Whilst Charles Leclerc suffered another frustrating afternoon at the wheel of his single-seater Ferrari on Sunday, Arthur Leclerc succeeded where his brother failed by winning the F3 British GP.
Victory for Arthur takes him to second and within just six points of F3 championship leader Victor Martins. Post-race, the young Monégasque was congratulated by his brothers (Charles and Lorenzo), who both watched Arthur take the chequered flag at the iconic circuit.
Arthur looked racey from the offset. Having got a less than ideal launch, he was forced to defend his second position during the opening corners, but having done so, he immediately launched an assault on Zak O’Sullivan’s Carlin.
The Prema driver attempted an audacious move around the outside of Stowe corner, but after pulling it off, he was forced to give the position back as the safety car had been brought out midway through the move.
Leclerc did then take the lead on lap six with a move around the outside of Brooklands, which gave him the inside line heading into Luffield, allowing the move to stick.
Whereas a late safety car undid Charles’ race in the afternoon, as the Monégasque moved from a race-winning position to outside the podium places, Arthur remained unfazed. As he had since the beginning of the race, he held position with good pace and zero errors.
Behind him, O’Sullivan and Prema team-mate Oliver Bearman, both hoping to clinch second place in their home grand prix, had a spectacular late tussle all the way to the line. As the two went side-by-side into the final corner, it was O’sullivan who held position by just 0.051’s of a second.
Post-race, Arthur Leclerc said, “I’m really happy about the win, we gave everything. Finally, a good weekend from beginning to end. We had a good qualifying and started on the front row. It was a hard race to keep it in front, we had a lot of degradation with the rear tyres. I was struggling quite a lot with the tyres but in the end, we made it to P1. Now on to Austria.”
With wind in his sails, Leclerc will hope to carry his form into Austria next weekend, where the Prema and Ferrari academy driver could very feasibly take the lead of the F3 championship.
U Sciaratu, the summer carnival, is back on the Rock for its 10th edition, and this year it has an African theme! Get set for parades, musical troupes and other fun attractions, followed by a DJ in the Place de la Mairie.
Monaco Life, in partnership with the Princess Grace Foundation-USA, is proud to present a monthly series highlighting the lives and artistic work of the Princess Grace Foundation-USA’s illustrious Award winners.
In this month’s exclusive interview, Princess Grace Foundation-USA’s Director of Programming Diana Kemppainen catches up with Princess Grace Award winner Amie Siegel to discuss her origins as an artist, and her epic new work, Bloodlines, on display at the National Galleries of Scotland.
Amie is an acclaimed artist who works in film, video, photography, sculpture, painting and installation. Her work is held in public collections across the globe including The Metropolitan Museum of Art, New York; Tate Modern, London; the Museum of Modern Art, New York; the Kunstmuseum Stuttgart, Germany; and the Solomon R. Guggenheim Museum, New York.
Her latest work, Bloodlines, is a large-scale film installation in which she explores ideas of class and labour, and the relationship between private and public realms. Siegel follows the movement of paintings by English artist Georges Stubbs (1724-1806), from their homes in aristocratic country estates and public institutions across the UK to a Stubbs exhibition in a public gallery, and their subsequent return.
Firstly, can tell us what drew you to the arts or made you want to be an artist?
Amie Siegel: I was always drawing and painting from a very early age, but with a real seriousness. I was lucky in that my parents took me to art museums and talked about art with me, as well as theater, film and fashion. I grew up in Chicago, which is such a striking environment to be looking at and trying to understand as a visual child – the modernist skyscrapers cutting into that huge body of water, Lake Michigan.
We had a subscription to Steppenwolf Theatre, a small 30-person theater, and seeing all those productions, assessing the scenography, the writing, the dialogue, sitting in the dark for hours trying to grasp what was going on and how and why… even when I was very young, I think it made a huge impression on me.
