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20.12.2018
The Great Garden
What if we took the time to see our surroundings, to look, to understand, to contemplate? Each living thing grows...

December – What if we took the time to see our surroundings, to look, to understand, to contemplate? Each living thing grows in an environment which corresponds to it, shelters it, nourishes it and makes it grow. One of the fundamental principals of biodynamics is to view each element of life as part of an interconnected whole. These elements form an environment which is plural, virtuous and autonomous. Seen in this light, a grapevine does not exist on its own. Rather, we should consider it as part of an ensemble: the soil, the water, the plants, the animals, the insects… the cosmos.

As one strolls though the vineyards, one the first elements that we notice is the ocean – an ocean not of salt water, but of chlorophyll. The green of vine leaves, slowly changing colours with the seasons and stretching to the horizon, as far as the eye can see. Yet the richness of an environment lies in its complexity. An observation which inspired a desire at Château Palmer to enhance the estate with relief and forms, to strengthen its identity. And so we launched a plantation project of new trees and hedges, including native and heritage varieties. In selecting the plants, we had to take into consideration their effect on both the balance between pests and predators and the structure of the landscape.

Enlisting the aid of an entomologist – a scientist specialised in insects – we undertook a study of the minuscule life inside our vine parcels. The harmony of a vineyard depends on the complex equilibriums that exist between species, notably between pests (harmful to the vines) and predators (which feed on pests). The objective was therefore to plant trees and hedges that would be beneficial to the predators' habitat and their ability to feed and reproduce, and in so doing, protect the grapevines. We then conducted a study with France’s league for the protection of birds (LPO), which provided us precious insights into these animals and their benefits for the vineyard. In fact, bats are also ideal allies, notably against the grape caterpillars that spread the dreaded grey mould. By planting trees in the parcels, such as the fruit trees planted in our Cassena parcels, we provide bats with reference points and shelter, thus allowing them to adopt the vineyard as a hunting ground.

This diversity of flora and fauna nourishes the estate and enriches it. It makes the vineyard environment more balanced and interdependent. Resilient. More than 2500 trees and hedges later, we continue this reorganisation of land and space. This year, around twenty additional trees will be planted in the parcels. The vines are not alone; they communicate, exchange and interact with other species. The vineyard has been reimagined. It is becoming a garden, great and multiform.

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13.12.2018
Guy Le Querrec exhibits “Jazz de J à ZZ”
At Château Palmer, 2019 will be the year of jazz, marked by the 10th edition of our annual concert, Hear Palmer.

December - At Château Palmer, 2019 will be the year of jazz, marked by the 10th edition of our annual concert, Hear Palmer. A fine opportunity to celebrate the work of Guy Le Querrec, with the exhibition “Jazz de J à ZZ”, presented from 19 January to 19 August 2019 at Château Palmer.
 
A member of the Magnum photo agency since 1976, this Parisian photographer with roots in Brittany has a passion for images dating back to his earliest days. Following in the footsteps of so many he admires – Marc Riboud, Henri Cartier-Bresson, Sergio Larrain – he travelled the world, producing landmark photo reportages.
 
In the life and oeuvre of Guy Le Querrec, music holds a special place. In turning his gaze often and freely across this universe, he has created some of the most celebrated snapshots of the 20th century, becoming internationally renowned for photographing the greatest living figures in jazz.
 
“Jazz – my ears, my heart, my emotions need it. Its cadences, its rhythms... And then there’s that crucial word: to practice a photography of improvisation.”
 
Documenting the lives of musicians through the decades, he also created his own shows, from “De l’eau dans le jazz” in 1983 to “Jazz comme une image” in 1993, during which images on a giant screen scrolled by, set to music played by a live jazz quartet composed of Michel Portal, Louis Sclavis, Henri Texier and Jean-Pierre Drouet. In 2011, he was invited to photograph Michel Portal and Yaron Herman during the second edition of Hear Palmer, held in the estate’s barrel cellar. This meeting marked the beginning of a lasting friendship between the photographer and Château Palmer.
 
