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Archive for the ‘Leading by Being’ Category

art room

3D Art room by 12 years old at BKO Academy – Feb 2017

I recently realised that it’s almost seven months since I saw an airplane from the inside. That’s indeed the time I am into my long-term sabbatical as Petervan Productions. It also means I am about halfway: another seven months indeed between now and end 2017. If you are interested in my developing story, my Jan 2017 and March 2017 updates are still available.

A quick update:

March-April felt like a period of soul-searching and reflection. I constantly had the impression I was not doing much and progressing very little, but writing this update gave me some comfort: there still is some advancement towards my goal and that of Petervan Productions.

I feel less restless than in the first couple of months, and can accept that a day goes by without any concrete deliverable. I also made some minor changes to my daily schedule, which is now more in synch with nature. For example, when the weather is great, I go outside for a bike ride or some gardening, and that’s why I already got a nice pre-summer tan 😉 And when it rains, it’s time for desk work. As there is enough rain in Belgium, there is enough time for desk work.

Artschool

Artschool continued at +/- 9 hours per week practice in the art studio of the art academy. Got a challenging color-study from my coach, which also led into a remake of “The Drama”. I also started liking the use of many very transparent layers.

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Two completely different works
Both acryl on cotton canvas stitched on wooden board
122 x 82 cm

Performance

  • I had many 1-1 conversations with friends and relatives to collect feedback on the performance “Tin Drum Is Back”. Thank you so much for the very valuable feedback!
  • Did some site visits to find the ideal location for the performance. Nothing came really close for the final show: some spaces were great, but the acoustics awful. And for some good news I got commitment from two sponsors to use their space for the dry run and Avant-premiere.
  • I also received some first proposals for the visual identity of the show there is much more, but this would be the main theme:

tin drum visual

First mood board for “Tin Drum” performance

Events

Nothing special here. As you know from previous updates, I am not in active prospection mode, and every request is measured against my existing priorities:

  • There are 1-2 interesting speaking engagements that allow me to test some of the performance and/or structural change concepts.
  • One promising lead for an immersive learning expedition with artistic performances.
  • Little progress on the retreat-style event.

Other

I visited some great art exhibitions and had some very pleasant conversations with art curators.

Inspiring also were the visits to the new site of Axel Vervoordt along the canal in Wijnegem (Antwerp) and the visit to ceramist Piet Stockmans in Genk, and the premiere of the film about Dries Van Noten in Bozar.

Piet Stockmans blue

Piet Stockmans – Blue plate

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Extract from film Dries Van Noten

And I also started experimenting with some poems, some out of the blue, others in relation to some of my artwork. A first collection via this link.

So, what’s next?

During May – June 2017, the plan is to work on:

  • My daughter’s communion is on 14 May 2017. We plan to keep things simple, invite some close family in our garden with a back-up tent in case of rain, and some quality food and drinks brought in by a local caterer.
  • Creating an installation for the June 2017 year end exposition of my art school; the installation will be called “TOKOMA”
  • A visit to a research facility in Germany that integrates artists in industrial research project work
  • The production aspects of the performance
  • Continue the research on structural Deep change – Good Change – Bad Change with some excellent feedback from my social media community.

This year’s summer promises to be different as well. We decided to move houses to be closer to the Flemish Primitives. Emptying the old house, refurbishing the new one, boxing and un-boxing will keep us busy most of the summer. The new house was previously a doctor’s practice, and the plan is to organise one space as an artist’s atelier/production studio where I plan to study, paint, write poems, compose music, and produce experiences.

Michael Landy atelier

Detail from Atelier Michael Landy

That’s about it for this edition. If there is something worth reporting, next update is for July 2017. Looking forward to hearing from your latest adventures as well.

Rebelliously yours,

petervan-signature

I am in the business of cultivating high quality connections and flows to create immersive learning experiences and structural change. Check out: https://petervanproductions.com/

 

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Yesterday, there was a news item on Flemish Television on the upcoming opera performance of Puccini’s “Madama Butterfly”, that will be performed at the Brussels Federal Opera House De Munt / La Monnaie (31 Jan – 14 Feb 2017).

