The Arts Diary: The life of luxury

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The Independent Culture

When he moored his 377ft super yacht on the Lido for the Venice Biennale this year, Roman Abramovich prompted mutterings that he was making an exhibition of himself.

Nothing daunted, this year's Frieze Art Fair will offer visitors the chance to join the millionaires' fleet as a luxury yacht is put up for sale in Regent's Park. In a high-class take on Duchamp's readymades (for urinal, read ocean-going vessel), Berlin artist Christian Jankowksi is selling an Aquariva Cento, both as a luxury item and as a work of art.

If it is bought as a boat, it will cost around €500,000 but if it is bought as an artwork – edition of one – it will cost €625,000. The artist will do nothing to the boat but will throw in a certificate, a promotional video and his name in chrome letters on the hull. He is also selling a luxury super yacht, not on the show at the fair (too big), which will represent "an absent super-level of wealth", for which the guide price is €68m or €81m as an artwork.

"How many collectors are in a financial position to buy key artworks that are priced so highly? Not many. And it is similar with luxury boats," says Jankowksi. "We're looking for the boat-lover-collector that thinks differently and is willing to spend much more money for this Christian Jankowksi boat sculpture because he or she likes the concept." Double dip? No such thing, darlings.

Radical Koolhaas

Before he became a Pritzker-winning architect, the youthful Rem Koolhaas had designs on becoming a film-maker. As a 19-year old trainee journalist on The Haagse Post, he formed the radical 1,2,3 Group with friends from film school. Their first work, 1,2,3 Rhapsody, in 1965 was a series of iconoclastic skits in which Koolhaas appears, sporting a Beatles haircut and, allegedly, manhandling someone dressed as the Queen. The film, never seen in the UK, will screen at London's Barbican on 10 October as part of the retrospective dedicated to Koolhaas' firm, OMA. Also on the bill is The White Slave, which Koolhaas wrote with fellow 1,2,3-er Rene Daalder in 1969. "At the time it was the most expensive Dutch film ever made," says the Architecture Foundation's Justin Jaeckle, who has curated the programme. "It's a Buñuel-style, nightmarish satire on the decline of European civilisation." The pair also wrote a screenplay for Russ Meyer of Valley of the Dolls fame, but it was never made. Shortly after, Koolhaas went to study architecture in London and put movies behind him. "He's not super embarrassed by them. He's given his permission for the screenings," says Jaeckle. "But he didn't want to introduce them."

Lynch remains wild at heart

Not long now until David Lynch releases his first solo album, Crazy Clown Time. Out in November, the "foreboding, enigmatic and hypnotic" take on modern blues features vocals from Karen O of the Yeah Yeah Yeahs. Mind boggled? Never fear, this week the Twin Peaks creator released a track-by-track guide, though some of the descriptions are more baffling than helpful. "Stone's Gone Up" has the tagline, "something has happened", while "Speed Roadster" is, apparently, "a story of unrequited love near the piney woods".

Forward march

Next week, Christian Marclay, the man behind last year's most talked-about artwork, The Clock, will decamp to Aldeburgh to create a new site-specific work for the Faster than Sound festival. Everyday will feature Marclay's signature collage – sampling actions and objects that make sounds from old movies – and will be accompanied by live music. "He wanted a marching band," says festival director Jonathan Reekie. "So we've found him the local brass band, Suffolk Phoenix Brass. They will process into the building from the watery surroundings of Snape Maltings." The piece premieres on 1 October.

Woody's big lark

There's much to enjoy about Woody Allen's charming new film Midnight in Paris, not least an extraordinary cameo by Adrien Brody as Salvador Dali. Among the supporting cast, Carla Bruni has a more pivotal role than early reports suggested. She plays an intelligent, razor-cheekboned guide at the Rodin Museum, appearing in three scenes with Owen Wilson, and acquits herself well as the straight woman. Apparently, the director offered her the part as a "lark" when he, his wife and sister were invited to petit dejeuner with Bruni and Nicolas Sarkozy. As you do.

a.jones@independent.co.uk

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