Art very quickly became the thing I cared most about, along with reading and watching films, such that everything else seemed like it would be almost perverse for me to pursue as an adult. I carried that into my adult life for many years, everything else in my world was just utterly subordinate to making things. But, of course, this came from the feeling you get in the process of creating – that you’re onto something and just trying not to lose the thread but hold onto the thing, to keep it alive and shape it into a work, it’s just the best feeling. Everything is at stake, but you’re aware of it, trying to keep it afloat and develop it, until it can settle into an artwork.
‘Bloodlines’, photo credit: Jason Schmidt, courtesy Thomas Dane Gallery.
Your work encompasses many mediums. You work in film, video, photography, painting, sculpture, and installation. How do you choose which medium(s) to work with?
Usually, the project (and medium) chooses me. There should be a clear reason for working within a particular medium or materials, and usually it is a conceptual one. I am often following the journey of objects in my work.
In the instance of Bloodlines, it is paintings. But it has also been archeological artifacts, design objects, even marble, in prior works. Film becomes a gathering place to both assemble and represent the subtle details of an object but also to perform its movements. I actually don’t think of my film works as movies per se but as larger gestures of collage, where something (an object, chair, or painting) is cut out from its background and placed into a new context, and that journey or insertion into a new place speaks volumes about the differences between where an object lived before (how it was used, looked at, or valued) and where it reappears. That shift can tell us about how we care for objects, how we humans construct their values, or perpetuate the values we deem they represent.
Value, culture ownership, and image-making are recurring themes throughout your work. Tell us about Bloodlines, your new installation currently at the National Galleries of Scotland?
Bloodlines was filmed in numerous private estates throughout England and Scotland, as well as in public institutions, and follows the movement of paintings by the English artist George Stubbs (1724-1806) – he painted the British aristocracy: their families, most famously their horses, but also their dogs, hunts, shoots and their ‘exotic’ animal menageries. The film follows the paintings from the private stately homes where they reside and often were originally commissioned, to their exhibition in a public art museum, and subsequent return.
Through these movements, the film creates an intimate look into the world of elite cultural property, questioning the ownership of heritage and distinctions between private and public realms. As the film unfolds, people, property, animals and objects move between the real and the represented, creating a mirror of human, equine and artistic bloodlines. In creating a portrait of the places where these portraits reside, the labour and leisure within them, and the contemporary version of their subjects, the film thus depicts systems of class and inherited wealth, while subtly suggesting colonialism’s role in establishing and perpetuating these structures.
Bloodlines, photo credit: Jason Schmidt, courtesy Thomas Dane Gallery.
Bloodlines was supported in part by a Special Project grant from the Princess Grace Foundation. What did that support mean for this work?
The Special Project grant allowed the work to begin! I had the idea for Bloodlines, but time was passing, and the events I wanted to film were going to happen with or without me. Thankfully, the timing of the grant and its crucial support made it possible to catch the collection of the Stubbs paintings from the various stately homes across England and Scotland, which makes up the first 1/3 of the film.
Support from the Princess Grace Foundation is so meaningful and unique because it doesn’t stop when you receive that initial support as a student, it can continue throughout those critical years when you’re first out in the world as an artist and beyond. That is incredibly rare. I have received many wonderful grants and fellowships over the years, but only the Princess Grace Foundation creates a sustained relationship with artists, who can return for help in creating new works throughout their careers.
The support for my work began in 1999 when I was a graduate student at the School of the Art Institute of Chicago. With that initial grant, I made my first film, The Sleepers, one that was shown at museums all over the world, including at the Whitney Museum of American Art in New York.
What do you hope the audience sees in the work?
I like when a work of art provokes viewers to ask questions, rather than stakes out a clear position or easy answer. With Bloodlines, the questions that arise when viewing the work – who owns cultural property, the persistence of the ruling class, how very much like the past (as represented in the Stubbs paintings) the present seems, the overwhelming presence of the colonial world and its hegemonies to this day, whether my piece is representing portraiture or is an act of portraiture itself… These are not answered by the artwork, but are questions raised by the artwork. It’s up to the viewer to form their own opinions and answers.
Bloodlines, photo credit: Jason Schmidt, courtesy Thomas Dane Gallery.
Princess Grace was also an artist that worked with different forms. She’s best known as an actress, but later worked with pressed flowers and needlework. If you could have a conversation with her, artist to artist, what might you say?