What touched me was that Madame Butterfly was played by a puppet, directed by three puppet players (visible in black). The effect is mystical. Check out the end of this video (comments in Dutch, but that should not spoil the experience).

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Opera Madame Butterfly - De Munt - As from 31 Jan 2017

It made me think about a passage in David Byrne’s wonderful book “How music works” (Amazon Affiliates link). I am reading it in the context of my performance for Petervan Productions.

how-music-works

At a certain moment, David Byrne describes how his thinking about a show – a performance – was influenced by traditional Japanese theater forms such as Kabuki, Noh, and Bunraku.

Example of Japanese Kabuki theatre

 

“The tour eventually took us to Japan, where I went to see their traditional theater forms: Kabuki, Noh, and Bunraku. These were, compared to Western theater, highly stylized; presentational is the word that is sometimes used, as opposed to the pseudo-naturalistic theater we in the west are more used to.” 

“The character had in effect been so fragmented that the words they spoke didn’t come from close to or even behind that puppet. You had to reassemble the character in your head.

As in Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and “unnatural.” It began to sink in that this kind of “presentational” theater had more in common with certain kinds of pop-music performance than traditional Western theater.”

“There was no attempt to formally separate the ritual and the show from the audience. I quickly absorbed that it was all right to make a show that didn’t pretend to be “natural.” To further complicate matters, I decided to make the show completely transparent. I would show how everything was done and how it had been put together.”

Check out the video footage of the resulting “Stop making sense” Tour. The show starts with a heavenly version of the song “Heaven” on an empty stage. At minute 2:30 you will see the first elements of the stage being rolled in.

The whole show is super enjoyable, and if you want to know what “playing tight” means, check this awesome version of “Breaking down the house”, which does exactly what you would expect.

 

Sometimes I think I have to stop trying to “make sense”. Better would be to “make meaning”.

All these reflections are related to my upcoming performance “Tin Drum is Back” (subtitle: “what is/what could be”): the performance design is evolving well, with detailed script being written as we speak.

Part of the story is looking back into ones youth (5-10 years old), look at what was forbidden then: for some people that is an area of talent they have neglected to develop. In my case, it was a tin drum I got when I was 6 years old, and the story of rhythms in my life and in my work. As the script develops, the narrative arc seems to be about evolving archetypes and levels of maturity.

Scripting is not “only” the storyline, but also the staging, transition, props, lighting, etc… And all visuals, sounds, and word are self-composed, self-created. Should be ready around March, although I may pick up some delay.

It starts feeling like theatre by an amateur 😉 So, performing “tight”, in some theatrical form, with costumes, masks, props, and stage being build-up as the show moves along, is certainly inspirational.

I see “Tin Drum…” as a teaser for a bigger story on multi-media corporate narratives, where – who knows – I create commissioned performances on less tangible topics (less tangible than “what problem are you trying to solve?”). I indeed think that a lot of the work I am preparing is steering away from the problem-solving orientation, and give more room to the creative orientation of “what do I want?”

What do you think? BS? Did I smoke too much ? 😉 Please don’t hesitate to share resources and serendipities that this post may generate.

More general Jan 2017 update here:  https://petervan.wordpress.com/2017/01/08/petervan-productions-jan-2017-update/

Rebelliously yours,

 

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I recently had some conversations with prospective clients on the need for alignment and coherence of physical and emotional space when trying to create great experiences. I started to call them “sacred spaces”.

As you know by now, I am not in the events business. I am in the business of creating high quality feedback loops to enable immersive learning expeditions and deep change. In essence, I want to resonate with my client’s guests at another (additional) level than the pure cognitive. I believe this ambition also requires its own awareness and vocabulary, but more about that in some later posts.

One aspect of that vocabulary is our expression of sacred spaces. What first comes to mind is a church, a cathedral, some religious building of some sort.

