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THE WORLD'S BIGGEST MUSEUM
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Hello and welcome
to The World's Biggest Museum.
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France is the world's biggest
open-air museum.
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We're on the piazza
in front of the Pompidou Center.
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Georges Pompidou is
the President of France
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in the early 1970s
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and he gradually introduces
modern art to his Élysée office.
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One day, he passes through here
in his Citroën DS with his wife
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and looks at
the future Pompidou Center site
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which is just a large,
quite ugly parking lot
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and he says:
"We'll build a second Louvre here
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"dedicated to modern art."
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And he adds:
"We'll shock the middle-classes."
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A few months later, there are
450 architectural projects on his desk
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and the judging panel,
including Georges Pompidou, will choose
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a project by two young architects:
Rogers and Renzo Piano.
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What will eventually spring from
the ground is what surprised Parisians
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will call, "the refinery"
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or, "the gasworks"
or, "the petrol factory."
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Pompidou will never know this factory
because he went on to die in 1974
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but, 30 years later,
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this place had to be recognized
as an international benchmark
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in the field of modern art
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and one of Paris's
most popular attractions.
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Now I suggest we listen to
this short testimony
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from Claude Pompidou,
President Pompidou's wife,
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who emotionally tells the story of how
her husband thought up this project.
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Even though
it caused a scandal at first,
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now people are used to it.
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It still looks very modern.
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But the idea came to my husband
in the 1950s, so, a long time ago.
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It wasn't at all his area of expertise.
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Back then, it was just a dream
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to create a cultural place
in the center of Paris
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where maybe you could bring together
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fine arts and a library.
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He'd already thought
about the Beaubourg site
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because we used to drive by it
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and, back then, it was deserted
and substandard.
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I think that if he hadn't been
the French President,
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it would've been impossible.
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It had to be an act of Government.
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My only regret is that he never saw it.
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That was, of course,
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a painful moment.
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Ladies and gents,
let me introduce you to Anna.
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Hello, Anna.
- Hello, sir.
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How are you?
- I'm well, thanks.
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What you don't know is that
Anna has been here for a mere 30 years.
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She arrived in 1977.
- Exactly.
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What was it like in 1977?
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In 1977,
the people who were recruited here...
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RECEPTIONIST
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...had a passion for this Center.
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It felt like one big family.
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Did people come here to insult you
and criticize the building?
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Yes, of course.
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We heard it called, "the gasworks"
hundreds of times
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or "the petrol factory,"
but it doesn't matter.
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"The refinery" and "the petrol factory!"
- Yes.
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But, there were
so many interesting things inside
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that we also made discoveries.
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It was all new to me too.
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Which nationalities are drawn
to this place the most?
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The nationality of our visitors
has evolved
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as borders have opened up.
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I've noticed that in recent years,
there are many Russians,
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Eastern Europeans
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and, in the last three years,
also a lot of Chinese.
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It's very varied.
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What's your attachment to here?
Do you like it?
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At first, I found it
a little cold and weird.
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I didn't feel at ease
in all these vast spaces.
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And now I have a totally
different approach when I come here.
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Perhaps habit plays a part,
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but there are so many things in here,
that I find it very warm.
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Thanks, Anna.
You're a great ambassador.
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You should be in charge
of this great place.
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Thanks a million.
- Thanks for telling us about it.
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Bruno Racine, thanks for meeting us.
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You're the CEO
of the Pompidou Center,
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a multidisciplinary place,
with many activities,
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so much so that,
the public can get a little lost.
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Can you describe it in a few words?
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Georges Pompidou wanted
something very original:
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A library, arts center, museum and
music research center under the same roof.
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POMPIDOU CENTER CEO
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Actually, in the Pompidou Center
you find all kinds
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relating to the cultural sphere.
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Georges Pompidou's gamble paid off.
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Yes, as, before the opening,
we envisaged 5,000 visitors per day.
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But, in fact, it soon rose to 20,000.
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Over five million people visit
the Center every year,
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two million of whom visit the library
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which is a favorite among
people from the Paris region
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and young people.
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I like the air vents on the outside,
they're original.
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I was too young to witness
people's reactions to the Beaubourg.
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It's the most monumental error
of the century.