Oh gosh, I might want to share Laura Mulvey’s essay, ‘Visual Pleasure in Narrative Cinema’ with Princess Grace, which explores the concept of ‘The Male Gaze’ as played out in Hitchcock’s Rear Window, a film in which she starred. I would also be very curious to know what she thinks of Bloodlines, given her own Philadelphia ‘Main Line’ background and later entrance into royal life – I would imagine that would be a very interesting discussion about status, aristocracy, and privilege! As to her endeavors with pressed flowers and needlework, certainly a mutual studio visit would be in order.
The Princess Grace Foundation-USA is dedicated to upholding the legacy of Her Serene Highness Princess Grace of Monaco (neé Grace Kelly), and elevating extraordinary emerging artists in theatre, dance and film through career-advancing grants. Follow along at @princessgraceus.
Alongside the UN Ocean Conference in Lisbon, Prince Albert has made a call to action, asking around 100 high-level guests to lend their voices to the plight of the polar regions and support the Two Poles, a Common Future initiative.
The Prince Albert-led talk, Polar Oceans: Driving Force of the Global Ocean, at the United Nations Ocean Conference, held from 28th June to 1st July in Lisbon, drew over a hundred high-level guests to hear about the current situation in the polar regions.
Held by the Prince Albert II of Monaco Foundation, alongside the Oceanographic Institute and the Océano Azul Foundation, a panel of scientists, polar experts and artists came together to discuss the importance of the polar oceans as “vectors of global ocean and climate change, but also the need to contribute to better hear the messages of scientists.”
In his opening speech, Prince Albert said that, “the Poles constitute an essential link in the oceanic system (…) both as regards to oceanic balances, those of species, currents and major planetary fluxes, as well as with regard to the preservation of the climate. For my part, I would like to underline the extent to which this role is also political, as the Poles concentrate, like a laboratory, most of the questions that we face when it comes to acting for the oceans.”
He went on to explain that there are solutions, saying the “prospects for solutions, in particular through a certain number of lines of work whose effectiveness we know” are in sight.
The first session, moderated by Dr Renuka Badhe, Executive Secretary of the European Polar Board, recalled the importance of the Arctic and Southern Oceans on a global scale, but also underscored the need for collaborative and inclusive work. Teacher Michael Meredith, oceanographer and science leader at the British Antarctic Survey, said that there is only one ocean and it provides connectivity on a planetary scale. However, the circulation of ocean currents is already changing and will continue to change in the future with repercussions both on our climate and on ecosystems and global populations. Unfortunately, our current ability to predict the timing and magnitude of these changes in the Poles is still limited, which hampers the implementation of efficient climate policies.
Photo by Gaëtan Luci, Prince’s Palace
Initiating the Polar Ocean Action Plans as part of the UN Decade of Ocean Science is an important step, said Dr Sian Henley, Lecturer in Marine Science at the University of Edinburgh and Vice President of the Southern Ocean Observing System.
Next up, Florence Colleoni, Glaciologist and Paleoclimatologist at the National Institute of Oceanography and applied geophysics (OGS) and Richard Bellerby, Scientific Director for Climate and Oceans at the Norwegian Institute of Water Research, spoke about loss of sea ice, acidification and the effects of these two phenomena globally.
The second session moderated by Ashok Adicéam, Special Advisor to the French Ambassador for the Poles and Maritime Affairs, focused on mediation. The need to evoke emotion to convey messages about the urgency of the situation was addressed. Building stories that directly reach the hearts of audiences, they said, is a powerful way to bring about awareness and to get more active responses from the population.
The talk ended with a call to action, inviting all those assembled to mobilise and lend their voices to the plight of the polar regions. There were five specific ways suggested to do so, and were put into a single document, entitled Two Poles, a Common Future.
The points it touches on are addressing the fact that there is a problem, increasing investment in polar research, minimising pressure on the regions, building collaboration between the Arctic and Antarctic communities, and being a voice for the regions.