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Sagrada Familia – Barcelona – 31 Oct 2014

In the best cases, the moment you come in, you are struck by a lightning of beauty, awe, stillness, and grandeur. The entry into the space feels almost ceremonial. You cross the entry, the line between outside and inside. The experience of the space sends vibrations down your spine. You feel suddenly whole and small at the same time.

This whole- and small-ness creates some kind of safety; some form of familiarity that this space is the right space, that this space is right. Just right for what it was designed for.

I think in similar terms about the spaces for our experiences.

Our spaces must be safe spaces. Closed as with an entry door. The entry into the space is a ritual moment. The coming out as well. It must be a physical experience: guests have to walk through the “arc of change”. They must do this in a “communion” style, as a collective, creating a visceral experience of the collectivism in their change process.

The space is about “roundness”, round as in circle, but also round as in generative, coming back to the starting point with new insights.

The space becomes a pulsing “egg”, a “womb” that will be our “nest” for a couple of days. It has of course to do a lot with right spaces for humans, and Jean Nouvel’s views (video here) on architecture. The video is also called “Reflections”, just like the latest from Brian Eno, one ambient song of 54 minutes (interview here)

jean-nouvel2

“Combining big bold shapes with intricacy and delicacy. The ability to be bold and delicate at the same time. The relation between time and light. The sphere above, the cupola. A spiritual space.”

I love the idea of the cupola. In my opinion, the closed space described above needs a roof – like a cupola – with some lattice membrane. But at the same time, the space needs to be “porous”, with light (the crack) coming in through the lattice, and light (enlightenment) coming out to inspire others. Or even better, some form of post-enlightenment as in Danny Hillis’ entanglement.

And light itself can also be the “roof” and the trees of the space forest. Check out this wonderful video of Fujimoto’s light forest:

light-forest

 

I shared the video with my good friend Marti Spiegelman, who replied:

Thanks for the link – this is extraordinary. It reminds me that sometimes the light itself is the sacred space – I’m thinking of the light beam on the floor, when one of the walkers stands in the light – and sometimes the light creates the boundaries, or defines the edges, of the space – as in a forest when there is a small round clearing, it’s traditionally considered to be a ‘power spot’’ [another name for sacred space] where you can call in greater powers of nature and the universe to create change.”

I was looking for some good description of sacred and sacredness. I think I found it in an article about a fashion book by Belgian fashion designer Ann Demeulemeester.

book-demeulemeester

“It looks and feels almost sacred, with pages so thin the images can be seen on both sides of each sheet; it’s a truly delicate beauty. For this reason, every single page is printed only on one side, creating a uniquely singular reading experience. The size and weight of the book gently contrasts with the fragility and smoothness of the paper, while the almost total white of the inside is in opposition with the blackness of the sides and the linen cover. Text is kept to the essentials, limited to an introduction by Patti Smith (Demeulemeester’s longtime muse) and a short final dedication by the designer herself. The book was designed by Victor Robyn, a Belgian graphic designer who has been in charge of realizing Demeulemeester’s graphics for years—from show invitations to printed fabrics. The art direction is curated by Victor Robyn, Demeulemeester herself and Patrick Robin, her life and business partner.”

Happenstance that I visited this week Casa Argentaurum, an art gallery in Ghent run by Caroline De Wolf, who kindly opened her space for me. It was one of the last days of the exposition about Ann Demeulemeester’s jewellery.

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Necklace – Ann Demeulemeester – Casa Argentaurum

At the end of our conversation, Caroline gave me a copy of the catalogue of the 2010 exposition “Things, Thoughts, and Territorities”.

book-andrea-branzi

The book has some great design drawings by Andrea Branzi, and also a wonderful testimony of the artists’s love relation with Belgium (mostly Flanders btw). Somewhere half way, there is this superb quote:

“Architecture is not the art of building, it is a very complex discipline,

interpreting history, technology and the changes in society.”

