If you are curious enough or better said, having an understanding of your senses, you know that our food rituals are associated with special occasions such as the holidays or specific emotions: happiness or sadness. Food arouses our senses, feeding our emotions are making us story tellers of our emotional experiences.
As an university student, this period is particularly charged even more if you have a daughter and are separated. Add to this, the usual dose of procrastination for other intellectual pursues ( yes, I am aware of my delicious digress) and you have a recipe for a perfect disaster. Basically, this is the season when comfort food taste the best. There is aesthethic beauty in binging on a greasy sandwich or burger, much like Flux art. The performative action of repetitive binge eating is happiness for the senses.
” Do you want mayo in your club sandwich”, the lady behind the vintage kitschy counter told me. Dressed in black sweat pants, I went to visit one of my local food joints in L’assomption, the sleepy little village where I have been living since December 2019. L’Assomption is a beautiful village in the Lanaudiere region of Quebec. It has a mix of rural and artistic traits that are attractive to me. There is the Hector Charlan theater, a beautiful art gallery and a few interesting restaurants. The village does not have the cache for a Montreal hipster but its is the best option for an artsy person like myself.
My fix for the sunday night was a hefty club sandwich rather than the glorious poutine. This place has the reputation for one of the greatest poutines in the eastern part of the province. in fact, even the Quebec prime minister went to eat there. I went more for the sandwich, since I am not a poutine guy.
One of the greatest sandwiches that I have ever eaten. The chicken meat coming from the breast was juicy and not dry like many other renditions elsewhere. The sauce quite delicate with subtle vegetable nuances. The fries, slightly sweet with a crisp exterior and soft texture. This was a fantastic sandwich for a supper intermission when you are studying. I paired this dish while listening to Van Halen in Chom 97.7. My paper on Dali got an inspirational boost.
I highly recommend this place if you happen to be in L’assomption
The Coming of Age of the Chicano Art Revolution in a burgeoning post-colonial American Art Movement
The first time I heard the word Chicano was in the movie American me ( 1992) which tells the story of Santana, a Chicano caudillo that created one of the most notorious Hispanic gangs in L.A
Many years after, I learnt that Chicanos are not Hispanics or Latinos living in the U.S. Chicano is also an assertive word with political and artistic connotations associated with a civil right movement that started in the 1960’s in the United States. The Chicano movement was a strong political movement in American society during the agitated years of the Vietnam War, urban riots, the antiwar movement, and Watergate. The Chicano movement was one of the first militant groups that started to challenge the American ruling ruling class during the 1960s and 1970s.
Chicanos share the cultural heritage from the past nations such as the Olmec, Teotihuacan, Maya, Zapotec and Aztec. We are far away here from gangster iconography. What’s also cool about the Chicano nation is not only the political history of the movement, but also the art medium to transmit this message . In ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, at the Smithsonian Art Museum, the curious art lover can now learn much more about the graphic art expression of the Chicano nation from the mid 1960’s to the present day. Most of the exposition can be viewed online as a result of COVID-19, but it will return physically again at the Smithsonian and Renwick Gallery once the pandemic subsides until August 21st, 2021. The exposition has been curated by E. Carmen Ramos with assistant help by Claudia Zapata. Both ladies have incredible depth of expertise in Latinxart.
If you like poster art, you will be delighted to know that printed art was the medium favored by Chicano artists. Through screen-printing, the exhibition traces the beginnings of the Chicano civil right movement to today. The exposition covers a range of social subjects that have influenced the Chicano discourse such as labor, anti war, gender issues and social justice The viewer will be delighted to see the evolution of the styles of these posters that reflect the tastes of the public and the current art tendencies as well. According to Ramos, “The exhibition explores how this early civil rights activity set the foundation for a truly noteworthy, politically engaged graphic arts movement among artists of Mexican descent and their cross-cultural collaborators that continues to thrive today, over five decades later. At a time when US society is grappling with how to face a history of systemic racism, this exhibition presents a long line of artists doing exactly that.” This is an important exhibition that frames the dynamic concept of the identity of the Chicano nation in US and International history.
