M1 — Muzeumtura - francia modra
20261105 165000 UTC
328 transcript segments
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[00:06:26] Museum tour French style, the Pompidou Center.
[00:06:48] Good day everyone, and welcome to the museum tour French style
[00:06:51] program. France is really the world's largest open-air
[00:06:55] museum. We are here in front of the George Pompidou Center. Imagine
[00:06:59] George Pompidou, the French President of the 70s,
[00:07:02] who gradually smuggled contemporary art into
[00:07:06] his office, the Elysée Palace. One day he
[00:07:09] rushes here with his wife, and looks at this place, which is not yet a Pompidou
[00:07:13] center at all, just a big ugly parking lot, and he says, 'Here
[00:07:16] it will be, here we will build a second Louvre, which we will dedicate
[00:07:20] to contemporary art,' then he adds, 'You'll see,
[00:07:23] we will shock the
[00:07:24] bourgeoisie.'
[00:07:32] A few months later, 450 architectural plans pile up on
[00:07:35] his desk. Among the jury members is George Pompidou himself. The plans of two young
[00:07:39] architects are accepted, Rogers and Renzo Piano.
[00:07:43] Then the building emerges from the ground, which the surprised Parisians will call
[00:07:47] 'the refinery' or 'the gas factory,' or even 'the oil refinery.'
[00:07:51] Pompidou will not live to see this factory, as he
[00:07:54] dies in 1974. But
[00:07:57] 30 years later, we are forced to admit: This place is an
[00:08:00] international reference in the world of
[00:08:03] contemporary art. Besides that, it is one of Paris's
[00:08:06] most visited
[00:08:07] places.
[00:08:18] "I suggest we listen to the confession of President Pompidou's wife, Claude
[00:08:21] Pompidou, who emotionally recounts to
[00:08:25] us how this plan was born in her husband's mind.
[00:08:28] Listen. Even if they booed a little at the beginning,
[00:08:31] they have gotten used to it by now. This building is very modern. The
[00:08:35] idea was born in my husband's mind in the 50s,
[00:08:38] a very long time ago. He was
[00:08:42] not at all well-versed in architectural matters. So at first it was just a
[00:08:45] dream to create a cultural center in the
[00:08:48] heart of Paris, where perhaps fine arts could be connected
[00:08:52] with the library.
[00:08:56] Even then, he thought of Mr. Bob's parking lot, because he passionately
[00:08:59] loved cars. There weren't many parked here back then. I
[00:09:03] believe that if he hadn't been President, this would have been
[00:09:07] impossible. It needed a bit of, on a certain
[00:09:10] level, the Prince.
[00:09:13] "I am very sorry that the very person who dreamed up the place cannot
[00:09:17] see it. This is, of course, a rather painful fact.
[00:09:36] Ladies and gentlemen, allow me to introduce Anna. Good day,
[00:09:39] Anna. Good day, sir. Are you well? Well, thank you."
[00:09:43] What you don't know is that Anna has been here for more than 30 years. She arrived
[00:09:47] in 1977, exactly. Yes, what was this place like
[00:09:50] in '77? Oh, well in 1977, the people
[00:09:53] who gathered loved this place. It was like being
[00:09:57] among family. Were there people who said this wasn't a good place, or
[00:10:01] insulted you, defamed the building? Yes, of course,
[00:10:04] of course, we heard 'refinery' hundreds of times,
[00:10:07] they also called it an oil refinery, but never mind, it doesn't matter. Refinery,
[00:10:11] oil refinery. Yes, yes, anyway, there were many interesting things
[00:10:14] inside. We also discovered the building then, because it was very new
[00:10:18] to me too at the time. What nationalities are
[00:10:21] most attracted to this place? Yes, foreign.
[00:10:25] The composition changes periodically in terms of the openness of nations.
[00:10:28] I have observed in recent years that many
[00:10:31] Russians come, Eastern European people, and in the last three years, many
[00:10:35] Chinese too, so it's very diverse. Now,
[00:10:39] let's talk about you. How connected are you to this place? Do you like it? At first, I found it a little
[00:10:42] cold, strange. I didn't feel so comfortable in these
[00:10:46] big, spacious rooms. Now I come in with completely different feelings.