It could have been the tag-line for Petervan Productions, as I see myself as the architect who conceives, gives birth to the vision together with the client, and then pulls together and orchestrates the resources, experts, and artists to create a unique experience in search for the secrets of life.

But “you can’t find secrets without looking or them” (quote by Peter Thiel in his book “From Zero to One”), so I am looking for your views on what you would expect from a sacred space.

I am looking for architects, space- and stage-designers to be part of our collective of leaders, visionaries, artists, craftsmen, designers and producers.

If you are interested to be part of that calling and dialogue, you can just leave a comment on this post.

Rebelliously yours,

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Petervan Photoshop collage as part of study on Peter Doig
Theme: Culture and Nature – Dec 2016

 

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Pre-Study Peter Doig - Sketch Dec 2016

 

Happy New Year to you, your friends and your family! Hope you are doing well.

As you know, I left Innotribe/SWIFT in Nov 2016 for a long term sabbatical to create my own thing under the Petervan Productions umbrella. My ambition is to architect and create high quality feedback loops to enable immersive learning experiences and deep change.

A quick update:

  • Artschool continued till the holiday break, starting again next week. We try to get under the skin of artists, and then paint an image in their style. Currently looking into Peter Doig.
  • Nov/Dec 2016 was a period of getting to grips with some tools for my performance: music, image, video composition tools
  • The performance “Tin Drum Is Back” is targeted for end March
  • The retreat event for Sep
  • The content festival for Nov
  • A lot of reading and a lot of posts in the queue

 

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“Concrete Cabin” by Peter Doig - 1992

During Jan-March 2017, the plan is to work on:

  • Detailed scripting of the performance
  • Build and expand the collective of leaders, visionaries, artists, craftsmen, designers and producers

project-plan

Extract project plan performance per week.

I am very focused (yes, working on a 8+ hour daily schedule and a project plan). I am about one week late compared to initial plans. Being focused also means saying “no”. As you may have noticed, I have drastically dimmed my social media activities, and kindly reject any requests for consultancy, speaking engagements, etc.

I have 1-2 leads that want to work with me as their architect for immersive learning experience events. But I am not in active prospection mode.

Every request for collaboration is assessed against the objectives and priorities for 2017: the art, the performance, the retreat, the festival, and to see how far I can get with all that in one year’s time.

If there is something worth reporting, next update is for Feb 2017. Looking forward to hearing from your latest adventures as well.

Rebelliously yours,

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As many of you know, since begin November I am trying to create my own thing called “Petervan Productions”.

The scaffolding is already in the works for many years, and I am still hesitating whether I will once publish the 100+ page reflections on the intentions of all this, what I think this enables, and then working down the tactics such as outcomes and deliverables.

Besides the artwork and the research bit of my activities, I spent quite some time in re-thinking what “events” could be like. And thinking of my customers as “guest”, not consumers. What I am trying to offer is a one-stop-shop for unique immersive learning expeditions in emotionally and physically right spaces for humans.

So anything that gets me back to my architectural roots of “right” spaces for human beings makes me a bit poetic. In this case this very nice article in Aeon about the French architect Jean Nouvel, all about light, geometry and symbolism to re-imagine culture.

The core of the article is a very nice video. As usual, I made the transcript of the video, and added some poetic highlights and typographic reflections by myself. I have stopped adding comments and trying to explain. My guests are smart enough to make up their own minds. Explaining would be an insult.

jean-nouvel1

 

Each project is an adventure, a passion

The biggest temptation

Is to jump into it

There are solutions that come to you

There are images that spontaneously appear

My method is rather to hold back as long as possible

To really imagine it spatially

So, to be sure that I have something to say

These moments where you understand somebody cared about something

That’s when you feel

 like “oh yes,

this is a human thing,

not some robot that

put something together”

Simply living there is a cultural act

Combine big bold shapes with intricacy and delicacy

The ability to be bold and delicate at the same time

jean-nouvel2

The relation between time and light

The sphere above,

the cupola

As spiritual space

“Perhaps we have to keep dust”

jean-nouvel3

Create a space, no inside, no outside…

jean-nouvel4

“We have principles, and these principles we have to nurture.