The artists in the exhibition employ diverse artistic tones such as conceptualism, portraiture and appropriation to integrate the notions of the Chicano identity and political movement. For instance, viewers will marvel at the ingenious use of satire in the works of Ester Hernandez. In
Sun Mad ( 1982-2008), she strongly critiques the social and environmental aspects of the Californian grape industry. Via a box of Sun Maid raisins, Hernandez appropriates American food culture iconography and reconceptualizes into a post-colonial visual discourse ( Sun Mad) that strongly takes a stand against pollution and anti-immigration in the grape business. The sweet and innocent image of a young white girl picking up grapes is turned into a skeleton with messages such as “unnaturally grown with insecticides, miticides…” or “ Guaranteed Deportation…By Product of Nafta..”. There is more than meets the eye and the spectator feels that Hernandez has uncovered a secret that nobody wants to now.
You are not a minority!! (1977), by renowned Peruvian activist and artist Mario Torero is also another example of cultural appropriation to deliver a social unity message. Torero has used the legendary image of Argentinian revolutionary Che Guevara who fought for a dream of unifying all the Latin American Nations in the 1960’s against U.S imperialism.The image combined with the slogan “You are not a minority!!” acts a sign for rebellion and sends a message of equal treatment to the dominant white American culture. More than 40 years old, the message is still quite relevant today not only for Chicanos but also for the Latinos living in the U.S
Stand with LA Teachers!(2019), is a commissioned work by artist Ernesto Yesta Montejano for the United Teachers of Los Angeles’s strike in 2019. The union needed a poster individual for the message of better pay and working conditions that they wanted to transmit. Montejano chose the image of Roxana Duenas, a local community Chicano history teacher. The poster portrays her as a proud and energetic teacher with a strong work rhetoric.
¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, includes important Chicano artists as well such as Rupert García, Malaquias Montoya, Juan Fuentes, and Yolanda López. It is free of charge and can be accessed by:
When I started writing about wine, circa 2011-2012 my idea was to find a medium to channel my passion for wine & food. Like a new relationship, everything was new and perfect. I was in love with the image of the wine writer: free tasting, wine samples and the glamour of wine travels. In fact, my ego went to the roof and viewed myself as better than the common man. My writings and the praise from my colleagues fueled this being inside me. I wanted to compete and become better. I was very ambitious and got what I always wanted: Free wine travels and wine bottles, spotlight on the media, etc..
As the years passed, this enchantment started to wear off. There was something not quite right in the air. I could not pinpoint it with my finger and was starting to doubt if I could make a proper contribution in my practice. Everything was becoming repetitive and found myself talking about the same wines in theme cycles like the rest of my colleagues. My creative voice was asphyxiating and this was getting me sick. The event that saved me was the discovery of natural wine. This was the seed of a new vision for my practice.
As time passed, I started to realize the cynicism of my local wine industry in Quebec and the rest of Canada. I realized that I was a pawn of the industry, censored by the diktat of the wine importers, PR agencies and the liquor monopolies such as the SAQ and LCBO. Quickly, I became an outcast because I was talking about natural wines and very fast, I was kicked out of the establishment. I remember the phrase of a good colleague of mine when I stop receiving wine samples: ” You are not anymore good PR material”
Separation, the pandemic and my new venture into Art studies have completely changed my outlook of wine. I will present you below a set of principles that have been simmering in my mind for a while. This is my manifesto:
First and foremost, I am a wine drinker then a wine writer. If I dont love wine, I cannot properly write about it.
Wine is Art. Wine is the narrative of a place of a land and the people that make the precious liquid in the bottle. For that reason, it should be treated as a cultural object.
I am the agent of my own voice. Wine is not strange to the ideological apparatus of the capitalist system. For that reason, I refuse any affiliation with any commercial entity with the purpose of exploiting it for a deliberate promotion to satisfy the market taste
I shall write about what I like and not what the market tells me to. Artisanal producers are always welcomed and wine corporations should go away. Please bear in my mind, if you are thinking about sending me samples.
Wine tasting is about sensations and emotions as well. For too long, I have been a victim of the colonial tasting approach of the WSET ( Wine & Spirit Education Trust). Like an art object, wine should be described as the emotion it conveys not just the taste. This is more of a holistic method
Wine shall serve as social cohesive, as a tool of bringing together people. Wine shall not be used as an instrument for social segregation but rather unity.
Wine is above all natural and you shall not manipulate it to strip its true aesthetic qualities.
I recognize that the old and new world has been a reference for the production of wine. However, for far too long, they have imposed an ideal that prevents new avant garde expressions or visions of wine.