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A carcass springs to mind
and I'm not the only one who thinks so.
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Everyone I speak to in the neighborhood
is of the same opinion.
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A nightclub or a prison
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like somewhere you'd conduct
inhumane experiments
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like in mental hospitals.
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It contrasts well
with the city of Paris.
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It doesn't clash
with Notre Dame at all.
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The architecture still shocks people
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but they have become a minority.
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Thirty years ago,
it was the overriding feeling
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but, today,
Paris without the Pompidou Center
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is like Paris without the Eiffel Tower.
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How is the Center perceived
by overseas visitors like Anglo-Saxons,
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or by new tourists
like the Chinese, etc.?
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It reflects the image
of a creative and modern France
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and not just something Louis XV-style
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or from the traditional way of life.
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People are fascinated
by its combination of modernity
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with the beautiful view of Paris.
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How do you prevent this place
from becoming gentrified?
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How does it remain at the cutting edge
of artistic imagination and innovation?
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When, for our 30th anniversary,
we offered the public free access
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to the Hergé exhibition,
attracting hundreds of visitors,
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and, on that occasion,
the comic strip accessed
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works of art
that were displayed in the museum,
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we are loyal to the cause:
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taking a risk
with boldness and modernity.
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The Pompidou Center is stepping
outside of its context
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to conquer the overseas
"artistic" corner of the market
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but also setting up
in Metz in the Lorraine region.
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We're going to open
a Metz Pompidou Center
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with architecture in the same vein
as the central Paris Center,
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innovative and original
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and designed by a Franco-Japanese team.
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An average of five million visitors
per year. Who are they?
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The average visitor is on the young side,
under 35 years of age,
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there are slightly more female
than male visitors
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and 80% of them are French
or people who live in France.
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Only 20% of our visitors are tourists,
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differentiating us from
the Louvre and Musée d'Orsay
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who depend more on tourism.
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A large majority come
to visit the library
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where residents of the Parisian region
and students often spend time.
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Thanks for setting the scene for us,
Mr. Racine.
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Thanks for coming here.
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We're going for a walk.
- Have a stroll in the museum.
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The Pompidou Center owns
around 52,000 works of art
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but, due to the amount of space,
only around 2,500 can be exhibited.
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That means that
the others are stored away or on loan.
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Several hundreds of pieces are
permanently on loan overseas.
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This place is a paradise
of Fauvism, Cubism and Surrealism.
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The whole range of artistic expression
from 1905 to the 1960s is here.
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Around 1,300 pieces are
on display on the fifth floor.
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Now, let's go meet Yannick.
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Don't drop Matisse's painting!
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No, it's hanging firmly on the wall.
- Hello.
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Yannick, you're in charge
of hanging the pictures here
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on the fifth floor
of the Pompidou Center,
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the National Museum of Modern Art.
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I'm in charge of coordinating
the hanging of historic works.
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To hang the works on the fifth floor...
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CURATORS' ASSISTANT
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...it took 18 months on site
and 7 months' preparation.
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So, like today, when you're hanging
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this Matisse painting here,
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it requires months' of work beforehand?
- Yes.
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This piece isn't here for an exhibition
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which means it's here permanently
and won't be going anywhere.
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Theoretically, it hangs here
for a year and a half.
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You tell me
that there's an overall mindset here
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which contrasts sharply
with Parisian museums in general.
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It's very much a living museum,
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not in terms of this
more long-term historic display,
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but, over 18 months,
the pieces will change frequently.
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Did you hang
this René Magritte painting here?
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Yes, it was our hanging team.
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It was difficult
because it's a very heavy painting.
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It has to be fastened on well
so that it doesn't fall on our visitors!
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Come with me, Yannick.
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I love this place!
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Those who don't know the Pompidou,
might not know this.
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It's a wall of André Breton's objects.
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It's a reconstruction
of André Breton's wall
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that was in his workshop.
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It contains masterpieces:
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a Miró, a Picabia, a Picasso...
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This wall alone
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took us ten full days to hang.
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What satisfaction
do you get from this job?
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I have the privilege that you don't have
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of taking Dali's painting
of William Tell
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and holding it,
touching it and looking at it.