Photo of Prince Albert in Lisbon, credit: Sarah Del Ben
Renowned fabric designer Maison Pierre Frey has teamed up with Fashion For Homes to open its first furniture showroom in Monaco.
It is the exciting, but not wholly unexpected, coming together of two family businesses – the Moghadams, famous for the Persian and couture carpets passionately curated by Alexander Moghadam and extended to broader interior design fabrics by his son Kamyar, and Maison Pierre Frey, renowned in the world of fabric upholstery for three generations.
On 15th June at Fashion For Homes, Kamyar Moghadam welcomed Vincent Frey to the showroom on Boulevard des Moulins to share with the media and loyal clientele the exciting collaboration.
Fashion For Homes has been designed to showcase its 15,000 fabric samples on offer; from floor to ceiling, from the elevator to the toilet, the entire showroom is a canvas for the best in fabric design.
After featuring Pierre Frey fabrics for the past two years, Kamyar Moghadam decided to kick it up a gear and showcase Pierre Frey’s new range of furniture, which also now fills the showroom.
Kamyar Moghadam and Vincent Frey, photo credit Alain Duprat
“Our family has worked in Monaco for 50 years, so we have to perform in terms of excellence in service and quality,” Kamyar Moghadam tells Monaco Life. “Maison Pierre Frey is a very specific brand that you can’t get anywhere else in Monaco, because everyone here is all about Italian design. But we are very haute couture, and a little French, so it is wonderful to have a French brand, made in France, beautifully crafted, in our showroom.”
Created in Paris in 1935 by designer Pierre Frey, the family-owned company today designs and manufactures fabrics, wallpapers, carpets, rugs and – most recently – furniture. It is now run by Pierre Frey’s son Patrick, who is in charge of creative design, and his sons Pierre, Vincent and Matthieu Frey, who run the business.
“We decided that the only way we would do furniture is if we could control and manufacture it ourselves,” revealed Vincent Frey. “We wanted to have our own French artisanal furniture makers, our own atelier just outside of Paris where we could find local knowledge and expertise, and source the wood locally. So, that’s exactly what we did.”
Furniture by Pierre Frey in Fashion For Homes, photo credit Alain Duprat
Maison Pierre Frey recruits different designers for different furniture projects. This time, they have secured the creative designs of Wanellato/Bortotto, Gesa Hansen, Charles Tassin, Charlotte Juillard, Gonçalo Campos, Sandra Benhamou, Guillaume Delvigne, Constance Guisset, Christophe Delcourt, and Sam Baron.
“For us, it was important… I guess it is a particularity for luxury companies run by a family, that we didn’t want to make furniture that you feel like changing in five years; it is something that your family will live with for years and years, hopefully generations,” said Frey. “When you are bored with it, you can just reupholster it with another fabric, but these are made to last, and that’s why we make them in solid wood, which is also why they are sustainable.”
And the style?
“Everything we do is eclectic,” concludes Frey. “Every model comes from an encounter between a creative designer and us. We don’t limit ourselves, it could be super modern or super classic. Just like our fabrics.”
Top photo credit Alain Duprat
Amy Taylor: “This film exposes the truth, but also solutions”
Monaco Life speaks to Amy Taylor, director and producer of the documentary film ‘Milked’, a controversial exposé of the detrimental effects the dairy industry is having on the environment, human health, and animal welfare.
Milked, Directed and Produced by Amy Taylor alongside Executive Producer Suzy Amis Cameron, won Best Documentary at this year’s Monaco Streaming Film Festival Gala. The film includes interviews with world famous Primatologist and Anthropologist Dame Jane Goodall as well as Cowspiracy Co-Director Keegan Kuhn. The project is also supported by Academy Award-winning Director James Cameron who called the film a “powerful wake-up call that the world is getting Milked.”
While the film focuses on the dairy industry in New Zealand, it is also a global story that addresses climate change and sustainable solutions for a better planet. As Amy Taylor told Monaco Life, being the mother of an eight-year-old son, she felt it was important to teach younger generations about eating healthy plant-based food that is ethical and sustainable.
MonacoLife: What inspired you to create the film Milked?
