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ART & DESIGN CULTURAL CACHET A similar principle is at work at Segera Retreat (, the conservation park in Kenya opened by Jochen Zeitz in 2013, several years prior to his Museum of Contemporary Art Africa in Cape Town. With sitespecific commissions as well as rotating displays by contemporary African artists, it is a place, says Zeitz, where “we have installed the art…to allow for very personal experiences – moments of surprise and moments of intimacy. We want our guests to become immersed in both the landscape and the art and the relationship between the two.” The rolling, bucolic landscapes of the British countryside are also well suited for intimate moments – and the wildlife is considerably less fearsome – creating a natural home for places like Yorkshire Sculpture Park ( uk), a haven for three-dimensional art which, as director Peter Murray says, “was actually quite controversial” when it opened 40 years ago. “We were the UK’s first sculpture park,” he notes, and now it is “one of the largest open-air galleries in Europe”, spanning more than 200 hectares and welcoming a new £3.8m visitor centre this year, to be followed soon by a plush hotel in the stately home at the heart of the property. Jupiter Artland (, in Scotland, is another established destination, marking its first decade this year with permanent on-site commissions by artists Phyllida Barlow and Joana Nic Fiddian-Green’s 3.66m-tall Still Water at Messums Wiltshire Vasconcelos. Head of Exhibitions John Heffernan says that the outdoors is not just good for patrons: “We find that artists love the challenge of working alongside nature, to enhance an already beautiful space, rather than inside a gallery, so there is some really exciting work being produced.” The pastoral ambience is not entirely free of commercialism: Cass Sculpture Foundation (sculpture., set two hours southwest of London, has an expansive sculpture garden with works both for sale and on permanent display, while the nearby New Art Centre at Roche Court ( combines a large sculpture park with a gallery that houses up to ten selling exhibitions per year. To the west, Messums Wiltshire ( is the recently opened offspring of Messum’s in London, a renowned Mayfair showroom, which director Johnny Messum says has become a sort of pilgrimage site for urbanbased clients: “Coming to Messums Wiltshire is an experience…set in an ancient landscape once owned by one of the greatest collectors, William Beckford.” A little farther west still, Hauser & Wirth Somerset ( is the first of the global powerhouse galleries to open a space outside a major metropolitan area, with artist residencies and opportunities for interested clients to stay overnight in a renovated farmhouse. It is truly Anish Kapoor’s immense Dismemberment, Site 1 at Gibbs Farm Martin Creed‘s Work No. 2632 MUMS DADS KIDS GODS, 2016 at Hauser & Wirth Somerset Walter Oltmann‘s woven aluminium suit at Segera a new model of experiencing and collecting art. In France, Domaine du Muy ( has prime selling position, situated between Monaco and Marseille and featuring an impossibly diverse range of sculptures for sale, including works by Claude Lalanne and Yayoi Kusama. Started by gallerist Jean-Gabriel Mitterrand, nephew of the former French president, and his son Edward, the multi-hectare spread began drawing visitors in 2014 and emerged PHOTOS FROM TOP: AL ARMIGER/ALAMY; © MARTIN CREED, COURTESY THE ARTIST AND HAUSER & WIRTH, PHOTO BY KEN ADLARD; CROOKES & JACKSON, © MESSUMS WHILTSHIRE 52 CENTURION-MAGAZINE.COM

“ Come to escape the city; stay to enjoy the art PHOTOS FROM TOP RIGHT: © CLAUDE LALANNE, COURTESY DOMAINE DU MUY, PHOTO BY JEANCHRISTOPHE LETT (2); COURTESY JUPITER ARTLAND last year as one of Europe’s leading sculpture showcases. Southern France is also home to two of the premier non-selling art parks in Europe. The Maeght Foundation ( in St Paul de Vence accents its museumquality modern paintings with a sculpture garden that features pieces created in situ by Georges Braque and Joan Miró as well as others by Alberto Giacometti and Alexander Calder. An hour away, in a particularly picturesque slice of Provence, Château La Coste ( began with superlative wines, then added site-specific art installations by Ai Weiwei, Tracey Emin and others, and now an exquisitely charming hotel – whose message matches the farmhouse at Hauser & Wirth and the luxe refuge under development in Yorkshire: come to escape the city; stay to enjoy the art. There are other idyllic vineyards with ample aesthetic bounty – in Italy, for instance, both Castello di Ama ( and Ceretto ( have significant artistic programmes, while the five-monthold Point Leo Estate ( au) in Australia is also aiming for an international profile with its sculpture garden – but some projects in less traditionally celebrated environs have risen to extraordinary heights as well. Las Pozas (, for instance, was created by Englishman Edward James over nearly four decades, starting in 1947, in the Huastecan jungle of Mexico as a 32ha, out-of-this-world sculpture park that he considered a “Surrealist Xanadu” and remains open today. In the Brazilian tropics, meanwhile, Inhotim (inhotim. displays first-rate contemporary ” sculpture amid a botanical garden of extraordinary diversity Not quite so verdant but much easier to reach, Kröller-Müller ( in The Netherlands pairs Van Gogh paintings with a broad range of modern sculptures, while the countryside north of New York City is home to Storm King Art Center (, which boasts more than 100 sculptures across 200 hectares, and to PepsiCo Sculpture Gardens (, dotted with masterpieces gathered by the firm’s former CEO, Donald M Kendall. The barren wastelands of west Texas, across the American continent, couldn’t be more different aesthetically, and it was partially because of this that American Donald Judd set up a makeshift creative colony, in a small town called Marfa, which remains vibrant today, largely centred on Judd’s Chinati Foundation ( It is a landscape where works of monumental scale make sense and those of a contemplative turn are allowed space to breathe – a perspective that is proven true by Seven Magic Mountains (, a compelling technicolor monument in the equally desiccated desert plains south of Las Vegas by Swiss artist Ugo Rondinone. In the increasingly business-first art world, outdoor installations like this are a potent reminder of what art can mean to us, offering a serene setting in which to contemplate nature’s beauty and our own feeble, wonderful, sublime creations. From top: Pomme de New York by Claude Lalanne sits along the forested path of Domaine du Muy; Wang Du‘s China Daily - Top 10 Profiles of the Urban Male at Domaine du Muy; Cells of Life by Charles Jencks is Jupiter Artland’s most notable piece of land art CENTURION-MAGAZINE.COM 53