Si ceci est vrai, c’est grave, non ? (en anglais, désolé, je n’ai pas le temps de traduire…)
Voici le lien pour lire l’intégralité de l’article (ci-dessous j’ai simplement sélectionné des passages) : www.independent.co.uk/arts-
(…) As director of the Pinacothèque in Paris, Marc Restellini has organised a series of high profile shows.
There is a new star rising in the Paris art world, still relatively little known to tourists but already a favourite with Parisians. The Pinacothèque, a privately run, wholly unsubsidised exhibition space has come from nowhere to lead the field in just over two years. In the last 12 months, it has outdone all other Parisian exhibition halls in the number of visitors attracted to temporary art shows.
(…) Its last exhibition, of Dutch 17th-century masters, was seen by 700,000 people in four months, almost double the number who visited the recent headline shows at the Grand Palais and the Louvre. The Pinacothèque’s latest attraction (until 18 July) is the biggest ever exhibition of Edvard Munch paintings from private collections. The show sets out to prove – triumphantly – that there is far more to the Norwegian painter than The Scream. People are already queuing around the block.
(…) How has the fearsome, and much-feared, French state cultural bureaucracy reacted to the competition? Rather badly. The director and founder of the Pinacothèque, Marc Restellini, 45, told The Independent: “They have tried to torpedo me, to destroy me. They have acted like voyous [petty thugs]. You would think that they were rival pharmaceutical companies, with secrets to hide, and interests to protect, rather than parts of an arts world where everything is complementary and everything connects.
(…) “When we announced the Munch exhibition, someone very senior from the Centre Pompidou rang the Munch museum in Norway and said ‘Don’t work with this man.’ How do I know that? Because the Munch museum rang me and said: ‘What’s the matter with you French? Why do you behave like this?’
(…) “Something very similar happened with the Rijksmuseum in Amsterdam which agreed to loan us most of the paintings for the Dutch exhibition. Someone very senior in the Paris museums world rang them to say: ‘Don’t do it’.” (…)
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