Cultural

Why go now?

A thin peninsula just south of Rotterdam’s centre, Katendrecht was once at the heart of the world’s busiest port, home to continental Europe’s first Chinatown and a lively sailors’ quarter. Its later reputation as a red light district has been shrugged off – part of the city’s wider reinvention in the aftermath of extensive second world war bombing.

Still Europe’s largest port, Rotterdam’s maritime history is very much evident today, with the former headquarters of the Holland-America Line now a hotel just a short hop across the Rijnhaven Bridge. The 2012 opening of this pedestrian and bicycle bridge finally connected cut-off Katendrecht to Wilhelminapier, which was a jumping off point for transatlantic migration, and is today a major cruise terminal, with more than 100 ships departing every year.

The opening of the Fenix museum of migration last year and the reopening of the Nederlands Fotomuseum in a new location here in February have accelerated Katendrecht’s rise in status, following on from the entrepreneurs and creatives who have introduced craft breweries, food halls and design boutiques in recent years.

Former warehouses have been transformed – into the aforementioned museums among other venues – and a lively cultural and arts scene has grown as the neighbourhood has seen new residents rediscover the formerly downtrodden area.

With more big construction projects under way, Katendrecht will be transformed further over the next five years, with apartments, shops, a five-star hotel, an urban beach and, notably, the Rotterdam Centre for Dance, Danshuis, on the horizon.

Where to eat and drink

Deliplein is the place to begin – the tree-lined square lies at the heart of the old sailors’ quarter and houses more than 20 restaurants and bars. Originally home to the first Chinese restaurant in the Netherlands, Delistraat is buzzing from morning to night.

Start at Jordy’s Bakery, where flaky pastries, vegan muffins, sourdough sandwiches and speciality coffees will fuel you for the morning. Across the road in the Fenix atrium, O: Anatolian Café is run by the Michelin-starred chef Maksut Aşkar; on the menu are all-day Turkish breakfasts, meze platters, sandwiches and salads at extremely reasonable prices.

Kaapse Brouwers in the Fenix Food Factory is where the post-work crowd heads. Sit on the terrace, admire the waterfront view and explore its range of more than 20 craft beers on tap – from Belgian blonds and New England IPAs to pilsners and sours. And back on Delistraat, Café de Ouwehoer is a classic old-style pub with a nod to the area’s past – and a huge range of whiskeys to boot.

A few doors down, finish your evening at the small but perfectly formed fine-dining establishment De Matroos en Het Meisje (The Sailor and the Girl), which offers a changing daily menu. With the option of choosing from four to six courses, dependent on season and produce, dishes could be charred carrot, cured Japanese fish, creme fraiche and onion, or chicken breast with mushroom beurre blanc, blackberries and crisped rice.

Cultural experiences

Fenix is the obvious first stop. Funded by the philanthropic foundation Droom en Daad (Dream and Do), the museum of immigration opened last May in a renovated historic warehouse and finally gave Katendrecht a real focal point for visitors.

Formerly part of the world’s largest warehouse for cargo transfer, the museum reflects the fact that millions of migrants arrived at and departed from the port in search of a new life. At its heart is the Tornado, a spectacular mirrored spiral staircase, which offers 360-degree views across the neighbourhood, docks and the city. It symbolises the central theme, with architect Ma Yansong describing it as “a metaphor for the journeys of migrants”.

The industrial space is used sparingly to display photography, art and sculpture that communicate the experience of immigration, movement and displacement of peoples. It’s humbling and moving. The exhibition All Directions features more than 100 artists, with stories of the war in Kyiv and refugee camps in Tunisia, Jordan and Lebanon, as well as a lifesize New York bus made from fabric.

The Family of Migrants exhibition showcases more than 200 photos from around the world, depicting the story of migration from the late 19th century to the present day. And the Suitcase Labyrinth has about 2,000 donated cases, dating from 1898 to today, with 30 audio stories detailing the unique past of some of them.