“I seek to recount the lives of musicians, their voyages, their fatigue, their joys, their practice sessions, their solitude, their hopes.”
 
Guy Le Querrec, with modesty and generosity, infiltrates the lives of artists to capture a silence, a secret, a note… a pulse.
 
Archie Shepp, famous for the warm, lyrical sounds of his tenor, strolling through the streets of Paris; John Coltrane, this giant of the saxophone, hypnotising us from behind a simple television screen… Each image, taken in the heat of the moment by a master of rhythm, improvisation, and imagination, challenges the viewer in its own way.
 
The exhibition “Jazz de J à ZZ” by Guy Le Querrec may be seen during estate visits to Château Palmer, from 19 January to 19 August 2019. Length: 2 ½ hours - 70€ - Reservations by e-mail: chateau-palmer@chateau-palmer.com

 

Miles Davis (trumpet). Concert by the Miles Davis Quintet with Wayne Shorter (ts), Chick Corea (p, keyboard), Dave Holland (b), Jack DeJohnette (dms). Paris Jazz Festival. Salle Pleyel, Paris. Tuesday 4 November 1969 ©Guy Le Querrec/ Magnum Photos

Archie Shepp, Paris, France, 9 november 1983 ©Guy Le Querrec/ Magnum Photos

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22.11.2018
An Animal Story
Day after day, the men and women of Château Palmer listen to their terroir, work the soil, care for the grapevines, and,...

November 2018 – Day after day, the men and women of Château Palmer listen to their terroir, work the soil, care for the grapevines, and age their wine, ever working to see the estate flourish. And today, they can count on a few extra workmates… cows, sheep and goats (overseen by our shepherdess and cowherd, Emilie and Pierre) who contribute in equal measure to the health and resilience of the vineyards.

Bit by bit, the estate has recentered itself around cultivating life in its myriad forms. A self-sufficient farm, whose production of riches depends on the organisms of which it is comprised: the vine, the plants, the hedges, the fruit trees, the wildflowers, the animals, the insects… in sum, a virtuous circle.

Our Bordelaise cows have been among our leading actors within this agricultural organism. They graze our meadows, and enable us to produce a rich, high quality, ‘homemade’ compost, thanks to the manure they produce which is mixed with mulched vine shoots and green waste from the garden. It’s thanks to them that we can create our own biodynamic preparations as well, such as the 500. This enriches the soil with beneficial microorganisms that help nourish the vines. Today, our herd includes a dozen cattle, though it has grown since last month with the birth of three calves – Orlaya, Ombelle and Orchidée.

With the help of two shepherds, the winter maintenance of the vineyards is undertaken by a herd of more than a hundred sheep. From November to March, they roam the parcels, graze on the tender grass around the vine trunks, while fertilising the soil along the way, and heeding the sharp commands of our sheep dogs, Ben and Hip-hop. The rest of the year, Pyrénées goats will come and take over for our Landaise sheep, notably to maintain the edges of the vine parcels.

The development of these herds of cattle, sheep and goats has been carried out in close collaboration with the Conservatoire des Races d’Aquitaine, which works for the preservation of livestock breeds. It’s a project in spirit with this place and this era, as it involves working with local heritage breeds adapted perfectly to the estate and the environment, and is a way for us to help ensure the survival of these breeds in danger of extinction. It must be said, Château Palmer is in good hands – and in good hooves!
 

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03.10.2018
A Matter of Taste
Early morning. The sun rises slowly over the vineyard, painting the sky in a vibrant red, melting into shades of orange...

September – Early morning. The sun rises slowly over the vineyard, painting the sky in a vibrant red, melting into shades of orange, then pale pink. This delicate light washes over the estate now. As the dew begins to slowly disappear under the morning sun, Thomas, Sabrina and Sylvain roam the vineyard, tasting.

September is an intense month on the estate, since it generally brings the beginning of harvest. This year, the harvest began September 13th with the parcels of young Merlot. And since the beginning of the month, every morning the technical team has tasted the berries to keep track of the grapes’ maturity levels. They walk the vine rows of every parcel, picking berries here and there, analysing the flavours and smoothness of tannins in the skins and seeds.

