build heaps and thinks it is comfortable…
DVH: … and on the contrary for you; nothing should be weird, not even the ashtray.
HGO: That is how my inner system demands it. (laughs)

A painting of the South Russian School (17th century): Patron saint and namesake of the entire family of the Bojaren Haralamov-Oreschak

MS: All those paintings in a flat of an artist is not a surprise really. Interesting is, that the pieces mainly come from other painters. Do you need the space to your own work?
DvH: Not necessarily. There are still some of Haralampis paintings, like the triptych „Russia – Death of Cleopatra – Byzantium” in the dining room that Haralampi gave me.
HGO: The paintings of our Petersburg hanging in the kitchen are presents from Rosi Trockel, George Condo, Michel Würthle or Pascha Pepperstein. We do also exchange paintings amongst ourselves as a sign of respect and appreciation. And that is a good thing, otherwise there would only be distinction and intrigues left. (laughs)

The Petersburg hanging in the kitchen with paintings of Rosi Trockel, George Condo, Michel Würthle, Pascha Pepperstein and others

Haralampi on his regular place in the kitchen and his daily training with “Solitaire”: “There is nothing better for the concentration”.

MS: What would you do without in housing design?
HGO: As a writer an apartment without books would be unacceptable. There would also always be a place for my favorite piece, a Russian icon, which tells the story of the holy Haralampi – Charlampii, after which the Oreschak progeny were named. This name only exists in my family.
DvH: Art is a must. To me, artless rooms are a little bleak. It is strange enough that pictures usually hang too high or they are crooked. Thereby it is so easy to position a painting properly: a hammer, a bubble level and two nails. Done!  BvH

Light reflections in the corridor

Portrait of Haralampi G. Oroschakoff by his friend, the Berlin dandy Michel Würthle (1995)

Portrait of Andy Warhol by Joseph Beuys (1989), a present of the Berlin gallery Klüser

Also a collector: Haralampi Oroschakoff

Above the Noveau Art secretary in the bedroom the painting “Polis” of Haralampi G. Oroschakoff (1990)

In the master bedroom an antique, silk wedding kimono from Japan above the bed head

The Baroque showcase with medals, badges and memories of both families and a family portrait

In the hallway Russian icons and a look into the study

The photo shows the house in Cannes at the Cote d’Azur, the core of the family and the creative workshop of Haralampi G.Oroschakoff

Contact:

www.hohenthalundbergen.de
www.oroschakoff.com

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