[00:10:50] Well, habit surely plays a role, but we find so many
[00:10:53] things here. "I like it
[00:10:55] very much."
[00:10:58] Thank you very much, Anna. You are a very good ambassador. You should be the director
[00:11:01] of a big house. Thank you, thank you for showing us this place. Goodbye.
[00:11:19] Bruno Russin, thank you for receiving us. You are the president of the Pompidou
[00:11:22] Center, such a comprehensive place. We can do
[00:11:25] so many different things. The audience sometimes gets a little lost in it. How
[00:11:29] would you describe this place in a few words? George Pompidou wanted to put something very original
[00:11:33] under the same roof: a library, a grand art
[00:11:36] center, a museum, and a music research center. I can say
[00:11:40] that everything related to culture can be found at the Pompidou
[00:11:42] Center. Today, I could put it this way: George Pompidou won
[00:11:46] the game. Yes, he won the game, because before the opening, we thought there would be 5,000
[00:11:50] visitors per day, but very soon we reached 20,000. More than 5
[00:11:54] million visits annually to the center, of which two
[00:11:57] million are to the library, which is one of the most popular places for Parisians and young people,
[00:12:01] especially in the Paris region.
[00:12:04] I really like the ventilation. I think it's very
[00:12:06] original.
[00:12:11] I was very young, I don't remember the reactions this place provoked
[00:12:14] at the time. This is the architectural
[00:12:17] mistake of the decade. It looks like a vase, and I'm not alone in my
[00:12:20] opinion. Everyone who talks about it nowadays thinks
[00:12:24] the same way. It's a prison, a box where
[00:12:27] experiments are done on rabbits, like in psychiatric
[00:12:30] institutions.
[00:12:33] I think it's good how it contrasts with the city
[00:12:36] of Paris. It's not shocking, not at
[00:12:39] all. There are still some who are shocked by the building. Of course, they are already in the
[00:12:43] minority. 30 years ago, this still dominated,
[00:12:46] but we can no longer imagine Paris without the Pompidou Center, just as
[00:12:50] we can't without the Eiffel
[00:12:51] Tower.
[00:12:59] How do foreign visitors, the British, or the new tourists, the Chinese, etc.,
[00:13:03] judge the center?
[00:13:04] Louis
[00:13:10] style, or the image of traditional
[00:13:12] art.
[00:13:19] All the beauty
[00:13:20] of Paris.
[00:13:32] How is it possible that this place remains true to itself, that it doesn't become elitist, doesn't
[00:13:36] become bourgeois, always strives for artistic innovation,
[00:13:39] with imaginative ideas? For our 30th birthday,
[00:13:43] for example, we welcomed the public with a free exhibition, which attracted hundreds
[00:13:46] of thousands of visitors. By
[00:13:49] this occasion, comic books joined the ranks of artworks and entered
[00:13:53] the museum, I think... We are faithful to our poetic art, to
[00:13:57] contemporary artists. The Pompidou Center, I can say,
[00:14:01] moves beyond its geographical location, and conquers other, in quotation marks,
[00:14:04] artistic markets abroad, but also relocates to Metz in Lorraine.
[00:14:08] We
[00:14:11] are opening a Pompidou Center in Metz.
[00:14:15] Architecturally, it will be built in the same spirit as the Paris center,
[00:14:18] innovative and original, created by a French-Japanese team.
[00:14:22] Approximately 5 million visitors
[00:14:26] annually. Who are these visitors? The visitors of the Pompidou
[00:14:29] Center are mostly young people, under 35 years old. More
[00:14:33] girls than boys, 80% of them are French, or those who
[00:14:36] live in France. And only 20% of
[00:14:40] them are tourists. This distinguishes us from other large
[00:14:43] museums, like the Louvre or the Orsay, which are much more dependent on
[00:14:47] tourism. This is largely due to the library,
[00:14:50] which is heavily visited by
[00:14:54] students. "Thank you very much for revealing the background to us. Thank you for
[00:14:57] coming here. We will go for a walk. Exactly. Thank you very much."
