TERRA

Curated by Jenn Ellis and Emie Diamond, produced by Milena Berman

Marco Bellini, Anna Blom, Lise Herud Braten, Paul Briggs, Tomo Campbell, Chiara Capellini, Zarah Cassim, Dan Zhu, Nick Devereux, Sidival Fila, Paul de Flers, Laura Gannon, Joseph Goody, David Hockney, Gregory Hodge, Henry Hussey, Mark Jackson, Sarah Launois, Adam Leef, Larissa Lockshin, Kazuya Ishida, Li Tao, Yeni Mao, Matt McClune, Giorgio Van Meerwijk, Lara Merrett, Roméo Mivekannin, Dawn Ng, Christopher Page, Bernard Piffaretti, Victor Lim Seaward, Alex Seton, Shi Jiayun, Caterina Silva, Faye Wei Wei, Sarah Kate Wilson, Emma Witter, Ittah Yoda, Insung Yoon, Osman Yousefzada

20 October – 25 November 2023. Domaine Chandon de Briailles, Savigny-lès-Beaune; Couvent des Jacobins & L’Ancien Théâtre, Beaune; La Maison de Pommard, Pommard

TERRA, installation view, l’Ancien Théâtre, Beaune, Burgundy, France, 2023. Photography by James Retief

First monumental exhibition with leading international artists and galleries in the heart of the UNESCO world heritage vineyards in Burgundy connecting art and wine.

TERRA was a group exhibition of painting, sculpture, and mixed media works across four historic spaces in Burgundy, France curated by Jenn Ellis, of Apsara Studio and art historian Emie Diamond, and produced by Milena Berman of Hautes Côtes. Opening the weekend following Paris Plus by Art Basel, TERRA will respond to the idea of terroir, the concept of sense of place, in the heart of the UNESCO world heritage vineyards of Burgundy. The exhibition will be open to the public on October 21st as part of the vernissage and thereafter can be visited by appointment only until its closing on November 25 just following the 163rd charity wine auction at Beaune’s famed Hospices de Beaune, hosted this year by Sotheby’s.

Works by leading and emerging international artists across multiple mediums from painting to sculpture, ceramic and installation, will be shown in four private spaces in and surrounding the medieval town of Beaune. Driven by a thoughtful response to each location, TERRA will be divided in four parts, each considering a different facet of terroir. Commencing at The Couvent des Jacobins, a 15th century chapel located in the heart of Beaune and owned by Pierre Henry Gagey of Maison Louis Jadot, is a consideration of Time. At the heart of this location is a new installation by leading Singaporean artist Dawn Ng. Made of delicate drips on calligraphic paper, the work speaks to remnants, residue, the action of dripping, and its ephemerality. Ng’s work will be placed in conversation with various sculptural works, each inhabiting a nook of the Couvent, such as Li Tao, Ittah Yoda and Romeo Mivekannin.

Just across the street from the Couvent is the L’Ancien Théâtre, which was built to be the main theatre for the town of Beaune. Also privately owned by the Gagey family, this location serves to think about Story. On the ground floor will be several works by the French/Côte d’Ivoire artist Romeo Mivekannin exploring reinterpretations of renaissance paintings, presenting a reworking of visual history. Walking up the stairs, the visitors are presented with a dialogue between two artists exploring gesture, movement and meditative action. Hanging on the theatre walls are paintings by established Australian artist Gregory Hodge. Layered, delicate, they reference different fabrics and their stories, from their relationship with drapery over to trade and movement. These are in conversation with a forest by Italian artist Chiara Capellini, an installation that includes various ethereal-looking paintings, standing from the ground, encouraging a sea of wonder and subconsciousness.

Moving over to the nearby town of Savigny-lès-Beaune, works will be exhibited across the property of the historic chateau of Domaine Chandon de Briailles: in the tasting room, the orangerie, and in the Versailles-style gardens. Built with a sense of whimsicality, this location will explore the concept of Folly. In the Tasting Room, works by Australian artist Lara Merett will be in conversation with British artist Chrisotpher Paige, leading French artist Bernard Piffaretti, and others. In the Orangerie, addressing its relationship with nature and play, will be a selection of ceramic works by artists working in ceramics, such as Marco Bellini, Kazuya Ishida and Insung Yoon. Moving to the gardens a highlight is a marble sculpture by leading Australian artist Alex Seton, depicting a ‘plastic’ chair playfully placed atop a boulder, which visually speaks to the unique architecture of the site where chunks of limestone were incorporated in the wall’s foundations.

Finally, we are welcome to La Maison de Pommard, an architect-designed boutique hotel owned by Isabelle de Montille. With five beautifully-designed rooms surrounding thoughtful communal spaces and a garden, the hotel is a sanctuary in the esteemed viticultural village of Pommard. Noting its domestic sensibility and delicate relationship with nature, the site offers an exploration of Intimacy. Combining painting and sculpture, placed in conversation with the communal areas of the Maison and its garden are the works of Swedish artist Anna Blom, South African artist Zarah Cassim, Mexico-based artist Yeni Mao, contemporary design gallery Studio Tashtego, and others.

Text by Jenn Ellis


Macarena Rojas Osterling Interviewed by APSARA

‘I love composing spaces, framing spaces, lighting spaces… I think my drawings definitely come as a response to finding control and balance, to keep things in place.’

Macarena Rojas Osterling ‘Draughtswoman’, London 2024. Designed by Estudio Blanco

Tell us about your Peruvian roots, your migration to the UK, and the conditions in which you became an artist, in particular your relationship to the medium of drawing.