I have a background in marine biology and environmental science, and I shifted into wildlife filmmaking with a focus on whales and dolphins. As I became more aware of the horrific impacts of animal agriculture around the world, I decided to start creating films with a plant-based theme to try and encourage positive change.
I used to take people swimming with whales and dolphins – humpback whales in Tonga and dolphins in New Zealand. I also made a feature documentary about a friendly wild dolphin (Soul in the Sea), which was nominated for a prestigious Jackson Wild award. Somehow, I shifted from filming marine mammals to filming cows.
How is New Zealand positioned compared to other countries with regards to dairy industry greenhouse gas emissions?
We’re quite unique in that the dairy industry creates nearly a quarter of our emissions. But we aren’t the only country with high emissions from animal agriculture – there is an international report called ‘Emissions Impossible’ that shows that the top five meat and dairy companies around the world produce more greenhouse gases than oil and gas companies like BP, Exxon Mobil or Shell.
Milked Presenter and Co-Producer Chris Huriwai, Executive Producer Suzy Amis Cameron, and Director and Producer Amy Taylor
How did people in New Zealand react to your film and what has been their response?
It’s mostly been very positive, especially from people who have actually seen it instead of judging it without watching. We had screenings around the country as part of the New Zealand International Film Festival, and Milked was the most popular local film.
What do you hope to achieve from your film?
I hope that people will make the decision to at least go a little bit more plant-based. And I also would love to see governments helping farmers transition out of animal agriculture. That’s what needs to happen, and because there’s a huge agricultural disruption on the way, we need to help them out sooner rather than later.
How did you get Suzy Amis Cameron involved in this film project?
I was aware that Suzy and James Cameron had bought a dairy farm in New Zealand, and they were transitioning into growing organic vegetables. So, I contacted Suzy and asked for an interview and was lucky that she accepted. When she saw a rough cut of the film she was hooked and decided to come on board as executive producer. They both love the fact that, as well as being an authentic story that exposes the truth, it’s also solution-focused.
What needs to happen next?
People around the world need to shift towards a plant-based diet, and we need to support farmers to transition to regenerative plan-based agriculture. We can then rewild some of the freed-up land which would help with the climate and biodiversity crisis we currently have. People would be a lot healthier (especially eating a wholefood plant-based diet), and animals and the planet would benefit hugely also.
You must be proud to have won the Best Documentary award at this year’s Monaco Streaming Film Festival. Can you tell me your thoughts about the festival?
I’m so grateful to receive the award and to have been part of the festival, it was a fantastic event run by some incredible people.
How long have you been eating plant-based?
I’ve been plant-based for around 30 years, long before it was even called plant-based.
What inspired you to stop eating meat and dairy?
Originally, it was for ethical reasons and then I discovered the environmental and health impacts. So, it’s a combination of all of those things that make it easy for me not to want to consume animal products.
It’s always interesting to hear how vegan adults get children involved in eating plant-based. Can you tell us if and how you are raising your son on a plant-based diet?
He is plant-based and he’s chosen that himself to some extent – he basically decided to consume no animal products at the age of four (he had previously eaten eggs and fish occasionally). I tried to lead by example, but I didn’t want to be too staunch with it, knowing that it would be better for him to choose that himself if I provided the information and delicious plant-based food.
A scene from Milked
What’s a good way for teenagers to discover plant-based diets and incorporate that into their way of eating?
I think watching documentaries like The Game Changers is a great way for teenagers to learn about the benefits of a plant-based diet. It’s really about watching anything that inspires you to make that change, I think that’s really key. It’s not actually hard to make the change but you need to know your ‘why?’. The other films I would recommend on Netflix are Cowspiracy and What the Health. I’d also suggest reading books like Suzy’s OMD book. It’s easy to just switch out one meal a day to start with if people find it daunting to go 100% straight away.
What is your next film and when can we expect to see it?
I’m developing a documentary at the moment about a dairy farm transitioning out of dairy; it seems like a natural sequel to Milked and is much needed also. There are some great people involved and I’m excited about the “how-to” nature of the story. It’s still early days so I’m not sure when that will be out in the world yet.
