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00:06:26Museum tour French style, the Pompidou Center.
00:06:48Good day everyone, and welcome to the museum tour French style
00:06:51program. France is really the world's largest open-air
00:06:55museum. We are here in front of the George Pompidou Center. Imagine
00:06:59George Pompidou, the French President of the 70s,
00:07:02who gradually smuggled contemporary art into
00:07:06his office, the Elysée Palace. One day he
00:07:09rushes here with his wife, and looks at this place, which is not yet a Pompidou
00:07:13center at all, just a big ugly parking lot, and he says, 'Here
00:07:16it will be, here we will build a second Louvre, which we will dedicate
00:07:20to contemporary art,' then he adds, 'You'll see,
00:07:23we will shock the
00:07:24bourgeoisie.'
00:07:32A few months later, 450 architectural plans pile up on
00:07:35his desk. Among the jury members is George Pompidou himself. The plans of two young
00:07:39architects are accepted, Rogers and Renzo Piano.
00:07:43Then 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.'
00:07:51Pompidou will not live to see this factory, as he
00:07:54dies in 1974. But
00:07:5730 years later, we are forced to admit: This place is an
00:08:00international reference in the world of
00:08:03contemporary art. Besides that, it is one of Paris's
00:08:06most visited
00:08:07places.
00:08:18"I suggest we listen to the confession of President Pompidou's wife, Claude
00:08:21Pompidou, who emotionally recounts to
00:08:25us how this plan was born in her husband's mind.
00:08:28Listen. Even if they booed a little at the beginning,
00:08:31they have gotten used to it by now. This building is very modern. The
00:08:35idea was born in my husband's mind in the 50s,
00:08:38a very long time ago. He was
00:08:42not at all well-versed in architectural matters. So at first it was just a
00:08:45dream to create a cultural center in the
00:08:48heart of Paris, where perhaps fine arts could be connected
00:08:52with the library.
00:08:56Even then, he thought of Mr. Bob's parking lot, because he passionately
00:08:59loved cars. There weren't many parked here back then. I
00:09:03believe that if he hadn't been President, this would have been
00:09:07impossible. It needed a bit of, on a certain
00:09:10level, the Prince.
00:09:13"I am very sorry that the very person who dreamed up the place cannot
00:09:17see it. This is, of course, a rather painful fact.
00:09:36Ladies and gentlemen, allow me to introduce Anna. Good day,
00:09:39Anna. Good day, sir. Are you well? Well, thank you."
00:09:43What you don't know is that Anna has been here for more than 30 years. She arrived
00:09:47in 1977, exactly. Yes, what was this place like
00:09:50in '77? Oh, well in 1977, the people
00:09:53who gathered loved this place. It was like being
00:09:57among family. Were there people who said this wasn't a good place, or
00:10:01insulted you, defamed the building? Yes, of course,
00:10:04of course, we heard 'refinery' hundreds of times,
00:10:07they also called it an oil refinery, but never mind, it doesn't matter. Refinery,
00:10:11oil refinery. Yes, yes, anyway, there were many interesting things
00:10:14inside. We also discovered the building then, because it was very new
00:10:18to me too at the time. What nationalities are
00:10:21most attracted to this place? Yes, foreign.
00:10:25The composition changes periodically in terms of the openness of nations.
00:10:28I have observed in recent years that many
00:10:31Russians come, Eastern European people, and in the last three years, many
00:10:35Chinese too, so it's very diverse. Now,
00:10:39let's talk about you. How connected are you to this place? Do you like it? At first, I found it a little
00:10:42cold, strange. I didn't feel so comfortable in these
00:10:46big, spacious rooms. Now I come in with completely different feelings.
00:10:50Well, habit surely plays a role, but we find so many
00:10:53things here. "I like it
00:10:55very much."
00:10:58Thank you very much, Anna. You are a very good ambassador. You should be the director
00:11:01of a big house. Thank you, thank you for showing us this place. Goodbye.
00:11:19Bruno Russin, thank you for receiving us. You are the president of the Pompidou
00:11:22Center, such a comprehensive place. We can do
00:11:25so many different things. The audience sometimes gets a little lost in it. How
00:11:29would you describe this place in a few words? George Pompidou wanted to put something very original
00:11:33under the same roof: a library, a grand art
00:11:36center, a museum, and a music research center. I can say
00:11:40that everything related to culture can be found at the Pompidou
00:11:42Center. Today, I could put it this way: George Pompidou won
00:11:46the game. Yes, he won the game, because before the opening, we thought there would be 5,000
00:11:50visitors per day, but very soon we reached 20,000. More than 5
00:11:54million visits annually to the center, of which two
00:11:57million are to the library, which is one of the most popular places for Parisians and young people,
00:12:01especially in the Paris region.