Wine shall be consumed in the table and along with other art objects. You shall not disrepect wine by consuming it along popular mediums of culture
Disclaimer: This post originally was intended to be an exercise for one my courses at my new Art History Bachelor program. The author which is me is sharing with you this information because it is considered to be pertinent for the reader to get to know me better.
What is a wine bottle?
A bottle of wine is an art object and the practice of the wine writer is to establish a narrative to communicate its meaning to the drinkers
The wine bottle comes already with a pre established context. It is a combination of visual, cultural, and geographical narratives.
At first, I look at the bottle which is the receptacle of the wine. My attention is drawn to its shape, labels and even how it is closed at the top. This is the aesthetic appearance and I think of the style it tries to convey: Classic or Avant Garde, Traditional versus Modern. It is the visual tale about the birth of that wine and the style of the producer. If you think of the labels of Mouton Rothschild and Sine What Non, you will get my gist.
I continue further with it’s cultural narrative which is not visually present in the bottle. The style of the wine is a combination of technical and cultural characteristics. It is interdisciplinary because it is a combination of science and social traditions. Basically, this is the science of fermentation and aging with a cultural frame around it. This framework is a complex combination of personal, family and regional characteristic with the end result of interpreting the Terroir of the wine
My practice consists of interpreting the context of the wine bottle ( primary resource) and assigning my own narrative. This might be seen as a reconciliation of narratives or a mediation of experiences between the drinker and producer.
The interpretation is done through the act of wine tasting. I assign organoleptic words which are specific language tools of my practice. However, colour, smell and taste are much dependent on my tasting experience. Beyond taste, I will also bring to my narrative my emotions and past experience with the same style of wine. Basically, through my training in my practice, I am giving a secondary meaning to my primary resource and this is what a wine writer does.
My narrative goes even further by transmuting into other disciplines. How does this wine pair with food or with a painting or with a musical compositions. The wine writer never ceases to give concepts to the primary resource
Tools of the wine writer
There are many tools that have helped me across the years to learn about wine. From top left, my senior wine peers such as Konrad Ejbich and Gabriel Riel Salvatore have mentored me in how to become a better wine writer and taster.
In addition, learning about wine is also about the cumulative experience of wine and food pairing. Wine should be placed along food, otherwise it does not have any gastronomical meaning. Then there are the wine travels. Wine is all about place so you need to travel to vineyards as much as you can to see where wine is born. The top right is a beautiful vineyard sitting on a schist slope in the Roussillon, France.
Furthermore, I have learnt a solid theoretical background about my wine practice by reading trade magazines such as Noble Rot, Bibenda and The World of Fine Wine. A short History of wine was a thought provoking book by Rod Philipps that helped understand the historical context of wine. Finally, then there are the wine mavericks, those avant garde wine personalities that have broken away with traditional wine thinking models such as Gabrio Bini in the bottom right and Sine Non Qua next to Bini. They have provided me with a new methodological approach for my wine practice. My favorite quote is from celebrated British wine writer Hugh Johnson who places wine as a connector for human experiences across time.
What is the future?
The future of my wine practice can be summarized in my first artist statement:
Marco Giovanetti was born in Caracas, Venezuela in 1978 and moved to Montreal at the age of fifteen. His racial background is multiethnic, he has Italian, Venezuelan and Colombian roots. Giovanetti’s education is multidisciplinary by nature. He holds a Bachelor of Commerce from Concordia University and a Master in E-Business from ICADE in Spain. Marco is also a professional baker, sommelier and wine writer. At the moment, he is pursuing a Bachelor of Art history with film studies at Concordia University.
Giovanetti’s main practice explores the relationship between wine and life in spheres such as gastronomy and the arts. Since 2012, he has been curating the wine sections of lifestyle magazines such as Panoram Italia and The Montreal Times. He is also a wine communicator and a consultant. Wine criticism for Marco Giovanetti is an interdisciplinary approach that blends wine tasting, personal experiences and science with the fine arts.
Marco Giovanetti is an avid natural wine supporter. He strongly supports that wine should be produced ethically respecting the environment and the cultural identity of the producer and region. His voice on the subject can be found on his self published wine blog: ilvinodimarco.com
My formal debut in the study of Art History has led to think about my current practice: the business of wine writing and how is related to art
What is art?. This is the question that I will ponder in the next three years. For now, let’s say that Art is the production of a form or object that conveys a state of emotion, sensation or provokes insight of your human condition.
