(Highlights) MUSÉE PICASSO · FMR. PRESIDENT LAURENT LE BON · PRESIDENT CENTRE POMPIDOU

(Highlights) MUSÉE PICASSO · FMR. PRESIDENT LAURENT LE BON · PRESIDENT CENTRE POMPIDOU

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President · Musée Picasso

Picasso is a symbol of the creative process.

Always in metamorphosis. Always in transformation. Sometimes when you become wealthy and famous, you stop having the energy of the creative process, but if you see the whole span of his career, you have 50,000 works of art in all mediums. So the main mission of the museum is to display like a kaleidoscope, and we have always a new angle, a new direction.

MUSÉE PICASSO · FMR. PRESIDENT LAURENT LE BON · PRESIDENT CENTRE POMPIDOU

MUSÉE PICASSO · FMR. PRESIDENT LAURENT LE BON · PRESIDENT CENTRE POMPIDOU

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President · Musée Picasso

Picasso is a symbol of the creative process.

Always in metamorphosis. Always in transformation. Sometimes when you become wealthy and famous, you stop having the energy of the creative process, but if you see the whole span of his career, you have 50,000 works of art in all mediums. So the main mission of the museum is to display like a kaleidoscope, and we have always a new angle, a new direction.

(Highlights) SEBASTIEN GOKALP

(Highlights) SEBASTIEN GOKALP

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Sébastien Gokalp · Director of France’s National Museum of Immigration
Curator of Exhibitions at Centre Pompidou, Musée d’art Moderne de la Ville de Paris & Louis Vuitton Foundation

We have a motto that says that ‘we want to change the gaze on immigration or to open the eyes on immigration’. We’re not here to make action in society, but we want people who come here to have elements of reflection, perception about the question of immigration. To change a mind, because immigration is about the stories of people who come from another country–they are someone else, basically–by assisting them we want to show how someone else can be great for us and not a stranger, foreigner, nor an enemy, but a friend. Someone who will bring us many things about culture, about work, about a way of meaning, of thinking. We have a historical point of view. We want to show that from the French Revolution until now, so two centuries of stories.

SEBASTIEN GOKALP

SEBASTIEN GOKALP

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Sébastien Gokalp · Director of France’s National Museum of Immigration
Curator of Exhibitions at Centre Pompidou, Musée d’art Moderne de la Ville de Paris & Louis Vuitton Foundation

We have a motto that says that ‘we want to change the gaze on immigration or to open the eyes on immigration’. We’re not here to make action in society, but we want people who come here to have elements of reflection, perception about the question of immigration. To change a mind, because immigration is about the stories of people who come from another country–they are someone else, basically–by assisting them we want to show how someone else can be great for us and not a stranger, foreigner, nor an enemy, but a friend. Someone who will bring us many things about culture, about work, about a way of meaning, of thinking. We have a historical point of view. We want to show that from the French Revolution until now, so two centuries of stories.

JACQUES VILLEGLÉ · English Interview Highlights

JACQUES VILLEGLÉ · English Interview Highlights

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Artist & Grandfather of French Street Art

There was the war from ‘40 to ‘45 under the Fascists, so I didn’t have art training at that time. The painter Picasso, we knew the name, the artist who painted an eye in the place of a navel, that’s all I knew at the age of seventeen. I found a book published in 1926, the year of my birth, speaking of the painters Braque, Picasso and Miró. And then all the figurative painters at that time, Van Dongen…so it was a new style that I encountered there.

Full Interview · French · JACQUES VILLEGLÉ

Full Interview · French · JACQUES VILLEGLÉ

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Artist & Grandfather of French Street Art

There was the war from ‘40 to ‘45 under the Fascists, so I didn’t have art training at that time. The painter Picasso, we knew the name, the artist who painted an eye in the place of a navel, that’s all I knew at the age of seventeen. I found a book published in 1926, the year of my birth, speaking of the painters Braque, Picasso and Miró. And then all the figurative painters at that time, Van Dongen…so it was a new style that I encountered there.