Tasting grapes is an art unto itself. It’s the first step towards truly distinguishing the similarities and differences between parcels. It’s the moment when we begin to group the grapes, and even to blend them, if only at first in our minds. Some will reach maturity earlier, revealing themselves before the others. Eventually, this entire puzzle of parcels will be sorted through.

These daily tasting walks allow us to evaluate three types of grape maturity: technological maturity, which reflects the balance of sugar and acidity, aromatic maturity which indicates the aromatic style of the vintage, and finally phenolic maturity, which allows us to judge the quality of the tannins and overall structure.

We seek the moment when these three types of maturity are in sync, so that only the most promising grapes enter the vats. Each vintage is different, unique, and to best respect its style, the decision of whether to harvest or wait must entail a very subtle equation indeed. Each day matters. It’s a countdown whose sum provides the first score of the vintage.

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11.09.2018
Raymond Depardon exhibits at Château Palmer 
Raymond Depardon was born in France in 1942. Son of farmers, he spent his childhood on the family farm in Garet...

September - “My parents knew before I did that I would never take over the farm, they were overwhelmed by my determination and my passion for photography.” Raymond Depardon.

Raymond Depardon was born in France in 1942. Son of farmers, he spent his childhood on the family farm in Garet, near de Villefranche-sur-Saône, until at age 16 he left for Paris to become a photographer – his first passion.

For years, he travelled the globe in search of images which recount the story of our world, first as a photographer, then as a filmmaker. Yet his parents’ farm and a sense that he had abandoned it always obsessed him, to the extent that it would appear implicitly in many of his works.
In the early 1980s, a commission by DATAR (the Interministerial Delegation for Territorial Development and Regional Attractiveness) provided him the opportunity to return to his native land. At the same time, a number of media assignments allowed him to photograph farmers in other regions. The rural world became his second passion, his most beloved subject.


In publishing his 1995 book, La Ferme du Garet, Raymond Depardon explored this primal bond with his land and his heritage. It would inspire a new project, lasting over a decade, of filming rural life in mountainous regions of 21st century France. So was born the film trilogy Profils Paysans, composed of L’approche (2000), Le quotidien (2005), and La vie moderne (2008). All throughout, the photographer has never ceased to capture – first in black and wine, then in colour – fragments of our world through his lens. 


The exhibition presented by Château Palmer, with the kind participation of Magnus Photos, is based on the 2008 book of the same name, and retraces this journey by presenting several bodies of images taken between 1960 and 2007. Together, they reveal Raymond Depardon’s deep and enduring attachment to “la terre des paysans” – the farmer’s earth.

The exhibition La Terre des Paysans by Raymond Depardon may be seen only during estate visits to Château Palmer, from September 11th to December 21st 2018. Length: 2 ½ hours - €70. Reservations by e-mail: chateau-palmer@chateau-palmer.com.

 

Gilberte and Abel Jean Roy, Servance, Haute Saône, 2005 © Raymond Depardon/MagnumPhotos

Marcel Privat, Le Villaret, Lozère, 2000 © Raymond Depardon/Magnum Photos

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05.09.2018
“Les Américains”
With harvest time fast approaching, the work of green pruning is reaching its end. This extended viticultural period...

September 2018 - With harvest time fast approaching, the work of green pruning is reaching its end. This extended viticultural period encompasses three main tasks: raising the support wires, removing secondary shoots and desuckering. Desuckering is the art of removing non-fruit-bearing shoots growing directly on the trunk of the vine. This helps the vine to concentrate its energy in the fruit-bearing branches, those which will carry grapes. As for removing secondary shoots (or épamprage), this is done throughout the green pruning period. But there is one form of this task which is specific to the late summer season. “Nous terminons les américains” (We’re finishing the Americans) – so will the vignerons describe this other type of épamprage. Behind this rather odd expression hides an interesting story…

Vitis Vinifera is the principal species of grapevine historically cultivated in Europe, and includes such well-known varietals as Cabernet Sauvignon or Merlot. Until the 19th century, it was always planted “franche de pied”, meaning simply that it possessed its own root system. It was a vine that could weather anything. Anything, that is, except the disease of the century: phylloxera, a little sap-sucking aphid which feeds on a vine’s roots, resulting in deformations which gradually cut off the flow of nutrients and water, killing the vine. So it was that, starting in the 1860s, entire vineyard regions throughout France and Europe were destroyed, all because of this devastating little insect.
 
