Nostalgia for the golden age of motorsport is alive and well at TAG Heuer, which is revisiting Gulf Oil’s victory in the 1968 24 Hours of Le Mans with the Formula 1 Gulf Special Edition. Encased in steel, the 43 mm quartz chronograph features a notched steel bezel and an aluminum ring with a tachymeter scale. The blue-and-orange color scheme on the dial as well as a caseback engraved with the Gulf logo
are subtly elegant reminders of the model’s historic origins.
Tailor-made for stylish sailors or anyone who aspires to look the part, the new Portugieser Yacht Club Chronograph from Swiss-German watchmaker IWC Schaffhausen belongs to the brand’s “Summer Editions” collection. With its blue dial, sturdy blue rubber strap and water resistant 43.5 mm stainless steel case, the piece has good looks to spare. But it’s the manufacture caliber with flyback function that truly elevates this sporty chronograph.
Speed freaks will appreciate the story behind Baume & Mercier’s Clifton Club Indian model, which pays tribute to Burt Munro, the New Zealander who set—and still holds—the record for the fastest speed reached on an Indian motorcycle, a feat he accomplished in 1967, at age 68, riding across Utah’s Bonneville Salt Flats. Fifty years later, the watchmaker honors Munro’s daring spirit with this limited-edition automatic chronograph.
The name of Nomos Glashütte’s brand new Autobahn model says it all: Designed by celebrated product designer Werner Aisslinger as an ode to speed—and the vintage race cars from the 1960s and ’70s that embodied it—the piece features a concave dial whose edge is curved like the outside lane of a racetrack. Equipped with the new Neomatik date caliber, the 41 mm timepiece, four years in the making, is available in three dial colors: white silver-plated, “sports gray,” and this midnight blue.
A cornerstone of Omega’s 2018 introductions, the Seamaster Diver 300M line—introduced in 1993 and completely overhauled this year—now features a larger 42 mm case and a slew of aesthetic and technical updates, including a ceramic diving bezel, polished ceramic dial, and newly patented conical helium escape valve. The timepiece also has a hidden perk: its Master Chronometer Calibre 8800, known for its superior precision and magnetic resistance.
Introduced on the eve of World Oceans Day, the Bremont Waterman is a limited-edition dive watch from the U.K.-based brand and its ambassador, Mark Healey, a big-wave surfer, freediver and ocean environmentalist who helped test the timepiece while riding some of the world’s biggest waves. Equipped with a unidirectional rotating bezel with Super-LumiNova, an automatic helium escape valve and crown protector, and water resistance to 500 meters, the 43 mm stainless steel watch also boasts GMT functionality.
At first glance, the Source of Life Limited Edition from Oris is a handsome dive watch complete with standard features such as a unidirectional rotating bezel, applied indices filled with Super-LumiNova and water resistance to 300 meters. But beneath its surface, the model—whose caseback is embossed with a map of the 766-mile River Rhine—is described by the Swiss watchmaker as a “philosophical watch,” intended to draw attention to water’s life-sustaining properties.
$2,200 on rubber strap, $2,400 on stainless-steel bracelet; oris.ch
Around the turn of the last century, Ulysse Nardin began supplying deck chronometers to the U.S. Navy. This 50-piece limited edition wristwatch featuring a stars-and-stripes dial decoration in red, white, and blue pays tribute to that little-known relationship, which continued until the early 1950s. Appealing to fans of Ulysse Nardin and patriotic watch lovers alike, the skeletonized timepiece was introduced on—you guessed it—Independence Day.
When Maximilian Büsser opened the original Mechanical Art Devices Gallery in Geneva, in October 2011, he never expected to sell any of the artworks on display.
They were simply meant to contextualize his watchmaking collective, MB&F, and its experimental Horological Machines line of timepieces—“to demonstrate our path of thinking,” he says. But the gallery proved an incredible success as a showplace for fantastical kinetic art. So successful, in fact, that it spawned two satellite locations: Taipei and Dubai, which opened in 2014 and 2016, respectively.