We nurture them.

We deepen them.

And with them,

we invent…

something else”

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Hello Tribe,

This is a post to share that I’m taking an extended sabbatical from Innotribe and Swift after some of the most amazing years of my career so far. It has been such an exciting journey working with many of you creating and enabling Innotribe to grow. Thank you for letting me being part of that journey.

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Quote by Abel Morales (Oscar Isaac) in “A most violent year”. 

Poster copyright: Lessons Learned in Life

 

Now the time has come for my next phase as an independent thinker, creator and sense-maker, as from 1 November 2016.

I will concentrate my – limited – professional activities under “Petervan Productions”. In the first instance I will create art, performances, and invitation-only retreat expeditions.

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I believe there is room for a new kind of experiences that resonate with your and my guests at another level than the pure cognitive. Holding a space to connect thought leaders, experts, and artists of all kinds, and to bring out the very best in you and them. The art of creating high quality feedback loops to enable immersive learning experiences and deep authentic change.

Mastery and excellence will be my guidance, but mystery is what I aim for.

Focus means deep work without distractions. Focus also means saying “no”. For the next couple of weeks/months, I will live under a rock. I will dramatically reduce my social media presence and activity. But will keep blogging and writing occasionally.

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“Creative work needs solitude.

It needs concentration, without interruptions.

It needs the whole sky to fly in, and no eye watching

until it comes to that certainty which it aspires to,

but does not necessarily have at once.

Privacy, then. A place apart

to pace, to chew pencils,

to scribble and erase and scribble again.”

 

Mary Oliver in “On Power and Time”

+++

It’s a jump into the unknown. It is a fork from the responsive/reactive orientation to solve problems to the creative orientation to architect, design, and produce what I really want. It is tapping into what Nilofer Merchant calls my “onlyness”, when my edge becomes the core.

I’d love to keep in touch with you all, so if you would like to connect please do so via my personal email or the usual social channels. You can also subscribe to the Petervan Productions Newsletter here.

See you on the other side. Onwards.

Rebelliously yours,

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Blogging and writing:

Mantra: “Imagine the kindest, most positive response to whatever comes your way” – Chade-Meng Tan

 

 

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“Métier” is usually defined as: profession, craft, craftsmanship, and workmanship. I already touched on this in my blog post on Craftmanship (Sep 2015).

Craftsmanship, Historical Coherence, Musicality, Authentic Observation, and Creating The Dance between host and guest are critical components of the Essence of Work.

Tradition is about building on the shoulders of giants, to “craft” deep into the meaning of tradition, to internalize tradition, and to pass it on in your work and onto next generations.

Tradition is not seen as non-authentic, but a source for energized work.

What is driving these people to strive for unconditional excellence?

I was reminded of this when discovering last week’s edition of the Belgian TV Art programme “Tout le Baz-Art” on the RTBF Channel that focused on evolution, tradition and art that is “academically right”. The programme was curated around Belgian super-star musician Ozark Henry.

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Ozark Henry – cover of his album “Stay Gold”

One of Ozark’s guests was my good friend Peter Hinssen, as apparently Hinssen introduced Ozark Henry to 3D as an additional dimension to his superb musical expression. But the other guests included Sam Dillemans – one of the recent hypes (well, since 2010 or even before) on the Belgian art scene. Sam’s discourse also made me think about the essence of work of Michaël Borremans, the other big name in contemporary Belgian art.

All three have to say a lot about their “Métier” – their profession – and the intensity and clarity they have in creating extraordinary art-work. I found it highly inspiring: the way they stand in life and the mystical qualities they aim for.

