The Beaubourg-Effect at le Centre Pompidou

In the past, "the building chosen to stand for the institutionalized museum is itself representative of a particular building type familiar to all of us who have visited the world's great museums," as described by Rosalind E. Krauss in Postmodernism's Museum Without Walls. 

Le Centre Pompidou, inaugurated on January 31st, 1977 as a cultural center, sought to change that notion.

Founded upon the concept of transparency as a means to create a democratic living space for the arts and the public, it appears to be inside out with structural aspects colorfully exposed.  Clearly this speaks to Stephanie Moser's reference in The Devil is the Detail: Museum Displays and the Creation of Knowledge: "'design plays a crucial role--not just in presenting content, but in actually creating it, (Serrell 2006:33)." Especially being that each color has a specific function: red=visitor circulation, yellow=electrical, blue=air, green=water.

As such, seeing the building for the first time is quite a shock. But it's nothing compared to walking inside. The main hall is open yet overwhelming with the opportunities to access a public library (Bpi), a center for industrial design (Cci), a contemporary music center (IRCAM), an auditorium, theater and cinema spaces as well as shops, cafés, a self-service post office and the acclaimed Restaurant le Georges.

There's "a heightened sense of individual free choice--a major theme of the building as a whole," similar to the MoMA museum in New York as Carol Duncan and Alan Wallach explained in The Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis. Except, of course, that each facility has a separate entrance, fee, and security checks.

It's somewhat of a contradictory space, as Jean Baudrillard criticized in The Beaubourg-Effect: Implosion and Detterence; "a fluid communicative exterior--cool and modern--and an interior uptight with old values."

I won't say I agree completely, at least not as harsh of an extent, but I do see where he's coming from. Although intended to be revolutionary, the museum has mostly become what we expect museums to be: displayed art in an organized matter (sometimes by artist if they or their benefactor is wealthy enough) that is meant to be seen not touched.

As Emma Baker said in The museum in a postmodern era: the Musée d'Orsay case study: "...the building itself conceived as a kind of box divided by movable partitions for the sake of flexibility. The Pompidou Centre originally exemplified this type of museum, but its immense open spaces were converted into conventionally solid and permanent galleries during the 1980s."

Particular artists currently featured there are challenging this shift with interactive and/or multimedia displays of familiar objects in typical settings. An artistic feature which I don't doubt maintains the uniqueness of le Centre Pompidou in the eyes and experience of the average visitor.

And yet, to quote Andrea Fraser's article, Isn't this a wonderful place? (A tour of the Guggenheim Bilbao): "Like the philanthropic act of donation through which so many objects find their way into museum collections and on which so many museums themselves depend, the aesthetic and its institutions are both the product and the manifestation of a distance from economic necessity of economic power that is 'first and foremost a power to keep economic necessity at arm's length.'"

Le musée et exhibitions à le Centre Pompidou

Où? Place Georges Pompidou, 75004 Paris

Quand? Daily except Tuesdays, 11am-9pm

Comment? Metro Rambuteau, Hôtel de Ville, Châtelet-Les Halles, RER Châtelet-Les Ailles, Bus 21, 29, 38, 47, 58, 69, 70, 72, 74, 75, 76, 81, 85, 96

Great Britain at the British Museum

This past weekend, I ventured to London with one of my classes. Although our itinerary was pretty intense the first two days, we were left to explore during the entirety of Saturday. Mary and I decided to peek into London's national identity and find out what a "vast collection of world art and artefacts" looks like with a (free!) visit the British museum.

The immense main hall (through which one arrives after passing through the main entrance) is incredible. With such tall ceilings and a circular shape, it felt as though we were standing in the center of the Universe. And in some ways, I suppose, we were. The full range of exhibits could be accessed by taking a hallway (corridor) or staircase and there were various services to make the experience more enjoyable: an Information desk, the Gallery Café, "the Families Desk", the Museum Shop, the Multimedia desk (a Korean Air sponsorship offered free audio guides).

With free maps in hand, we set out "to experience some of the highlights of the magnificent permanent collection."

Of the most ancient artifacts, I realized many had originated in many former British colonies. It was almost ironic yet not at all that they were still being showcased with such esteem. After all, at one time the British Empire was the largest, wealthiest, and yes, greatest. The physical evidence of such power appeared to be the most popular amongst visitors and the free tours and talks scheduled throughout the day.

To enhance the privileged opportunity, the Museum offers opportunities to touch objects and learn more about them under the supervision of experts. I believe the intention is that which Fiona Candlin hypothesizes in The Dubious Inheritance of Touch: Art History and Museum Access, "touch potentially opens up previously prohibited ways of understanding museum collections and includes visitors who have traditionally been marginalized by an emphasis on visual learning. As such, it could represent a new and positive step towards recognizing different forms of knowledge and in correlation acknowledges the rights of blind people, among others, to access their collective cultural heritage."

Ancient Greek and Roman artifacts and the rotating exhibitions were accessible from the upper floors as well. On our visit, they were displaying Spanish prints and drawings from the Renaissance to the time of Goya, in addition to a look at the significance of water, tea, and wine across Asian cultures. A visual history of Europe was additionally on display.

The biggest crowds I saw, however, could be found on the ground floor. Not in the Americas exhibits, nor of those of China, South Asia, and Southeast Asia, but in room 4: Egyptian sculpture. It is here that The Rosetta Stone is set on display surrounded by thick glass. I'd assume that this amazing "key to deciphering hieroglyphics" tops the list of A History of the World in 100 Objects written by British Museum Director in conjunction with BBC Radio.

The British Museum

Où? Great Russell Street, WC1B 3DG, London

Quand? Daily,10am-5:30pm; Friday, 10am-8:30pm

Comment? Tube, Tottenham Court Road, Holborn, Russel Square, Goodge Street; Bus 1, 7, 8, 19, 25, 38, 55, 98, 242, 10, 14, 24, 29 73, 134, 390, 59, 68, X68, 91, 168, 188

The Booksellers on the Seine

The most frustrating thing about being in a city with so many amazing markets is that it's nearly impossible to visit each one. If nothing else, food, flea, and craft markets aren't open all day, every day... and vendors take well-deserved lunch breaks. Luckily, as long as its not a Monday, there are the booksellers on the Seine. They've been there since the mid-sixteenth century. Strolling by is a always a worthwhile experience, no matter which bank you're on. You just might find a secondhand book, vintage poster, or old magazine that strikes your fancy.

Booksellers on the Seine

Où? quai du Louvre to quai des Célestins, Paris 75004; quai Voltaire to quai de la Tournelle, Paris 75006

Quand? Tuesday-Friday, 2pm-6pm; Saturday-Sunday, 11am-6pm (9:30am-7pm in the summer)

Comment? Your own two feet, I hope!