When we talk about an art object, we are assigning a specific aesthetic judgment and by doing so, a unique narrative is tagged to it. Basically, what recognition, appreciation or criticism you give to this object. This personal rendition is the magic that turns an object into a work of art. A painting by itself is just a combination of paints layed out on a canvas. An sculpture is just a block of chiseled rock and so on. This is the separation of beauty and function from an object
It is the same principle with wine. By itself, wine is the by product of fermented grape juice that results in the production of alcohol and a certain pigmentation of the liquid.
You give aesthetic worth to wine when you confer specific organoleptic qualities to it and as a result this makes it an object of art. This is the judgment of the wine writer or the wine critic. By the way, a wine drinker becomes a de facto critic when he/she produces a judgement on wine.
Beyond the organoleptic, wine as an art object serves the mean of catharsis about a certain human condition as well Let me ilustrate my point with a clip of one of the greatest wine movies Sideways:
Maya’s dialogue brings out to light the collective memory of a vintage and the cycle of life and death. The human feeling of empathy is also applied to wine. It is a beautiful personal fictional narrative.
There are no good or bad wines just our own narratives to specific bottles. How we form these narratives depends on our past relationship with wine but that’s another history.
Sometimes wines or grape varieties need a second, third our four chance just like people. This is my personal approach to wine. Each of us is accountable for our opinions and there is no shame in taking back something that we realize that is wrong.
How does this relate to wine you may ask?. I love my wines to be unique and different just like people. To be standard, I despise and to be original I cherish. This mantra is what brought me to love natural wines. Each natural wine is unique and special in its own way. However, you must be ready to be pay attention to their nuances. Sometimes, the answer lies in front of our glass but we must be ready to take it.
However, there is no right or wrong answer. In my utopian state of mind, I would judge a wine depending on the positive or negative vibes it brings me. Examples of a positive vibe would include: Does this wine makes me happy? When i take a sip, does it make me dream of the place where it was made. A negative vibe could be a feeling of repellement or a hint of toxicity. Does this wine makes me want to run away. These are the questions that every night I ask when I open a bottle.
After all, a bottle of wine is a work of art. It is the way a vigneron interpreted a specific piece of land called a vineyard. Sometimes, the vision of the winemaker matches the vision of the drinker so quickly and boom!! you have a cosmic match. There are other times when it needs more reflection or solace. There are no misunderstood wines just misunderstood experiences.
To drink a wine bottle is a highly subjective experience that belongs to each and one of us. Adding up each experience will form the collective memory of a specific wine. When you approach a new wine, you are a spectator of this collective memory and as you drink tit, you become part of the memory. But this only happens if you allow yourself to be part of the experience.
Tasting notes and scores are very superficial. In my experience, they only give you a very limited window viewing of a wine. To really understand the emotions that a wine can bring you must drink the wine. In my mind, I compare the act of wine drinking to the act of lovemaking or going to a museum. It is very important to have closure with your wine. There is drinking for the sake of drinking but also very important is to drink with a purpose.
What is the purpose of drinking or buying this wine?. Nowadays, I am asking myself the purpose of doing everything including the act of wine drinking. I really want to stop the old pattern of walking the corridors of life with no purpose.
Enough of the talk and lets get down to some amazing soulfoul wines
Three highly emotional wines:
Axina e Ixinan Gianfranco Manca Panevino
On the nose, this wine brings to mind sweat and with time the finest barnyard aromas. With time, there is an explosion of black fruit and other je ne suis quoi nuances. A good emotional wine in so many levels. Beautiful acidity. A touch of volatile to keeps things interesting. This wine has an incredible wavelenght. A lovely red peach finale. Emotional feeling:I compare this wine to the state of falling in love but in a tiny version.
Vini Scirto Culonna. Terre Siciliane 2016
Spicy and quite sanguine wine. Very mineral with lots of dry flower character. On the palate, this wine has great precision and lenght. It is quite refined with flavours of cocoa and menthol. A very beautiful finale that brings a panoply of flavours that reminds me of cherry marmalade, funghi porcini and earthy dry tomato notes. Emotional feeling: Discovering the soft inner core of a person that is rough on the outside.
Domaine Ledogar Les Brunelles Cinsault 2018 Vin de France
Highly aromatic wine. It reminds me of wild thyme and oregano complemented by nuances of potted earth. On the palate, it is quite earthy with a bit of rugged tannins. A bit of a rebel wine but it is so lovely. Very sympathetic. Emotional feeling: A perfect day with your best friend.