I was born and raised in Peru during a very problematic decade in the history of the country. Hyperinflation was skyrocketing and “The Shining Path” – a far left guerrilla organisation – was constantly exploding bombs in Lima. I like to call them terrorists, but some people wouldn’t agree. My identity is that of a post colonial hybrid because although my ancestors have been in Lima since the Spanish arrived back in the 16th century, the country has so many wounds that you are still somehow perceived as a foreign European. I am a mix of the indigenous population and all sorts of northern and southern European immigrants. It is a tricky identity, that of Latin Americans. I came to the UK for a master’s degree at the RCA in 2015 and we decided to stay. I suppose we were craving for a stable land and a richer country? (Although after 8 years here I have to say I infinitely miss Latin American affections).  I honestly cannot remember a time when I didn’t have a pencil and paper or a photographic camera with me. I have been drawing or shooting photography my whole life. I have a constant need to frame thoughts and ideas. 

As you’ve told us, your background in architecture has undeniably influenced your work. This is met by a key fascination with music. We’re curious how you see those realms shaping and shifting in your work. 

It is quite interesting. I always regretted dropping out of architecture school, always, always. And you know I was a bit unlucky because I would have probably not left if it weren’t because the tutors were not the right fit for me. It was a very male and heteronormative space. There was a lack of interdisciplinary references in our design studio practice and a lot of male-driven tension around. So I think I stuck to the one thing I could control, and that was “an idea of” architecture, or an idea of a space or a feeling of a space. Music has always moved me deeply, I can easily cry or feel rushes of blood in my heart if I listen to either someone playing the cello or a Soundgarden song. I have a special feeling for grunge music produced in the ’90s, but nowadays I am keener on the mega basic lyrics produced in Reggaeton. I suppose it connects me to the anti-sublime, the very evident and sensorial Latin American ways of expressing things. 

Could you talk us through your process – how does a drawing begin, what kicks it off? Is it a line, a shape, or perhaps a word? How does the whole pattern unfold?

I love composing spaces, framing spaces, lighting spaces… I think my drawings definitely come as a response to finding control and balance, to keep things in place. I had to survive a very unstable country where we had terrorism, a non-present State, a father who was financially broke, and a very violent and unstable marriage (my parents’). Therefore, my behaviours were shaped by a fight-or-flight environment. I have a lot of noise inside. If you speak to me you realise my thoughts go from A to Z quite easily, I change subjects, I ask a lot of questions, I am too empathetic, and a lot of the classical PTSD you get from childhood trauma. I think the drawings contain me. Not only the performance of the lines is therapeutic, but the frame of the square, the hidden words, the intimacy. 

Right now you’re working on your solo show opening in March in London and you’re in the middle of completing new works for it. Seeing the complexity and time-consuming process of the drawings – how do you negotiate time, as it grows shorter till the moment when they must go? But most importantly, we’re struck by how the works, humorously, make visible the dynamics between the structure of the drawings and your own “internal” time, unexpectedly interrupted and animated by “maternal” time, as you’re a mother of two.

One of my biggest challenges is making the drawings mobile, by folding them, cutting them into pieces and taping them back together. Or just making them small. I always try to make my pieces out of cuts of drawings that fit in an A4 folder so I am able to carry them around trains, planes and general travels. Basically that is what I have been doing since my eldest was born, always adapting studio time on the go: I work everywhere. But yes, it is interesting to see how that internal time is constantly interrupted by my writings on them. There are always reflections on domestic errands, you see shopping lists, bills to pay, medical prescriptions, diagnoses, etc. My eldest boy suffers from epilepsy and there is a whole written question in one of the drawings in which I was struggling to figure out what he had. Sometimes, I don’t want to read back what I wrote. The drawings always end up at home on my dining room table, which is the only bright room and the only rectangular table I have at the moment. So the children always end up interfering, either by invading my thoughts and to-do lists or by physically sneaking some line or signature in the paper itself. 

Your upcoming exhibition is accompanied by the launch of ‘Draughtswoman’, a book designed in collaboration with Peru-based design studio Estudio Blanco. What’s behind the urgency of making this book right now? How did this collaboration come about?

The idea came up after having a chat with a friend of mine who was a fellow at the British Museum and curated the show about Peru in 2023, her name is Cecilia Pardo. She recently suggested I should put together some writing in relation to my work. We reflected on the fact that writing helps artists get interesting perspectives about their own work, it gives a different weight to the work and it creates a sort of closure. I am also inspired by the mere existence of places like Shreeji, that feel like a mix of different personalities, combining casual coffee with an art exhibition or even a book launch. I have known Estudio Blanco since it started and I knew they were going to solve this in a split second. They are extremely versatile and have an impeccable sensitivity for just anything. Pamela Remy, the owner of the studio, is also a friend and collector of my work. Her husband, Aldo Rodriguez has been making music with my husband for a long time. So there are some sorts of intimacy codes that we share and the communication between us is really easy.

Macarena Rojas Osterling was born in 1985 in Lima, Peru. She studied Architecture at the Universidad Peruana de Ciencias Aplicadas and subsequently transferred to the Communications Department, where she graduated in 2009. In 2012 she did the General Studies in Photography Program at the International Center of Photography in New York and in 2017 she received her Masters in Fine Arts at The Royal College of Art in London. Her work has been exhibited in Black Box Projects London (2022) Crisis Galería Lima (2019), Art Lima (2018), Museo AMANO Lima (2018), Camden Arts Center London (2017), Edinburgh College of Art (2016), Museo d