Below some extracts/transcripts of what they shared in different videos:

Sam Dillemans

“I’ve always compared myself to the great artists. I’ve always done that. I am constantly healthily frustrated. That’s why I will always continue to work. Compared to modern artists… Victory is easy if you have an eye for it. You have to compete with the greats. That’s why I always work like crazy”

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Rembrandt – Self Portrait – 1659

“If you show me Rembrandt, I panic because there’s still so much work. They say Rembrandt was before. He is tomorrow. That’s the difference. Rembrandt wasn’t before, he is tomorrow.

“A white canvas is the worst thing an artist can face. I did not say that. Picasso did. And if he says so… you can imagine what that means for us.”

“I have the ambition to continue painting till I’m 90. I still have so much work to do. If Picasso painted for 80 years, I’ll need 320 years. I don’t think I’ll succeed.”

“It’s my ambition to grow as old as possible. I don’t want to see others growing old and decaying with me.”

“But I’d like to realize my plastic dream as much as possible.

I’d like to get as far as possible.”

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Eddy Merckx – most successful cyclist ever

“The thing people lack nowadays in my opinion is veneration. People don’t often see others as gods anymore. They do like to idolize them. Merckx is a better cyclist than Sam Dillemans. I won’t point out the weak points of a god. To say he’s as small as I am because of his human side. The distance isn’t that great.

“Michelangelo also had to go to the bathroom. But put us in the Sistine Chapel and we don’t make it up the scaffolding.”

“That’s what’s important.

We have to be able to be in awe.

Of something or someone”

“Everything is fragmented. Everyone does everything, but nothing well. Everybody is an artist. If you ask someone on the street what he or she does in their spare time – apart from a lot of rubbish – one bakes pottery, another one paints, a third one plays guitar. We’re all wonderfully creative.”

“A lot of people are creative,

but not many are artists”

“I don’t mind. I support that democratic system. This is the problem: this 93-year-old crone, who baked two pots, wants twenty exhibits. That’s tiresome.”

“A part-time painter is the worst. People who are partly something are the worst. You have to try to be whole. That demands sacrifice. The worst sacrifice is being half.”

“Many people choose it freely. They compromise.

“Life is full of compromises, but art is not”

“You always have to question yourself during your ongoing studies. You don’t need to become self-centered, but you discover your inner self. Without psychedelics and philosophies.”

“We have lots of possibilities, but hardly anyone stops to look at a tree and to admire it and say “That tree is beautiful!” That is over. It happens but rarely, and even then only on Sunday, with the kids, and a giant buggy. “Today we will watch trees”.

“They go to Walibi (a sort of Belgian Disney Land), or to an exhibition of modern art, as modern as possible. Then they are hip and trendy. They don’t want to seem old fags. But of course they are. A young fag would look at the world like Jacques Brel, eyes wide open. They are obsolete. But they think they are trendy.”

“Being trendy is dying a little.”

“You don’t have to be hip, you have to know poetry or anything which is not influenced by time. Then you have a chance to approach godliness. In conclusion, what do people do with their free time?”

“They fuck it up.”

Michaël Borremans

Jan Hoet, who was the founder of the Museum of Modern Art in Ghent (SMAK) said about Borremans:

“Studious, pleasingly, nicely painted, it all looks so perfect. On the other side he is a bit unruly, recalcitrant, also a bit morbid, a little austere…” and Ann Demeester commented: “Michaël’s works is very subdued, mysterious, vs. bombastic.”

His paintings are cinematographic. He also launched himself into video and cinema. Using all senses to resonate with his audience at some many additional levels beyond the pure cognitive. Borremans continues:

“My work has no documentary value whatsoever. It is all imagination. That’s why I am painting. Cinema also has a lot of this. But a film is not my sole merit, you work with other people, who each have their own contribution”

Michaël is a difficult person, rigorous and strict for himself, with a greater technical maturity then many of the other contemporary painters.

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Prince Philippe Prosper by Diego Velasquez - 1659

You really have to listen to Michaël Borremans explanation of the above painting at minute 33 of the documentary.

“The resounding “éclatant” aspect of Velasquez’ work, it always remains fresh.