Humm…Nebbiolo is not a grape that I usually associate with the summer season. It feels more at home from the fall to the winter. When i think of a Neb based wine, images of chilly fall evenings with beef roasts and luscious pastas come to mind..In a million years, i never you could have Nebbiolo for summer, especially by the side of the pool. It doesn’t fit into the laid-back estivale category.
Well..thats the beauty of wine. It sometimes makes you think outside the box. When I saw a ( girl) in the Vin dans Le Voiles website posing with a bottle of Rosso di Valtellina, it set an alarm in my mind.
Meet the Dirupi Ole bottle cuddling along the model from The Vin Dans Le Voiles.A boutique producer in the Valtellina, the northern most wine producing region of Lombardy in Italy. This is a beautiful and extreme wine making region with freezing temperatures in the vineyards in the winter followed by very hot summers with a light exposure similar to that in Sicily due to the steep aspect of their south facing vineyards.
The Dirupi winery is named after the steepness of their 4.5 hectares of vineyards. The yields and total production is very low, comprising only four labels and a overall production of closely 15000 bottles a year. Note that this is 100% exclusively artisanal winemaking. Davide Fasolini and Pierpaolo di Franco work the most natural way in the vineyard and cellar although not classified as organic wine makers.
The region’s location in northern Lombardy on the Italian/Swiss border produces a different style wine from this normally tannic grape. Higher altitude (approximately 2,220 feet), cooler climate and distinctive soil types (Sandstone and silt in the case of the Olé) deposited by glaciers over the years produce a less tannic, high-toned version of Nebbiolo (Chiavennasca in the Valtellinese dialect).
This is a delicious and fun wine packed with very savoury notes of red fruits, herbs and lots of yummy flower undertones. On the palate, very fresh and floral with notes of spices, strawberry pie filling and just slightly tannic.And yes….I completely understand why you would want to have this wine by the pool. It is just so fresh and mouthwatering.
It is available by the case via Le Vin dans Le Voiles ( $43.15. Six pack case)
My introduction to Rousillon was with three important figures that also marked forever the way I drank wine: Padie, Duchene and Cyril fhal. These were my early natural wines and my baptism with the wines of Rousillon. The other luminaries came after and they were Matassa and Majas and of course Gauby
Roc des Anges became known to me some time after. I learnt about them by the pejorative remarks of a Canadian high end sommelier. Frankly, most of these wines are still misunderstood by the mainstream wine trade and this caught my attention. Disregarind the person comments, I ordered a case from its Quebec importer: Vini-Vins. It is available as a private import in 6-pack case. The price per bottle is $30.95. Highly reccomended wine.
The IGP Cotes Catalanes was formed in 2003 by merging the two former VdP areas Coteaux des Fenouillèdes and Vals d’Agly. Côtes Catalanes covers almost the entire department Pyrenees-Orientales with the exception of the four municipalities Banyuls-sur-Mer, Cerbère, Collioure and Port-Vendres (these form the IGP area Côte Vermeille). Mostly red wines and in smaller quantities rosé and white wines are produced. The main red wines are Grenache Noir, Mourvèdre, Cabernet Sauvignon., Syrah and Cinsault, the most important types of white wine are Grenache blanc and gris, Macabeu, Malvoisie du Roussillon, Marsanne, Roussanne, Vermentino, Muscat d’Alexandrie, Muscat petis grains, Chardonnay, Sauvignon blanc and Viognier.
Roc des Anges is not your usual Rousillon estate. Marjorie and Stéphane Gallet, both coming from Côte Rotie and Normandy, respectively have built a biodynamic domain in the Vallée de l’Agly, an almost abandoned vineyard land better known for their fortified wines.
Gallet’s Segna de Cor is composed of younger vines from mostly grenache and syrah. This wine is rich with deep and complex flavours. The palate has an striking elegance and full of spicy flavours. It was a wonderful pairing with a chicken spanish rice with some beans. Vinified and aged in concrete vats. It has a bouquet of red fruits, flowers, pepper. The taste is juicy and concentrated but also fresh and pleasant.
We are almost at the end of winter..and here I am talking about rose wines
It’s not because I am bored or have nothing else to talk about on these pages Instead , rosé is enjoying a soaring popularity in Canada as a versatile all season wine thanks to its refreshing character, its typically low alcohol content, and its exceptional ability to pair with a range of heartier dishes.