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You never get tired of it.
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Thanks for showing us around
the fifth floor of the Pompidou Center,
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the National Museum of Modern Art.
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My pleasure.
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Two seconds...
Take this.
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Do you know
where I can find Franck from packing?
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Yes.
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Where?
- Very close by!
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PACKING WORKSHOP MANAGER
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It's extraordinary.
Here you pack and unpack all day long.
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All the time.
- What's going on there?
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We are wrapping a piece
that's for a new exhibition.
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Ladies and gents,
this is the work in question
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which has just been acquired.
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What exactly are these pieces?
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It's the shelving with
all the pieces and the display case.
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The display case too?
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Why are you wrapping it?
You've just bought it.
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It's going to be stored away.
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Where?
- In a storeroom.
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Have you finished wrapping?
- It doesn't take long.
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Why don't you fix it on
with sticky tape?
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You're tying cute little knots, but...
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Tape can damage it.
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PACKING ASSISTANT
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There's glue on adhesives.
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We avoid it,
but it doesn't make life easy.
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May I lift it out?
- Yes.
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Look at his work, folks!
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That's how you wrap!
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You must be the best wrappers in Paris!
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Where is the display case?
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In its box.
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There?
- Yes, we put it together.
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That's extraordinary!
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You're telling me
that you've made a special box,
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especially crafted to hold
this English artist's display case?
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Yes.
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Considering how crazy some artists are,
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I imagine you've had to
put together some odd packaging.
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A car, for example.
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You once had to package a car?
- Yes.
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That's some size!
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You had to make a box for it?
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Yes.
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I'm not pretending to be an expert,
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but isn't that a Chagall?
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Yes?
- Yes.
240
00:14:23,664 --> 00:14:26,433
Where did you get it from?
- It's being returned to us.
241
00:14:26,567 --> 00:14:30,804
How do you know that they're
actually the originals being returned?
242
00:14:30,938 --> 00:14:31,972
We check the back.
243
00:14:32,105 --> 00:14:34,708
Ah, you check the back.
To see if...
244
00:14:34,842 --> 00:14:37,711
If it hasn't been dismantled.
245
00:14:38,612 --> 00:14:41,949
Will I get in trouble if I drop it?
- Yes.
246
00:14:42,416 --> 00:14:43,617
There you go.
Splendid.
247
00:14:54,328 --> 00:14:56,496
The Pompidou Center does a lot
for youngsters.
248
00:14:56,630 --> 00:14:58,899
Notably, there's free access
for under 18s.
249
00:14:59,032 --> 00:15:01,835
Now let's see images
of the ground floor,
250
00:15:01,969 --> 00:15:04,238
in the Kids Gallery,
just next to the reception.
251
00:15:04,371 --> 00:15:06,773
On Wednesdays,
they organize workshops here
252
00:15:06,907 --> 00:15:09,443
for the younger generation,
like the one running now
253
00:15:09,576 --> 00:15:13,046
called, "BD Reporters."
Let's go.
254
00:15:13,180 --> 00:15:15,716
KIDS GALLERY
255
00:15:18,018 --> 00:15:21,855
We're going to look at the work
of several artists
256
00:15:21,989 --> 00:15:25,759
who report on...
\N
\N
\N
257
00:15:25,893 --> 00:15:27,694
CHILDREN'S WORKSHOP LEADER
\N
\N
\N
258
00:15:27,828 --> 00:15:29,963
...and draw the places they discover.
\N
\N
\N
259
00:15:30,597 --> 00:15:34,768
The exhibition is just behind here.
We'll have to go out again
260
00:15:34,902 --> 00:15:38,038
and we're heading to this exhibition.
261
00:15:38,172 --> 00:15:40,674
Everyone will choose a postcard.
262
00:15:40,807 --> 00:15:43,744
In the exhibition, you need to find
263
00:15:44,578 --> 00:15:46,613
the image on your postcard.
264
00:15:56,290 --> 00:15:59,593
This exhibition is aimed at
children between 7 and 77 years of age.
\N
\N
\N
265
00:15:59,726 --> 00:16:01,595
HEAD OF THE "BD REPORTERS" EXHIBITION
\N
\N
\N
266
00:16:13,774 --> 00:16:16,577
I've been working
in the Pompidou Center for 30 years.