There are several theories regarding the origins of the phylloxera epidemic, and how it came to proliferate throughout our terroirs. The most widely accepted theory concerns the New World. As the world economy was rapidly developing in the 19th century, the increase in transatlantic exchanges and the decrease in the time necessary to traverse the ocean led to the arrival in Europe of phylloxera, a species hitherto unknown here.

Another theory, more prevalent in biodynamic circles, postulates on the contrary that this aphid has always been present here, and that Vitis Vinifera simply lost its natural capacity to resist it. The rationalisation of viticulture, the depletion of grape varietal diversity, and the shift to systematic propagation by root cuttings would be, among other factors, responsible.

To renew Europe’s vineyards, wine growers came up with the idea of employing a practice already common in arboriculture at the time: grafting. Grape varietals of the Vitis Vinifera species were thus grafted onto other species of Vitis from America, such as Vitis Rupestris or Vitis Berlandieri, which are resistant to phylloxera.

“Faire les américains”, signifies cutting the non-fruit-bearing shoots growing on the rootstock, that is to say the “American” part of the vine, which prevents the grafted Vitis Vinifera vine from being rejected by its host. This specific type of épamprage, carried out across the entire vineyard, constitutes a long and painstaking task. On average, the job entails pruning 600 vine plants per hour and per person. Enough to keep everyone busy until the harvest…

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20.07.2018
On the Memories of Vines
The sun has returned after five particularly rainy months, and the vignerons and vigneronnes...

July 2018 – The sun has returned after five particularly rainy months, and the vignerons and vigneronnes have begun the work of green pruning: desuckering, removing secondary shoots and raising the support wires.

In certain parcels, “bridges” are also being created between two shoots from adjacent vines. This technique, called le tressage (literally “braiding”), is used on parcels such as those situated on the Brauzes plateau.

The braiding of vine shoots is a manual practice which seems to be of particular interest for the grapevine.

In the wild, a vine depends on other plants to be able to grow and flourish. With the practice of braiding, we permit it to recreate these social links, this form of communication, which proves to be beneficial to its development. To accomplish the manoeuvre, one must first wait until the shoots begin to bend. At this point, instead of trimming them, we delicately intertwine the shoots of the two adjacent vines in the same row. Very soon the vine tendrils will become intertwined, and the two vines will become linked. They communicate.

Not trimming the vines also allows us to preserve its apex.

The apex is found at the end or tip of the plant. It is at once the seat of the vine shoot’s memory, its senses, and its decision-making – essentially, it’s the plant’s brain. Carrying a memory of the meteorological conditions of the vintage, the apex protects its shoot by sending back information to the plant, thus safeguarding the grapes it means to bring to maturity.

After several years of experimenting, we’ve noted that the creation of these bridges results in an improved management of the plant’s water consumption. And since we no longer trim the vine tips, it also limits the growth of secondary shoots. In the event of a rainy period, as was the case in the month of June, this technique helps to better aerate the grape bunches (after desuckering), which aids in keeping the berries dry and exposed to sunlight.

The vines are thus better prepared to withstand external threats, to deal with hydric stress, and to communicate with one another, while developing their root system and their leaf surface. A growing method more in harmony with their natural development. All to produce grapes of ever greater quality… and an apex full of memories.
 

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19.04.2018
Sèves Brutes: Raw Saps by Nathalie Rodach
How can we reveal all of life’s movements, of which the human eye captures but a fraction?

April 2018 - How can we reveal all of life’s movements, of which the human eye captures but a fraction?
 
With Sèves Brutes: Raw Saps, the visual artist Nathalie Rodach has traced an itinerary through three familiar Bordeaux sites to explore this monumental question. In so doing, she has charted a map of a universe hitherto invisible to us, presented in three parts: the future, the present, and the past.
 