Farther down the waterfront, the newly opened Nederlands Fotomuseum is also in a renovated warehouse – formerly used to store coffee from Brazil – and is topped with a modern anodised aluminium structure. Inside, the exposed brick, rough-edged concrete and steel girders offer a striking contrast to the impressive photography on display.

The original museum opened in 2003, and the collection now comprises more than six million negatives, transparencies, prints, photo albums and other archival matter – visitors are encouraged to look in the depots and studios. Every week, thousands of images are digitised and made available online, while old and damaged photography is conserved and restored.

On the first floor, the Gallery of Honour of Dutch Photography showcases 99 distinguished photographs, selected by a group of experts, spanning 1842 to the digital era. And as you go up the central staircase, which leads all the way to the rooftop restaurant, a mosaic of projected images merely hints at the breadth and depth of photography in storage.

Where to shop

In the Bay House development, close to the Nederlands Fotomuseum, there are a number of designer fashion and vintage furniture stores. Selected With Love has “upcycled” clothing, Caesar sells designer menswear, while The Gallery by Collectors Network is a space for numerous independent dealers selling vintage design pieces – Vintage Hoarder, for example, has 1980s Belgian floor lamps, a 1970s French slate table and 1960s Italian dining chairs.

The museum shops offer the best range of unique purchases. Fenix has items created in collaboration with artists and designers as well as chocolates from Rotterdam, slippers from Greece and tea from small family-run plantations in China.

Don’t miss

Verhalenhuis Belvédère is perhaps the best place to get a sense of where Katendrecht has come from. Dating from 1894, the building was originally a cafe then a jazz club – saved from demolition, it became a cultural centre, community hub and exhibition space in 2009.

As part of its cultural programmes, community meals and storytelling events, Belvédère collects and shares the stories of Rotterdam residents, from the first Cape Verdean migrants to Jewish families and Chinese seafarers.

Where to stay

Of Hotel New York’s 72 rooms, the suites in the former offices of the Holland-America Line’s directors, overlooking the Nieuwe Maas river, and the two tower rooms are the ones to book. Rooms from €110.

On the western tip of Katendrecht, the former cruise ship SS Rotterdam is permanently moored and is now a 254-room hotel that retains much of its original styling, with wood panelling throughout, and the public spaces – bars, restaurants, theatre – are like stepping back in time. Tours are available. Rooms from €73. The five-star Eurostars hotel is expected to open in the autumn, next door to the Nederlands Fotomuseum and right by the Rijnhaven metro station, which connects easily to Rotterdam Centraal train station.

The trip was hosted by the Netherlands Board of Tourism & Conventions

A poll of 2,000 adults who travel abroad found that one in six have committed a cultural faux pas while on holiday – and the top 10 travel mistakes tourists make have been listed

One in six holidaymakers have committed cultural blunders while abroad – including eating with their left hand in South Asia and blowing their nose at the table in China.

A survey of 2,000 adults who travel overseas found 28% of those who have put their foot in it culturally have neglected to cover their shoulders and knees when visiting a place of worship. Meanwhile, 26% have forgotten to tip in North America and 21% have jaywalked there too.

Despite a tendency to make such mistakes, 39% of all those surveyed said experiencing different cultural etiquette is one of the main reasons they choose to travel – particularly to long-haul destinations.

A spokesperson for Riviera Travel, which commissioned the research and offers escorted tours across Europe, Asia and North America, said: “Travel is about embracing the unfamiliar. “These findings show how easily well-meaning holidaymakers can fall foul of local customs, often without realising it.

“Whether it’s understanding dining etiquette, dress codes or local laws, having expert guidance or a well-planned itinerary can give travellers the confidence to explore unfamiliar cultures without the worry of getting it wrong.”

The study revealed 62% have worried about accidentally breaking the law while travelling, while 54% feared coming across as rude without intending to.

A further 42% were concerned about taking photographs somewhere they shouldn’t, while 41% worried about getting religious customs wrong.

To get themselves prepared, 57% research destinations more thoroughly before jetting off. Upon doing so, 31% were taken aback by just how many everyday UK habits are perceived differently abroad.

In particular, 30% found that hand gestures can carry entirely different meanings depending on your location around the globe – such as using the ‘OK’ gesture in Brazil, which is often the equivalent to swearing.