267
00:16:16,710 --> 00:16:19,246
It's fascinating work
268
00:16:19,379 --> 00:16:22,549
because we invent different forms
\N
\N
\N
269
00:16:22,683 --> 00:16:24,518
aimed at different audiences
\N
\N
\N
270
00:16:24,651 --> 00:16:27,888
and we also create exhibitions
within the Pompidou Center.
271
00:16:29,723 --> 00:16:32,025
The "BD Reporters" workshop,
272
00:16:32,159 --> 00:16:35,229
is a specific monthly workshop
273
00:16:35,362 --> 00:16:40,667
which accommodates
for two to five year old children
274
00:16:40,801 --> 00:16:43,370
in the various exhibitions
of the Pompidou Center.
275
00:16:51,879 --> 00:16:54,781
We have a digital camera for each child
276
00:16:55,249 --> 00:16:59,653
and we help them take photos
277
00:16:59,786 --> 00:17:02,356
in places
that are not strictly family-oriented.
278
00:17:04,291 --> 00:17:07,694
The original idea came
from the fact that children
279
00:17:07,828 --> 00:17:09,997
love forbidden objects.
\N
\N
\N
280
00:17:10,130 --> 00:17:11,832
PROJECT LEADER
\N
\N
\N
281
00:17:11,965 --> 00:17:14,601
When they're born,
they're fully equipped
282
00:17:14,735 --> 00:17:17,137
to immerse themselves
in the works of art.
283
00:17:17,271 --> 00:17:19,506
So, I used these two ideas.
284
00:17:19,640 --> 00:17:22,709
I grabbed the cameras
and shook them for a while
285
00:17:22,843 --> 00:17:25,379
and one click and out it comes!
286
00:17:25,512 --> 00:17:29,149
I founded it very amusing
to invite little ones
287
00:17:29,283 --> 00:17:31,852
to a place aimed at grown-ups.
288
00:17:35,789 --> 00:17:37,524
Look, out it comes!
289
00:17:37,658 --> 00:17:39,059
Out it comes!
290
00:17:48,802 --> 00:17:51,538
One Wednesday per month,
we run two workshops,
291
00:17:51,672 --> 00:17:53,807
one in the morning
and one in the afternoon,
292
00:17:53,941 --> 00:17:56,476
especially reserved for young children.
293
00:18:00,714 --> 00:18:03,417
The world's biggest,
ladies and gentlemen,
\N
\N
\N
294
00:18:03,550 --> 00:18:06,186
museum, ladies and gentlemen.
\N
\N
\N
\N
295
00:18:09,556 --> 00:18:12,960
Once we've said that the Pompidou Center
is the Mecca of modern art,
296
00:18:13,093 --> 00:18:15,028
we think we've said it all.
We haven't.
297
00:18:15,162 --> 00:18:18,432
Above all, the Pompidou is
a diverse place,
298
00:18:18,565 --> 00:18:19,800
a multifaceted place,
299
00:18:19,933 --> 00:18:22,002
which is not so easy to grasp.
300
00:18:22,135 --> 00:18:24,972
Allow me to give you a few statistics.
301
00:18:25,105 --> 00:18:29,676
Firstly, last year, the Pompidou Center
had five million visitors.
302
00:18:29,810 --> 00:18:32,913
That's an average
of 17,000 visitors per day.
303
00:18:33,046 --> 00:18:35,382
Next, the temporary exhibitions.
304
00:18:35,516 --> 00:18:37,518
There were 18 last year
305
00:18:37,651 --> 00:18:41,755
and they attracted 1,600,000
from all over the world.
306
00:19:06,013 --> 00:19:07,247
Slightly to the right.
307
00:19:07,381 --> 00:19:09,783
Take this.
308
00:19:09,917 --> 00:19:11,018
That's not bad, yes.
309
00:19:11,585 --> 00:19:12,986
Is it OK on the other side?
310
00:19:13,120 --> 00:19:15,822
It's better on the other side.
311
00:19:16,156 --> 00:19:19,293
Come a little closer,
but it's not bad.
312
00:19:21,662 --> 00:19:22,996
There you go.