The future at Château Palmer.
Nathalie Rodach allows us to see the invisible, the lifeblood flowing within. She explores the living by seeking inspiration in the notion of raw sap, this sap composed of water and mineral salts which flows up from the roots to nourish the plant and stimulate its growth. To comprehend this process, Nathalie Rodach roamed throughout the vineyards of Château Palmer, to better discern the secrets of the soil. Last February, the artist laid down a kilometre of natural red pigment between the vines, leading finally to the estate’s winery – a nervous system of vine sap laid bare, yet only visible in its entirety from the sky. As Nathalie Rodach shows, sometimes the closer we are, the less we perceive. The installation at Château Palmer has since been swept away by the elements. But the videos of its creation, accompanied by a series of drawings, together render the contours of an elusive future. They are exhibited at Bordeaux’s Arrêt sur l’Image Galerie.
 
The present is also on display at Arrêt sur l’Image Galerie, in the form of an immense drawing which weaves together the stark white of absence and the sanguine red of life. Each one of the 180 sheets which compose it are snapshots, moments of suspended present, like so many traces to confirm an existence. The beating pulse of the living punctuates all the works that Nathalie Rodach creates. Each line she traces is somehow animated, like threads of life.
 
The past is made visible at a second Bordeaux exhibition centre: MADD-Bordeaux, the Museum of Decorative Arts & Design of Bordeaux. In the museum’s courtyard, Nathalie Rodach has unveiled fossils in glass. They carry the traces of a life that vanished long ago, fixed in lava and in memory. From these frozen fragments, traversed by red, black and white, can we reconstruct what was lost?
 
The present and the interpretation of the future can be discovered from May 17th to July 13th 2018 at Arrêt sur l’Image Galerie (for details, visit www.arretsurlimage.com). The past can be explored from May 17th to September 17th 2018 at MADD-Bordeaux, the Museum of Decorative Arts & Design of Bordeaux (for details, visit www.madd-bordeaux.fr).

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12.04.2018
Mémoire de l’éphémère by Ernest Pignon-Ernest
A portrait of Pier Paolo Pasolini carrying his own lifeless body, pasted on walls in Ostia, Rome and Naples, the very cities.

April 2018 - A portrait of Pier Paolo Pasolini carrying his own lifeless body, pasted on walls in Ostia, Rome and Naples, the very cities where the writer and film director lived and died... Pasted along the docks in Brest, the image of a man being slammed to the wall by two others, held aloft by his arms as he is crucified – an homage to Jean Genet and his 1947 novel Querelle de Brest …

A pioneering artist, Ernest Pignon-Ernest’s works have often emerged out of literature, drawn not to be hung in museums, but to be installed in places where they will resonate with meaning. Known as a man of social commitment and modesty, the artist offers a historical and political vision of places, transforming the space where he intervenes into a veritable work of art, thus surprising passers-by an alternative reading of a quartier, a street, or an address. The works of Ernest Pignon-Ernest engage us. They are born, live and die in rhythm with the city, revealing a sacred dimension to the urban environment.
“My works arise from both a physical approach to a place a more symbolic approach to its history,” the artist explains.
“The place becomes the subject.”

The ephemeral nature of each work, its death all but preordained, is intended by Ernest Pignon-Ernest: “Fragility is one of the key elements of my work.”

Yet a singularity of the artist was the decision early in his career to photograph his works in situ, thus preserving a lasting trace of his passage. In partnership with Galerie Lelong & Co., an exhibition of 29 photographs by Ernest Pignon-Ernest at Château Palmer presents the works of this visionary artist. From Rome to Uzeste, from Naples to Paris and Brest, his oeuvre is one of imagery as wordplay, metaphors on presence and absence, the said and unsaid, poetry and political engagement, memories and the ephemeral…

The exhibition Mémoire de l’éphémère may be seen during estate visits to Château Palmer, from 5th May to 31st August 2018. To reserve, address a request by e-mail to chateau-palmer@chateau-palmer.com.
 

Picture: Rimbaud, Paris 1978

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