[00:15:21] Approximately 5,200 art owners at Pompidou.
[00:15:41] All artistic expressions can be found in this little paradise,
[00:15:45] which existed between 1905 and 1960. Approximately
[00:15:48] 1300 works are exhibited on
[00:15:51] the fifth floor. I suggest we meet
[00:15:55] Yannick.
[00:16:04] Don't let go, don't let go of Matisse's painting. Steady,
[00:16:08] I'm relieved. Good day, Yannick. You are responsible for the arrangement of the paintings here
[00:16:12] on the fifth floor of the George Pompidou, International Museum of Modern
[00:16:15] Art. I am responsible for the coordination of historical
[00:16:18] paintings, so also for this hanging on
[00:16:22] the fifth floor. It took a month and a half on site and
[00:16:25] seven months of preparation. To show us this Matisse painting
[00:16:29] today, several months of preparatory work are
[00:16:33] needed. Several months of work precede it. But this is not a work that just
[00:16:37] hangs.
[00:17:18] This is a René Magritte. Did you also install this? Yes, I put
[00:17:20] it here. It was quite difficult, by the way, this painting is special but
[00:17:24] also very heavy, so you have to be careful. I see.
[00:17:27] It's essential that it holds well. It must not fall on our
[00:17:31] visitors. I see. Yannick. I
[00:17:34] love this place. Those who don't know the Pompidou Center probably
[00:17:38] don't know this place either. What is this? A wall? With André
[00:17:41] Breton's objects? Exactly. Yes. This is a reconstruction of André
[00:17:45] Breton's wall, which was in his studio.
[00:17:48] Yes. Among them are true masterpieces: Miró,
[00:17:51] Picabia, Picasso. We arranged this wall in 10
[00:17:55] days. What is the most beautiful part of your
[00:17:57] job? Oh, look, look
[00:18:01] around. I have the privilege, which you don't, of
[00:18:04] touching this Dalí painting, the Telvil now.
[00:18:50] I'm meeting Frank from the packaging department. Do you know where he is? Yes, where
[00:18:54] is he? Very close. Good day. Good day. This is incredible. So you
[00:18:57] pack here all day, you unpack all the time. What
[00:19:00] is happening here? You are packing a work from the new
[00:19:02] acquisition.
[00:19:05] Here, ladies and gentlemen, is the work in question, which...
[00:19:08] they acquired, they acquired. This is it. What exactly is this work?
[00:19:12] These are the shelves with all their pieces and the
[00:19:15] display case, and the display case. Why are they packing them? They just
[00:19:19] bought them. Why are they packing them? Because they are going to the warehouse now.
[00:19:22] Warehouse? Where? Well, to one of the reserve locations. It's already
[00:19:25] packed. It's going fast. Why don't you
[00:19:29] put Luxo around it instead of making these little bows, which are actually very
[00:19:33] cute? You can't imagine how much sellotape can damage the piece.
[00:19:37] I see. It can cause damage, there's glue on the sides,
[00:19:40] so we'd rather avoid it. We complicate our lives. Yes, you can take it
[00:19:43] out. So, look at this work, kids,
[00:19:46] packaging. They pack best here in Paris. And where is the
[00:19:50] other part of the display case? Here,
[00:19:53] in
[00:19:56] its box, we prepared it there. Yes, this is
[00:20:00] incredible. Are you telling me that you made
[00:20:04] a special box to pack the display case of this English
[00:20:07] artist? Yes, I can
[00:20:11] imagine, seeing some of the artists' eccentricities, that you had to make
[00:20:15] others, strange packages, like cars
[00:20:18] for example. Once you had to pack a car. Yes, yes,
[00:20:22] that's a size already, and you had to make a box,
[00:20:26] of course,
[00:20:26] yes.