- Hello, sir.
313
00:19:23,497 --> 00:19:25,165
Sorry for disturbing you.
314
00:19:25,299 --> 00:19:27,167
What exactly do you do here?
315
00:19:27,301 --> 00:19:30,037
Do you take photos of the pieces
from the Pompidou?
316
00:19:30,170 --> 00:19:31,171
Yes, absolutely.
317
00:19:31,305 --> 00:19:34,174
Generally, the pieces
that are in the store room.
\N
\N
\N
318
00:19:34,308 --> 00:19:35,509
PHOTOGRAPHER
\N
\N
\N
319
00:19:35,642 --> 00:19:37,644
We do it on request.
This is for a catalog.
\N
\N
\N
320
00:19:37,778 --> 00:19:41,081
I think this picture is being sent
overseas
321
00:19:41,215 --> 00:19:44,351
and they need a good photo of it
322
00:19:44,484 --> 00:19:46,320
for the exhibition catalog.
323
00:19:46,453 --> 00:19:48,956
Are there permanently
photographers in this studio
324
00:19:49,089 --> 00:19:50,424
to take pictures of the pieces?
325
00:19:50,557 --> 00:19:52,893
Is it an ongoing activity?
- Absolutely.
326
00:19:53,026 --> 00:19:55,529
Not just pictures,
also sculptures,
327
00:19:55,963 --> 00:19:58,932
architectural models, maps,
328
00:19:59,066 --> 00:20:01,268
architects' tracing paper sketches...
329
00:20:01,401 --> 00:20:02,903
Anything that anyone gives us.
330
00:20:03,036 --> 00:20:07,441
What's it like being an artist
taking photos of pieces by artists?
331
00:20:07,574 --> 00:20:12,279
We accurately reproduce the pieces
in terms of color and perspective...
332
00:20:12,412 --> 00:20:13,647
PHOTOGRAPHER
\N
\N
\N
333
00:20:13,780 --> 00:20:16,316
...when they are sculptures or objects
\N
\N
\N
334
00:20:16,450 --> 00:20:18,218
to avoid distorting the object.
335
00:20:18,352 --> 00:20:20,287
With little room for interpretation.
336
00:20:20,420 --> 00:20:24,258
I heard that you've been here
for many years, Georges.
337
00:20:24,391 --> 00:20:25,826
For 32 years.
338
00:20:25,959 --> 00:20:27,261
I was 23 when I started.
339
00:20:27,394 --> 00:20:30,898
For over two years,
I saw this Center being erected,
\N
\N
\N
340
00:20:31,798 --> 00:20:34,067
appearing from the hole in the ground.
\N
\N
\N
341
00:20:34,201 --> 00:20:35,702
It was quite impressive after.
342
00:20:35,836 --> 00:20:39,006
All the shapes, colors and lights
343
00:20:39,139 --> 00:20:40,841
were magnificent.
344
00:20:45,479 --> 00:20:47,748
Why do pieces come here?
345
00:20:47,881 --> 00:20:50,417
Why do you get asked to photograph them?
346
00:20:50,551 --> 00:20:52,920
It's a request that comes
\N
\N
\N
347
00:20:53,053 --> 00:20:54,721
from different departments.
\N
\N
\N
348
00:20:54,855 --> 00:20:55,856
PHOTO STUDIO MANAGER
\N
\N
\N
349
00:20:55,989 --> 00:20:58,292
It could be for the collections
or publications.
350
00:20:58,425 --> 00:21:02,162
It could be a request following
351
00:21:02,296 --> 00:21:04,398
an accident
with a piece or a picture.
352
00:21:04,531 --> 00:21:06,366
In that case, a report is needed.
353
00:21:06,500 --> 00:21:08,468
The piece is brought here
for the report
354
00:21:08,602 --> 00:21:11,071
before and after restoration.
355
00:21:13,740 --> 00:21:18,478
I imagine you must've photographed
the Pompidou Center often.
356
00:21:18,612 --> 00:21:21,114
Quite a lot of times in 32 years, yes.
\N
\N
\N
\N
\N
\N
357
00:21:21,248 --> 00:21:23,150
This one is splendid.
I really like it.