“The accents being made, the structures,

almost like notes and chords in music,

a very sensual pleasure”

“Painting with a long stick, to keep the spontaneity. Unrivalled technical virtuosity”

“I want to stay professionally focused, and remain faithful to what in want (in the artwork). A painting is a suggestive construction. Getting better, and more sophisticated in the painterly technique. Capacitate myself to make the best paintings. It is not pleasant to make so many paintings that are almost ok”

Back to the RTBF TV programme. Sam Dillemans continues here:

Embracing Rubens – Leaving Rubens – by Sam Dillemans

“That’s where I left Rubens. Most important is that you first embrace Rubens, you get deep under his skin, and you study him. That’s what I did when I was young: the thigh muscles, the calf muscles, the calf bones, the ankle joints, etc.”

“I was drawing like crazy on Rubens, and Holbein, and all old masters, to be able to leave them when I really knew them.”

anna-pavlova

“Like Anna Poplova – the great dancer – said:

Master technique

then forget about it

and be natural.

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Paul Cézanne – Still life with apples

“The most important is how you paint, not what you paint (Jesus or Maria, etc). You can do the same with apples or radishes. Cézanne changed the history of art with just some apples. “

“For me form is the most important.”

“I started very realistically, and ended in a very abstract way. I have the tendency to always start very faithfully to reality. Not goody-goody realistic, but very recognizable. But always with a certain “schwung”, my own “schwung”, my own signature.”

“And then I leave that realism. After five years that then ends in structured chaos. It ends in calculated arbitrariness, quite chaotic. And that happens in a very natural way. I never have to force myself. I just follow my nature.”

Then Ozark and Sam in a conversation on trends:

“These days, you don’t need to be able to read musical notes. You don’t need to know anything. You make music by intuition.”

“You have to be creative as from the age of seven. How can one be creative without “métier”? It is métier that makes you free. If you have a lot of métier, and you have suddenly an idea, then you don’t need to think “how do I make this?” or “What am I doing?”.

“Métier makes it possible to follow your impulse. Because your whole body is trained for it.”

“Métier is the great luxury

to be a free human being.”

“When Picasso draws seven lines at the age of 85, then those lines are building on 75 years of study and knowledge”. If we draw those lines, we risk missing the ball.”

“The three great artists are Dostojewski for literature, Van Gogh for painting, Mozart for music. But Mozart can again be considered as cliché, and that’s not considered alright anymore.”

“These days, you have to come up with a strange name from Georgia or whatever, somebody nobody ever heard about. You are not allowed anymore to be normal in your taste or preferences.”

The programme ends with a musical pairing with the famous Krug champagne.

caves_couleur-krug

Kruge Champagne cellars

“The creation of Krug is very musical. It is a house where the founder had a dream. He wanted to create every year the richest symphony of champagnes. The approach of the house is a musical approach. We listen to each little vineyard, like a musical director listens to the orchestra.”

“A grand cuvée is like a music score”

“The art is in the experience: you enter the ballroom, the orchestra is getting installed and starts to play, everything is there, and there it is, and you live the moment. Like Tsjaikowski’s 6th symphony in b-minor: the way the music score opens all the colors of the orchestra and you discover. Like a room that opens, and you discover all the colors, all the nuances, and a total experience.”

It made me think about a comment by Fabian about the last Innotribe Sibos edition: “Peter created his 9th Symphony, and day-1 was his Allegro”. But creating one’s 9th symphony is at time a lonely place.

“But what makes you lonely,

makes you radical.”

What if in our professions, in our “Métiers”, we would all adhere to these highest standards? And be radical in the quality and total experience we aim for?

What if we would always compare ourselves to the great artists, and get motivated through a constant healthily frustration?

Instead of putting the bar of mediocrity to the best common denominator, as illustrated in so many industry “benchmarks”.

What would happen then?

We would delight the customer with mastery and mystery.

Like great art can put a knife in the eye.

Building on the shoulders of giants,

With your own signature.

petervan-signature_transparent_black_version2

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