The array of artistic interpretations is evident, from works confronting environmental issues threatening wine-making (exemplified in the plastic fragments in the soil surrounding Pascale Marthine Tayou’s Cerf Contrôle) to the humorous play on words in Dewar & Gicquel’s L’escargot, La Chaussure de Travail et La Flûte à Bec. Yes, that’s a flute of the musical variety referencing the champagne flute.

Through time spent in conversation with the artists, Gautrand shaped the landscape design with a sensibility towards individual artistic interventions. “I collaborated with the artists in a very strong way so that the work and the garden were in total connection. For example, I chose certain trees specifically for the artist Thijs Biersteker or proposed large existing trees so that Lélia Demoisy could create her work. Finally, with the land artist Nils Udo, nature had to be omnipresent. Great care was taken in staging the plants around his work.” 

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10 For Paris Art Week

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FAD: Interview with Oisín Byrne - 'smell the book' at Mount Stuart