[00:20:34] Coming here, I saw, I don't want to play an expert, but... It seems to me that
[00:20:38] this is a Chagall, right? Yes. Where is
[00:20:42] it going? It came back. Oh, it came back. And how do you know that
[00:20:45] they really give you back the originals? We check the
[00:20:49] back. "They check the back, they check that, that it wasn't
[00:20:52] taken apart. I see. If I
[00:20:56] drop this Chagall painting, I will be in trouble. Yes,
[00:21:00] here, wonderful.
[00:21:12] The Pompidou Center does a lot for young people. For example, those under
[00:21:16] 18 can visit for free. Next to the entrance
[00:21:19] on the ground floor is the children's gallery, where on Wednesdays
[00:21:22] workshops are held for the youngest children. Today's
[00:21:26] workshop is titled 'Comic Book Reporter.' Sounds
[00:21:29] interesting, let's
[00:21:30] see.
[00:21:36] We will look at the artists' works. Will it be good,
[00:21:39] kids? Those who will go to different places
[00:21:42] and make discoveries, they will
[00:21:46] draw the places that they
[00:21:50] explored.
[00:21:53] We will look at the exhibition behind the screens.
[00:21:56] Everyone choose a postcard for themselves. You have to
[00:22:00] find the picture in the exhibition that is on the postcard.
[00:22:15] I think this exhibition is for children, that is, for everyone from zero to 90
[00:22:18] years old.
[00:23:20] The basis of the idea was that little ones love games that are
[00:23:24] forbidden to them, and everything they need to
[00:23:28] immerse themselves in artistic creations.
[00:23:30] I took these two ideas, put them in my hands,
[00:23:34] and shook them for a long time,
[00:23:38] and here at first click, I had the
[00:23:42] idea. I found it very funny to invite little ones
[00:23:45] to a place that is ostensibly for
[00:23:48] adults.
[00:23:54] "We got it, we sent it, we sent it,
[00:23:57] indeed,
[00:23:58] we got it."
[00:24:06] Once a month, on Wednesday, there are two workshops, one
[00:24:10] in the morning and one in the afternoon, only for little ones. This is 'Little Ones'
[00:24:13] Wednesday."
[00:24:21] and gentlemen, the world's largest
[00:24:22] museum.
[00:24:27] By saying that the Pompidou Center is the Mecca of contemporary art,
[00:24:31] we think we have said everything, but no, because Pompidou is primarily a
[00:24:35] place of diversity, a versatile place that is not so
[00:24:38] easy to summarize. If you allow me, I would like to give you a few pieces of data that
[00:24:42] I wrote down. First, last year there were 5 million visitors
[00:24:45] at the Pompidou Center, which means an average of 1700
[00:24:49] entries per day. Then the temporary exhibitions,
[00:24:52] last year there were 18, for which 1.6 million visitors
[00:24:56] came from all four corners of the world here to the Pompidou Center.
[00:25:23] It sparkles a little on the right side, here, look
[00:25:26] at it, I'll take it, this is not bad anymore, the other side is good, this
[00:25:30] is good, the other side, the other side is better, yes,
[00:25:34] please, maybe bring it a little closer, it's not
[00:25:36] bad by the way.
[00:25:39] 16:8. Good day, gentlemen, excuse the
[00:25:42] interruption. What are you doing here?
[00:25:44] Photographing the works of the Pompidou Center,
[00:25:48] works that are usually in the... warehouse. These are all
[00:25:51] requests,
[00:25:53] this one, for example, for a catalog, because I think this
[00:25:56] painting will surely go abroad later, and they need a
[00:26:00] picture, a good picture. For the exhibition catalog. This
[00:26:04] studio is always here with photographers who photograph the works.
[00:26:08] This is a continuous activity, it belongs to the museum. Yes. Exactly, not just
[00:26:12] paintings. I see. But sculptures, architectural
[00:26:15] plans and models, maps, everything that is
[00:26:19] requested. For you, who are behind the lens, what is
[00:26:23] it like to be a photographer, to photograph the works of artists? Our
[00:26:26] task is to faithfully capture the works.
[00:26:30] Their colors, shapes, the...