\N
\N
\N
\N
\N
\N
358
00:21:23,283 --> 00:21:27,254
It was taken at a lady's house
just above the building.
\N
\N
\N
\N
\N
\N
359
00:21:27,387 --> 00:21:30,557
She was kind enough to lend me
her apartment so I could take it.
\N
\N
\N
\N
\N
\N
360
00:21:30,691 --> 00:21:34,194
You were staking out the Pompidou Center
like the paparazzi!
\N
\N
\N
\N
\N
\N
361
00:21:34,328 --> 00:21:35,896
Did you take it at dawn?
\N
\N
\N
\N
\N
\N
362
00:21:36,029 --> 00:21:38,065
No, I think it's the afternoon.
\N
\N
\N
\N
\N
\N
363
00:21:38,198 --> 00:21:40,801
It's in two parts
like all the photos of the Center.
\N
\N
\N
\N
\N
\N
364
00:21:40,934 --> 00:21:43,704
It's so big
that we can't capture it in one shot.
\N
\N
\N
\N
\N
\N
365
00:21:43,837 --> 00:21:45,706
This one is superb.
366
00:21:45,839 --> 00:21:48,408
Is it taken in the middle of the night?
- At nightfall
367
00:21:48,542 --> 00:21:50,210
when the Center starts to light up
368
00:21:50,344 --> 00:21:52,813
and the sky starts getting dark.
369
00:21:53,080 --> 00:21:54,815
There you go.
- Is it your favorite?
370
00:21:55,315 --> 00:21:57,684
Yes, it's not bad
with its transparent effect.
371
00:22:12,165 --> 00:22:13,834
We're two floors below ground,
372
00:22:13,967 --> 00:22:15,969
on Level -2 of the Pompidou Center.
373
00:22:16,103 --> 00:22:19,673
I suggest we take a tour
of the framing workshop here
374
00:22:19,806 --> 00:22:22,609
where José and Daniel work.
375
00:22:23,644 --> 00:22:26,947
Ladies and gents, José and Daniel
from the framing workshop.
376
00:22:27,080 --> 00:22:28,148
Nice to meet you.
377
00:22:28,282 --> 00:22:31,051
What are you working on?
- On a Giacometti piece
378
00:22:31,185 --> 00:22:32,519
which is going out on loan.
379
00:22:32,653 --> 00:22:35,155
So, we're replacing
the frame and the back
380
00:22:35,289 --> 00:22:37,524
and protecting it
with a transparent sheet.
\N
\N
\N
381
00:22:37,658 --> 00:22:38,992
FRAMING WORKSHOP MANAGER
\N
\N
\N
382
00:22:48,268 --> 00:22:51,004
You're now going to see
this Giacometti piece, folks.
383
00:22:51,138 --> 00:22:53,473
I'm also seeing it for the first time.
384
00:22:54,041 --> 00:22:58,478
It's the famous portrait
of Isaku Yanaihara,
385
00:22:59,213 --> 00:23:01,615
bought from the artist in 1965
386
00:23:01,748 --> 00:23:04,384
and it was completed in 1956.
387
00:23:04,518 --> 00:23:05,686
So, we've framed it,
388
00:23:05,819 --> 00:23:08,455
we've put a mi-regard on it
to remove any reflections.
389
00:23:08,589 --> 00:23:12,226
That's this so-called
anti-reflective sheet.
390
00:23:12,359 --> 00:23:15,662
Here on this Orlan photo,
391
00:23:15,796 --> 00:23:17,297
there's no anti-reflective.
392
00:23:17,431 --> 00:23:20,701
It's ordinary Perspex,
so it's reflective.
393
00:23:20,834 --> 00:23:24,104
Today,
we tend to use anti-reflective sheets.
394
00:23:24,238 --> 00:23:26,173
It would be a good idea
to use that here.
395
00:23:26,306 --> 00:23:30,444
Yes, but it depends
on the demand and the cost.
396
00:23:41,355 --> 00:23:44,124
José, you also restore photos here
397
00:23:44,258 --> 00:23:47,127
or rather, photographic protection.
Yes, indeed.
398
00:23:47,261 --> 00:23:49,596
These aren't pictures, they're photos.