For Büsser, a veteran of the watch and jewelry industry, the M.A.D. gallery led to a second professional life, as a curator. It’s a role he never expected but very clearly loves. His newfound passion for fine art and fascination with machinery meet in “For the Thrill of Speed,” a rare static exhibition at M.A.D. Geneva. It encompasses a collection of auto racing photographs by the late French racing photographer René Pari, which were painstakingly resurrected from damaged negatives by artists Daniel Berque and Serge Brison.
Before the grand opening of “For the Thrill of Speed” in Geneva, Büsser spoke to Watch Journal about the origins of the gallery, what he looks for in an artist, and why he prefers co-creation to inspiration.
What was the genesis of the gallery concept?
Most retailers didn’t understand what we were trying to do with our Horological Machines. They’d look at our pieces and say, ‘This is not a watch.’ I thought maybe our pieces should be presented in art galleries, so I went to see some art galleries, and they said, ‘Well, this isn’t art, it’s a watch.’ Clearly, something wasn’t working.
I realized I needed some sort of hybrid concept. It had to be an art gallery which was specifically catering to mechanical or kinetic art, so people would understand what we were trying to do. Initially, it was like a decoding machine. If you understand Frank Buchwald and his incredible machine lights, then maybe you’ll understand our Horological Machine. If you want a motorbike, you go get a Ducati, or a Harley Davidson; if you want a work of art, you get a Chicara Nagata. By the same token, if you want the time, you buy a Samsung or an Apple Watch. If you want a piece of art, you buy an MB&F.
What do you look for in an artist and where do you find them?
Initially, we were scouring the internet. Remember, we had a blog, “Parallel World,” on the website, and every week for ten years we had a post always talking about things that amazed me—things that I wanted to share. In doing this, I bumped into a lot of incredible creations and creators. We were very active at the beginning looking for artists we’d be proud to showcase; now we have a certain amount of artists who contact us.
I always say the M.A.D. Gallery is an orphanage because virtually all of the artists we showcase are either misunderstood or shunned by traditional galleries. Because traditional galleries are usually interested in paintings, photos, mixed media. Kinetic art is something ninety-nine percent of galleries don’t understand or want to deal with.
Who are some of your favorite artists?
Definitely Damien Bénéteau, who does these incredible light sculptures. There is of course Bob Potts, the American artist who does these flying machines, which are so beautiful—real kinetic art. There is this incredible Turkish artist, Server Demirtaş, who had a solo show last May. He does these android robots who come to life and they’re mind-boggling. And we introduced an English kinetic artist called Ivan Black who created what looks like a lamp, which is actually a kinetic art piece that starts moving, and does incredible choreography. And I’ll finish with Nils Völker, who does choreography—we’re very much into choreography these days. Artists who create pieces that are beautiful to look at but when they start moving, they’re like a ballet.
Do you find yourself inspired by the artwork when creating timepieces for MB&F?
I’m sure I am, but it’s not something very blatant. It’s not like I love Frank Buchwald’s machine lights, and then say, “Let’s do a watch that captures his style.” I wouldn’t have much pride in copying something that exists from someone who’s created something incredible. It actually infuses me. There are times when we’ve co-created, as with the LM1 Xia Hang, which has the little alien who falls asleep as a power reserve indicator [a collaboration with Chinese sculptor Xia Hang]. So we will sit down and say, “Why don’t we create something together?”
How do “co-creations” work?
The first co-creation we did was with Reuge, the music box company. It happened because we had some Reuge boxes at the beginning of M.A.D. Gallery; I loved them but they didn’t speak to me. So I went to them and we made MusicMachine 1 [an unconventional music box]. Then we started doing the clocks, the Caran d’Ache pen [known as the Astrograph]. All these clocks, music boxes, and pens very much have in mind creating 3-D kinetic art for the galleries. So it’s sort of, what goes around comes around. The gallery was there to make people understand MB&F and now MB&F is creating objects for the gallery.