00:12:04I really like the ventilation. I think it's very
00:12:06original.
00:12:11I was very young, I don't remember the reactions this place provoked
00:12:14at the time. This is the architectural
00:12:17mistake of the decade. It looks like a vase, and I'm not alone in my
00:12:20opinion. Everyone who talks about it nowadays thinks
00:12:24the same way. It's a prison, a box where
00:12:27experiments are done on rabbits, like in psychiatric
00:12:30institutions.
00:12:33I think it's good how it contrasts with the city
00:12:36of Paris. It's not shocking, not at
00:12:39all. There are still some who are shocked by the building. Of course, they are already in the
00:12:43minority. 30 years ago, this still dominated,
00:12:46but we can no longer imagine Paris without the Pompidou Center, just as
00:12:50we can't without the Eiffel
00:12:51Tower.
00:12:59How do foreign visitors, the British, or the new tourists, the Chinese, etc.,
00:13:03judge the center?
00:13:04Louis
00:13:10style, or the image of traditional
00:13:12art.
00:13:19All the beauty
00:13:20of Paris.
00:13:32How is it possible that this place remains true to itself, that it doesn't become elitist, doesn't
00:13:36become bourgeois, always strives for artistic innovation,
00:13:39with imaginative ideas? For our 30th birthday,
00:13:43for example, we welcomed the public with a free exhibition, which attracted hundreds
00:13:46of thousands of visitors. By
00:13:49this occasion, comic books joined the ranks of artworks and entered
00:13:53the museum, I think... We are faithful to our poetic art, to
00:13:57contemporary artists. The Pompidou Center, I can say,
00:14:01moves beyond its geographical location, and conquers other, in quotation marks,
00:14:04artistic markets abroad, but also relocates to Metz in Lorraine.
00:14:08We
00:14:11are opening a Pompidou Center in Metz.
00:14:15Architecturally, it will be built in the same spirit as the Paris center,
00:14:18innovative and original, created by a French-Japanese team.
00:14:22Approximately 5 million visitors
00:14:26annually. Who are these visitors? The visitors of the Pompidou
00:14:29Center are mostly young people, under 35 years old. More
00:14:33girls than boys, 80% of them are French, or those who
00:14:36live in France. And only 20% of
00:14:40them are tourists. This distinguishes us from other large
00:14:43museums, like the Louvre or the Orsay, which are much more dependent on
00:14:47tourism. This is largely due to the library,
00:14:50which is heavily visited by
00:14:54students. "Thank you very much for revealing the background to us. Thank you for
00:14:57coming here. We will go for a walk. Exactly. Thank you very much."
00:15:21Approximately 5,200 art owners at Pompidou.
00:15:41All artistic expressions can be found in this little paradise,
00:15:45which existed between 1905 and 1960. Approximately
00:15:481300 works are exhibited on
00:15:51the fifth floor. I suggest we meet
00:15:55Yannick.
00:16:04Don't let go, don't let go of Matisse's painting. Steady,
00:16:08I'm relieved. Good day, Yannick. You are responsible for the arrangement of the paintings here
00:16:12on the fifth floor of the George Pompidou, International Museum of Modern
00:16:15Art. I am responsible for the coordination of historical
00:16:18paintings, so also for this hanging on
00:16:22the fifth floor. It took a month and a half on site and
00:16:25seven months of preparation. To show us this Matisse painting
00:16:29today, several months of preparatory work are
00:16:33needed. Several months of work precede it. But this is not a work that just
00:16:37hangs.
00:17:18This is a René Magritte. Did you also install this? Yes, I put
00:17:20it here. It was quite difficult, by the way, this painting is special but
00:17:24also very heavy, so you have to be careful. I see.
00:17:27It's essential that it holds well. It must not fall on our
00:17:31visitors. I see. Yannick. I
00:17:34love this place. Those who don't know the Pompidou Center probably
00:17:38don't know this place either. What is this? A wall? With André
00:17:41Breton's objects? Exactly. Yes. This is a reconstruction of André
00:17:45Breton's wall, which was in his studio.
00:17:48Yes. Among them are true masterpieces: Miró,
00:17:51Picabia, Picasso. We arranged this wall in 10
00:17:55days. What is the most beautiful part of your
00:17:57job? Oh, look, look
00:18:01around. I have the privilege, which you don't, of
00:18:04touching this Dalí painting, the Telvil now.