When you’re looking for cold weather rosés, pay attention to their flavor, texture, and color — the latter is the simple place to start, since it is the most visually distinguishing characteristic.
In the case of winter food, you’re going to want to seek out rosés with more skin contact that will result in a darker, almost ruby color. These rosés tend to have more body with a livelier personality, and a richer mouthfeel that can stand up to heartier dishes.
Look for wines from specific regions to get an idea as to whether they’ll be appropriate for pairing with heavier winter foods.For winter weather and richer dishes, seek out rosés from warmer climates (For instance, tavel, Italy, some California) or those made from bolder red grape varieties (Syrah, Sangiovese, Bordeaux varieties). The weight and fuller texture will prove more compatible than the lighter, delicate Provencal styles that are nice to have in June and July.
In the winter you can serve your rose at cool room temperature – similar to the correct temperature for things like Pinot Noir. It will release more flavour and tannins from the wine.
Private Import rose wine reccomendations
Apollo Cerasuolo d’Abruzzo DOP. 2018 ( Private Import, Bacchus 76, $23.96. Case of 12)
Dark almost like a light red, it has beautiful nuances of maraschino cherry, plum marmalade with a slight earthy-funky note that adds a wonderful complexity. Full body, it is round and a bit fleshy. Fine nuances of menthol and wild herbs. Beautiful rosato for late winter-early spring.
Cantina Indigeno Rosato ( Private Import, Volet Importation, $45. Case of 6)
One of the wildest rose wines that I have ever tasted from Abruzzo. This is just naturally fermented Montepulciano d’Abruzzo grapes with nothing else added. Just 1 mg of sulphur per litre. Vibrant and hedonistic aromas of primal red fruit with funky earthy notes. On the palate, it is pure joy and pleasure. It drinks by itself
At your nearest SAQ
S de la Sablette Vin de Provence Rose 2018. ( SAQ # 12990902, $16.35)
This one from the Coteaux Varois-en-Provence appellation is stunning displaying aromas of tangerines, honey dew melon with a touch of fragant violets. Round with a beautiful acidity, it has a lovely finale reminiscents of red peaches.
Cellaring wine. It’s the dream of many wine lovers to have a cellar full of wine. A lot of them feel good about themselves by having a “collection” of favorites. It does not matter if you will drink them in the short term or eventually in a not too distant future. What matters is having the bottles.
When we start collecting we start with an idea of what we like and proyect this expectations in the future that we would enjoy the same styles. Of course, the wines will mature with time and you will rediscover again with age.
What happens when you have a bunch of wines in inventory that you dont necesarily enjoy anymore?
I spent the whole month of September and continue so in October doing some restructuring in my cellar. Got rid of stuff that doesn’t make sense to me anymore. Take for instance, Supertuscans. These were the wines that defined my early years of wine drinking. I romantically call this period my adolescence of wine. For a while these wines made sense to me but now they have lost meaning. To be frank, I bought them because they had a certain prestige attached to them.
Again you only realize this when you do a deep instropection. It is a heavy exercise that can leave you drained yet necessary to growth. Our palate changes and we dont like the same stuff of 20 years ago. Yet with hang on to them because its hard to let go. Believe, it was hard for me to trade some specific bottles. The process was painful at first but felt after a rush of satisfaction when I got the new wines that love at the moment. This is a recurring cycle that I welcome with open arms in the near future.
I am learning than cellaring wine is more than just throwing bottles in a temperature controlled closet or warehouse. It is a picture of what you like in a finite period of time. It is important to accept that your taste will change to become a better wine drinker. At the beginning, it was hard for me to grasp the concept. It was out of necessity that I had to do this exercise.Recently, I have been buying more wine than I can afford ( And I have a big pocket) so I had to let go of some liquid assets to accomodate the new arrivals. With this pragmatic exercise, I am learning if what I have on stock I really going to drink it or I am going to continue to sit on dust like the others bottles.
Eventually, I will have nothing to trade anymore and will have left the core of my cellar. These are the bottles that I hold dear to my heart and represent the styles that I love. These are the Rousillons, Rhones, certain Italian wines and a nice collection of natural wines that is expanding as I discover my palate. When that times come, I will rebuild my already extensive cellar to another glory to come!!!