\N
\N
\N
399
00:23:49,730 --> 00:23:50,597
FRAMER
\N
\N
\N
400
00:23:50,931 --> 00:23:53,834
It's a photo taken on film
401
00:23:53,967 --> 00:23:57,437
which is lit up
by an electric system behind it.
402
00:23:57,571 --> 00:23:59,840
Ah yes, underneath.
- Yes, underneath.
403
00:23:59,973 --> 00:24:02,309
It's a neon system.
404
00:24:02,910 --> 00:24:06,313
The Perspex is very damaged.
You can see scratches on it.
405
00:24:06,446 --> 00:24:08,615
So, we've been asked to change it.
- OK.
406
00:24:08,749 --> 00:24:12,886
Are you a contractor
or a temporary worker here?
407
00:24:13,020 --> 00:24:15,255
I'm a contractor.
408
00:24:15,389 --> 00:24:17,724
Tell us about it.
It's quite impressive
409
00:24:17,858 --> 00:24:21,161
to be working here
in this temple of modern art.
410
00:24:21,295 --> 00:24:24,031
That's true.
I like it a lot.
411
00:24:24,164 --> 00:24:27,668
What I also like is
that you always see the pieces
412
00:24:28,702 --> 00:24:30,437
in art history books
413
00:24:30,571 --> 00:24:33,507
and, suddenly,
we have them lined up here for us.
414
00:24:33,640 --> 00:24:34,908
We make the most of it.
415
00:24:35,042 --> 00:24:39,513
That's almost better
than going to the museum.
416
00:24:39,646 --> 00:24:41,882
It's like they're in our house.
417
00:24:42,015 --> 00:24:44,184
Like they're hanging
on your walls at home.
418
00:24:44,318 --> 00:24:48,055
Have you worked on any Picasso pieces?
- Yes, I have.
419
00:24:48,188 --> 00:24:51,692
What does that make you feel?
- Respect.
420
00:24:52,860 --> 00:24:54,361
Admiration.
421
00:24:54,895 --> 00:24:56,063
It blows your mind!
422
00:24:56,196 --> 00:24:57,397
On Matisse pieces, too.
423
00:24:57,531 --> 00:25:00,834
Many thanks for sharing
so passionately, José.
424
00:25:16,283 --> 00:25:18,652
What an incredible view
from the fifth floor!
425
00:25:18,785 --> 00:25:21,021
What should we remember
about the Pompidou?
426
00:25:21,154 --> 00:25:22,322
Firstly, its success.
427
00:25:22,456 --> 00:25:25,359
Around 200 million visitors
428
00:25:25,492 --> 00:25:28,495
have gathered here since 1977,
429
00:25:28,629 --> 00:25:30,964
the year of its inauguration.
430
00:25:31,098 --> 00:25:35,135
Secondly, is this
architectural testament to the 1970s,
431
00:25:35,269 --> 00:25:39,640
one of the rare testaments
to this architecturally absurd decade
432
00:25:39,773 --> 00:25:42,009
that we're handing down to our children.
433
00:25:42,142 --> 00:25:45,579
The Pompidou Center is
like turning the human body inside out.
434
00:25:45,712 --> 00:25:49,449
Inside, the museum spaces are
free from clutter
435
00:25:49,583 --> 00:25:53,754
and, on the outside, you have
the blood vessels, that is, the pipes.
436
00:25:53,887 --> 00:25:56,823
That's the rather revolutionary
and crazy idea
437
00:25:56,957 --> 00:25:59,226
of the architects, Piano and Rogers.
438
00:25:59,359 --> 00:26:02,162
And, finally, this place has babies.
439
00:26:02,296 --> 00:26:04,164
In 2008, in Metz,
440
00:26:04,298 --> 00:26:07,668
a baby Pompidou Center will be opening.
441
00:26:07,801 --> 00:26:12,306
It's small but very bold in terms of its
architecture and the artwork on display.
442
00:26:12,439 --> 00:26:16,176
It's going to open sometime during 2008.
443
00:26:16,310 --> 00:26:18,278
Have a good week.
See you next week.
444
00:26:35,562 --> 00:26:38,565
Subtitles:
Babel Subtitling - babelSUB.be