[00:27:03] Why does a work come here? What are the reasons why it needs to be
[00:27:06] photographed? Due to requests related to
[00:27:10] various services. A photo is needed for
[00:27:13] exhibitions, publications. And then, for example,
[00:27:16] if a work is accidentally damaged, a
[00:27:19] report must be written. For that, the work is first brought here so that
[00:27:23] a photo can be taken of it, of its state
[00:27:26] before and after
[00:27:27] restoration.
[00:27:32] I suppose you have photographed the Pompidou Center many times. Yes,
[00:27:36] of course, quite a few times in 32 years. This is very
[00:27:39] beautiful, I like it very much. Yes, I did it
[00:27:42] at a lady's house, who lives here opposite, from the roof of her house. She was kind enough to
[00:27:46] let me in.
[00:27:48] He snuck in like a paparazzo to photograph the
[00:27:52] George Pompidou Center. He took it early in the morning, no, I think it was
[00:27:55] in the afternoon. By the way, the shot consists of two parts, like every photo
[00:27:59] of Pompidou. Oh, really.
[00:29:06] Ladies and gentlemen, now you can see Giacometti's work, which I myself am seeing for the first
[00:29:09] time. Ladies and gentlemen, we are talking about the famous
[00:29:13] portrait, Isaku Diadaih.
[00:29:17] It was purchased from the artist in 1965, and
[00:29:20] was made in 1956. We restored the
[00:29:23] frame, put a reflector on it, which absorbs all
[00:29:26] reflections. So this would be that famous glass that is completely
[00:29:30] anti-reflective. Here, this is a picture from Orlan, from Orlan,
[00:29:33] and this one doesn't have an anti-reflective coating, there's no anti-reflective coating. This
[00:29:37] is plain plexiglass. Of course, it's visible that nowadays they rather
[00:29:40] put plexiglass in frames, which wouldn't be bad to have
[00:29:43] an anti-reflective coating here. Oh yes, but that depends on the request and the price.
[00:29:59] José, do you also restore photographs here, or rather...
[00:30:02] photograph protectors, photograph protectors, yes, these are not paintings, but
[00:30:06] photographs.
[00:30:09] This is a photograph taken on film, yes, which is illuminated
[00:30:12] from behind by an electronic system, yes, aha, underneath here,
[00:30:16] yes, below, underneath, yes, illuminated by neon,
[00:30:19] uh-huh. The plexiglass is very damaged, you can
[00:30:23] see the scratches here. They asked us to replace it. I see.
[00:30:26] José, are you a temporary worker here, or
[00:30:29] restoration? No, temporary worker, a temporary
[00:30:33] worker. Tell us, it's quite something to work here in this
[00:30:36] temple of contemporary art. Yes,
[00:30:39] that's true. I like it very much. The other thing that
[00:30:43] is very good is that until now we could see artworks in art history books,
[00:30:46] then suddenly they are here. They are here for us, and
[00:30:49] we really benefit from it. This is better than going to the
[00:30:52] museum.
[00:30:55] It's like being at home. Yes, it is, yes,
[00:30:59] as if they were hanging at home on the wall. Yes. Have you
[00:31:03] worked on Picasso, for example? Yes, yes, on Picasso too. What did you feel
[00:31:06] about that? Well, respect,
[00:31:09] respect. Wonderful, one gets attached
[00:31:12] to it, also to Matisses.
[00:31:45] have visited here since it opened its doors in
[00:31:48] 1977. Secondly, it must be mentioned that the building is an architectural
[00:31:52] expression of the 60s, and as such, it is a rarity.
[00:31:55] There are few buildings from those crazy years that posterity can
[00:31:59] also admire. You know, the George Pompidou Center is like an
[00:32:03] inside-out orange. Inside, the museum spaces were created, and outside,
[00:32:06] the veins of the orange flesh are visible in the form of
[00:32:09] pipes.
[00:32:12] This was the revolution of architects Piano and Rogers.
[00:32:26] It became small, but architecturally and spiritually
[00:32:30] as daring as its
[00:32:32] father. Goodbye everyone, see you