Other no-gos British holidaymakers were oblivious to included the fact that bringing mineral water into Nigeria is forbidden, while commonly available nasal sprays can be restricted in Japan. Camouflage clothing is banned in Barbados and taking bubble gum into Singapore is against local rules.

Eager to avoid becoming the stereotypical “Brit abroad”, 49% modified their behaviour while travelling so they would not be perceived that way. A third had seen another holidaymaker making a cultural mistake, including being rude towards restaurant or hotel staff (52%), speaking too loudly in public (51%) and dressing inappropriately at religious or cultural sites (49%).

If they made a faux pas themselves, 56% would feel embarrassed, 51% apologetic and 30% eager to learn from the experience.

It also emerged 29% of those who worry about social faux pas preferred guided tours or expert advice to ensure they didn’t make a cultural mistake.

Whereas 24% stated being part of a guided group would give them the confidence to explore unfamiliar destinations, and 22% valued the reassurance of travelling with an experienced tour manager.

A spokesperson for Riviera Travel added: “The findings show most travellers are keen to be respectful when they visit somewhere new, even if they occasionally get things wrong. “Being open to different customs and ways of life is one of the most rewarding parts of travel.

“Having the support of local experts, an experienced tour manager, and the reassurance of a guided group provides essential peace of mind.”

TOP 10 CULTURAL BLUNDERS:

1. Not covering up shoulders and knees when visiting places of worship.
2. Not tipping at a restaurant in North America.
3. Jaywalking in America.
4. Eating with your left hand in countries where the right hand is traditionally used for eating.
5. Not removing shoes when entering homes in Canada.
6. Showing up late to an appointment or meeting in Germany.
7. Using the “OK” hand gesture in Brazil.
8. Leaving chopsticks sticking vertically out of the rice in Japan.
9. Pouring your own drink before others in South Korea.
10. Touching someone’s head in Thailand.

My wife and I moved from London to Marseille a little over five years ago when our British passports still conferred “right to reside” in France. That first winter on the beach, in short sleeves, as our daughters played in the topaz-coloured Mediterranean and the sun set across an ever-clear blue sky, I understood why this part of southern France has always been popular with artists.

I was recently speaking about this with the painter Fanny Nushka and her sailor husband, Benoît Bouchet, on the terrace of Café la Muse in Marseille’s “coolest” neighbourhood. She said: “It took a long time to go back to blue. It’s like being in Paris and painting the Eiffel Tower. It’s dangerous to paint the Calanques [limestone coves] as an artist from here.”

We moved to Marseille for the same reason that has attracted countless artists: it’s cheaper to live here. Marseille’s affordability enables Fanny to paint full-time and Benoît to sail without being away from his family for weeks. Benoît runs daily catered cruises on a listed sailing yacht, Le Don du Vent. For €135, you get a taste of Mediterranean luxury with swimming, snorkelling and sunbathing in the unspoiled sea coves around Marseille, pausing briefly for wine and a lunch prepared onboard.

Céline Ghisleri, co-president of Provence Contemporary Art, which represents 62 arts organisations in and around Marseille, tells me the city has always had a dynamic art scene. However, the turning point came when Marseille was named European Capital of Culture in 2013. Since then, large institutions such as Frac Sud, Mac and the Museum of European and Mediterranean Civilisations (Mucem) have expanded the city’s offering with bigger exhibitions from more widely recognised artists.

This summer, the Mucem’s exhibitions are Bonnes Mères, a collection of contemporary and historical works on the theme of motherhood, and Clément Cogitore’s fascinating Ferdinandea, l’île éphémère, a body of work centred on the brief existence of a volcanic Mediterranean island. At the end of August, the art fair Art-O-Rama will be hosted at La Friche La Belle de Mai. La Friche (the Wasteland) was a tobacco factory and is now an enormous warren of a multidisciplinary arts centre that is always buzzing, especially in the summer when they set up a movie screen and food trucks on the roof. La Friche is emblematic of the art scene in Marseille: absolute chaos, but somehow it works.