00:18:50I'm meeting Frank from the packaging department. Do you know where he is? Yes, where
00:18:54is he? Very close. Good day. Good day. This is incredible. So you
00:18:57pack here all day, you unpack all the time. What
00:19:00is happening here? You are packing a work from the new
00:19:02acquisition.
00:19:05Here, ladies and gentlemen, is the work in question, which...
00:19:08they acquired, they acquired. This is it. What exactly is this work?
00:19:12These are the shelves with all their pieces and the
00:19:15display case, and the display case. Why are they packing them? They just
00:19:19bought them. Why are they packing them? Because they are going to the warehouse now.
00:19:22Warehouse? Where? Well, to one of the reserve locations. It's already
00:19:25packed. It's going fast. Why don't you
00:19:29put Luxo around it instead of making these little bows, which are actually very
00:19:33cute? You can't imagine how much sellotape can damage the piece.
00:19:37I see. It can cause damage, there's glue on the sides,
00:19:40so we'd rather avoid it. We complicate our lives. Yes, you can take it
00:19:43out. So, look at this work, kids,
00:19:46packaging. They pack best here in Paris. And where is the
00:19:50other part of the display case? Here,
00:19:53in
00:19:56its box, we prepared it there. Yes, this is
00:20:00incredible. Are you telling me that you made
00:20:04a special box to pack the display case of this English
00:20:07artist? Yes, I can
00:20:11imagine, seeing some of the artists' eccentricities, that you had to make
00:20:15others, strange packages, like cars
00:20:18for example. Once you had to pack a car. Yes, yes,
00:20:22that's a size already, and you had to make a box,
00:20:26of course,
00:20:26yes.
00:20:34Coming here, I saw, I don't want to play an expert, but... It seems to me that
00:20:38this is a Chagall, right? Yes. Where is
00:20:42it going? It came back. Oh, it came back. And how do you know that
00:20:45they really give you back the originals? We check the
00:20:49back. "They check the back, they check that, that it wasn't
00:20:52taken apart. I see. If I
00:20:56drop this Chagall painting, I will be in trouble. Yes,
00:21:00here, wonderful.
00:21:12The Pompidou Center does a lot for young people. For example, those under
00:21:1618 can visit for free. Next to the entrance
00:21:19on the ground floor is the children's gallery, where on Wednesdays
00:21:22workshops are held for the youngest children. Today's
00:21:26workshop is titled 'Comic Book Reporter.' Sounds
00:21:29interesting, let's
00:21:30see.
00:21:36We will look at the artists' works. Will it be good,
00:21:39kids? Those who will go to different places
00:21:42and make discoveries, they will
00:21:46draw the places that they
00:21:50explored.
00:21:53We will look at the exhibition behind the screens.
00:21:56Everyone choose a postcard for themselves. You have to
00:22:00find the picture in the exhibition that is on the postcard.
00:22:15I think this exhibition is for children, that is, for everyone from zero to 90
00:22:18years old.
00:23:20The basis of the idea was that little ones love games that are
00:23:24forbidden to them, and everything they need to
00:23:28immerse themselves in artistic creations.
00:23:30I took these two ideas, put them in my hands,
00:23:34and shook them for a long time,
00:23:38and here at first click, I had the
00:23:42idea. I found it very funny to invite little ones
00:23:45to a place that is ostensibly for
00:23:48adults.
00:23:54"We got it, we sent it, we sent it,
00:23:57indeed,
00:23:58we got it."
00:24:06Once a month, on Wednesday, there are two workshops, one
00:24:10in the morning and one in the afternoon, only for little ones. This is 'Little Ones'
00:24:13Wednesday."
00:24:21and gentlemen, the world's largest
00:24:22museum.
00:24:27By saying that the Pompidou Center is the Mecca of contemporary art,
00:24:31we think we have said everything, but no, because Pompidou is primarily a
00:24:35place of diversity, a versatile place that is not so
00:24:38easy to summarize. If you allow me, I would like to give you a few pieces of data that
00:24:42I wrote down. First, last year there were 5 million visitors
00:24:45at the Pompidou Center, which means an average of 1700
00:24:49entries per day. Then the temporary exhibitions,
00:24:52last year there were 18, for which 1.6 million visitors
00:24:56came from all four corners of the world here to the Pompidou Center.
00:25:23It sparkles a little on the right side, here, look
00:25:26at it, I'll take it, this is not bad anymore, the other side is good, this
00:25:30is good, the other side, the other side is better, yes,
00:25:34please, maybe bring it a little closer, it's not
00:25:36bad by the way.