Outside Marseille, Plein Sud, a network of contemporary art organisations between Monaco and Montpellier, produces a guide with travel itineraries. It’s how I discovered the charming Gallifet art centre in nearby Aix-en-Provence, which is only about 40 minutes from Marseille but exists in a completely different universe.

You couldn’t be further away from Marseille’s port city energy than Aix’s daily market at Place Richelme, where you can grab a coffee and, if you are lucky, an outdoor seat at the patisserie and salon de thé Maison Weibel. For lunch, I recommend Drôle d’Endroit (Funny Place). It is tucked down an alley off a sidestreet, but the meals are always pleasing and the atmosphere friendly. Another solid choice is Tita for Levantine street food.

As tiny and quiet as Aix is, it has an abundance of museums, such as the Granet Museum, the Caumont Art Centre and the Vasarely Foundation, but they tend to lean heavily on art that historians have already anointed. For example, it wasn’t until 1984 that the Granet acquired any works by the local boy done good, Cézanne, whose preserved studio is just up the hill.

That’s why it was refreshing to find Gallifet trying something different. The owners, Nicolas Mazet and Kate Davis, have a mission to bring contemporary art to conservative Aix. Located on the ground floor of an 18th-century townhouse, the courtyard’s striking red sculpture of a swimmer mid-stroke, by Diadji Diop, hints that Gallifet is more than just a home (the owners live above the art centre).

This summer’s exhibition features a retrospective of the photographer François Halard, with more than 100 works spanning more than three decades. Until the end of September, Gallifet also hosts a seasonal restaurant and chef’s residency. This year, two Paris-based chefs, Lisa Desforges and Bruno Hammerle, will use Provence’s abundant and delicious ingredients to create menus including entrees such as smoked ricotta gnocchi with peas and a peapod veloute. Gallifet also offers two apartments (from €200 and €160 per night), both decorated with pieces from previous exhibitions and filled with Provençal features such as marble fireplaces and tomette terracotta tiles.

A little further up the Rhône, Avignon nestles against the river, enclosed by preserved medieval walls. The Palais des Papes overlooks the renowned vineyards of Châteauneuf-du-Pape to the north and lavender fields to the south. Each July, the town is taken over by the Avignon festival, one of the oldest performance arts festivals.

After a visit, take a walk along the most picturesque and charming street in Avignon, La Rue Peyrolerie. A winding medieval cobbled alley leads to an equally charming restaurant, L’Épicerie, situated in a square beside a small 14th-century gothic church with an ornately carved walnut-wood door. The cuisine is classic French, served in generous portions by friendly staff. Every time we visit Avignon, we dine here and have never been disappointed, but be warned that the terrace fills up quickly. This is a well-known and well-loved spot among locals. Another safe bet for outdoor courtyard dining is Numéro 75.

The most notable address for contemporary art in Avignon is the Lambert Collection, housed in two stunning 18th-century townhouses, Hôtel de Caumont and Hôtel de Montfaucon. The collection is the legacy of Yvon Lambert, a celebrated gallerist and collector who made his reputation in the latter half of the 20th century championing American artists such as Nan Goldin, Donald Judd, Lawrence Weiner and Cy Twombly. The collection continues to support up-and-coming local artists in its Antechamber of Summer exhibition. This year’s exhibition is by Melika Sadeghzadeh, an Iranian artist living and working in Montpellier.

Just south of Avignon, Arles has at its centre a nearly 2,000-year-old Roman amphitheatre, which hosts plays and concerts. The Vincent van Gogh Foundation and Luma host several exhibitions throughout the year, but the real treat comes in July during the Rencontres d’Arles. For 50 years, venues across town, from galleries to grocery stores, have showcased a wide range of contemporary and historical photography.

Recently, we went to Arles for its Festival of Drawing. After a wander through the picturesque medieval streets of the Roquette district on the east side of town, popping into venues as we went, we discovered the tiny restaurant Páou in the quaint Place Paul Doumer. The menu promised sharing plates starring local produce and wines. So we sat down for another meal at another terrace table, under another clear blue sky.