00:25:3916:8. Good day, gentlemen, excuse the
00:25:42interruption. What are you doing here?
00:25:44Photographing the works of the Pompidou Center,
00:25:48works that are usually in the... warehouse. These are all
00:25:51requests,
00:25:53this one, for example, for a catalog, because I think this
00:25:56painting will surely go abroad later, and they need a
00:26:00picture, a good picture. For the exhibition catalog. This
00:26:04studio is always here with photographers who photograph the works.
00:26:08This is a continuous activity, it belongs to the museum. Yes. Exactly, not just
00:26:12paintings. I see. But sculptures, architectural
00:26:15plans and models, maps, everything that is
00:26:19requested. For you, who are behind the lens, what is
00:26:23it like to be a photographer, to photograph the works of artists? Our
00:26:26task is to faithfully capture the works.
00:26:30Their colors, shapes, the...
00:27:03Why does a work come here? What are the reasons why it needs to be
00:27:06photographed? Due to requests related to
00:27:10various services. A photo is needed for
00:27:13exhibitions, publications. And then, for example,
00:27:16if a work is accidentally damaged, a
00:27:19report must be written. For that, the work is first brought here so that
00:27:23a photo can be taken of it, of its state
00:27:26before and after
00:27:27restoration.
00:27:32I suppose you have photographed the Pompidou Center many times. Yes,
00:27:36of course, quite a few times in 32 years. This is very
00:27:39beautiful, I like it very much. Yes, I did it
00:27:42at a lady's house, who lives here opposite, from the roof of her house. She was kind enough to
00:27:46let me in.
00:27:48He snuck in like a paparazzo to photograph the
00:27:52George Pompidou Center. He took it early in the morning, no, I think it was
00:27:55in the afternoon. By the way, the shot consists of two parts, like every photo
00:27:59of Pompidou. Oh, really.
00:29:06Ladies and gentlemen, now you can see Giacometti's work, which I myself am seeing for the first
00:29:09time. Ladies and gentlemen, we are talking about the famous
00:29:13portrait, Isaku Diadaih.
00:29:17It was purchased from the artist in 1965, and
00:29:20was made in 1956. We restored the
00:29:23frame, put a reflector on it, which absorbs all
00:29:26reflections. So this would be that famous glass that is completely
00:29:30anti-reflective. Here, this is a picture from Orlan, from Orlan,
00:29:33and this one doesn't have an anti-reflective coating, there's no anti-reflective coating. This
00:29:37is plain plexiglass. Of course, it's visible that nowadays they rather
00:29:40put plexiglass in frames, which wouldn't be bad to have
00:29:43an anti-reflective coating here. Oh yes, but that depends on the request and the price.
00:29:59José, do you also restore photographs here, or rather...
00:30:02photograph protectors, photograph protectors, yes, these are not paintings, but
00:30:06photographs.
00:30:09This is a photograph taken on film, yes, which is illuminated
00:30:12from behind by an electronic system, yes, aha, underneath here,
00:30:16yes, below, underneath, yes, illuminated by neon,
00:30:19uh-huh. The plexiglass is very damaged, you can
00:30:23see the scratches here. They asked us to replace it. I see.
00:30:26José, are you a temporary worker here, or
00:30:29restoration? No, temporary worker, a temporary
00:30:33worker. Tell us, it's quite something to work here in this
00:30:36temple of contemporary art. Yes,
00:30:39that's true. I like it very much. The other thing that
00:30:43is very good is that until now we could see artworks in art history books,
00:30:46then suddenly they are here. They are here for us, and
00:30:49we really benefit from it. This is better than going to the
00:30:52museum.
00:30:55It's like being at home. Yes, it is, yes,
00:30:59as if they were hanging at home on the wall. Yes. Have you
00:31:03worked on Picasso, for example? Yes, yes, on Picasso too. What did you feel
00:31:06about that? Well, respect,
00:31:09respect. Wonderful, one gets attached
00:31:12to it, also to Matisses.
00:31:45have visited here since it opened its doors in
00:31:481977. Secondly, it must be mentioned that the building is an architectural
00:31:52expression of the 60s, and as such, it is a rarity.
00:31:55There are few buildings from those crazy years that posterity can
00:31:59also admire. You know, the George Pompidou Center is like an
00:32:03inside-out orange. Inside, the museum spaces were created, and outside,
00:32:06the veins of the orange flesh are visible in the form of
00:32:09pipes.
00:32:12This was the revolution of architects Piano and Rogers.
00:32:26It became small, but architecturally and spiritually
00:32:30as daring as its
00:32:32father. Goodbye everyone, see you