Mr Minister, dear Luc Chatel,Mr President of the Centre national d'art et de culture GeorgesPompidou, dear Alain Seban,Ladies and Gentlemen Members of Parliament,Dear Friends,

60 years, to the day, after the implementation of the public order:
it was on May 18, 1951, the sculptor René Iché created the famous 1% cultural
allowing the financing of a monumental work or decoration
as part of a construction project - 30 years after the birth of the
Fonds régionaux d'art contemporain (FRAC), 1 year after the opening of the
Centre Pompidou-Metz, the launch of the Centre Pompidou mobile
important step in the effort of cultural decentralization at work in
our country. It is a great pride for the Ministry of Culture and
Communication of being able to offer to all audiences, with the help of
local authorities that will accompany each stage of the project, the
exceptional collections from a recognized national public institution
internationally, an establishment that keeps one of the richest
collections of the world. The Pompidou Mobile Center shows the attention
constant support by my Ministry for the democratization of practices
and my desire to place museums at the centre of this ambition.
I know that many institutions, many museums have
services and are already working on cultural mediation issues, on
public awareness, on a diversified offer adapted to each
of them. In the digital world, at the time of the
screens”, this requirement must be renewed and rethought because the work
can be captured, duplicated, copied to infinity. The challenge is to
to recreate this “desire” without which there can be no policies
cultural sustainability. Patrick Bouchain’s very beautiful project, which
like all his work, in the spirit of fairground capitals and circus
Travelling, participates in this playful and privileged relationship at work.
But this project goes well beyond. Tool of cultural planning of the territory,
exemplary public awareness tool, the Pompidou Centre
is an innovative project that is part of the renewed dialogue that
I intend to bring between the State and the local authorities.
So I am especially pleased to share this launch with you
I would first like to thank all the actors and partners who have
made this project possible.
First, I would like to pay tribute to the Centre’s teams
Georges Pompidou who, for months, have been mobilizing their
sides, dear Alain Seban, to bring this project to life. Faced with some
Georges Pompidou knew how to impose a
modernity sometimes lived as a heresy. This lover of the arts
who loved to relax in Cajarc in the Lot, who loved France
of the highlands of the central massif from which it originated, would not have denied
this project at the service of territories and cultural democratization.
I also want to thank all the elected officials who took over the project and who
have seized this presence of the greatest masterpieces of the twentieth century
as a tool promoting the attractiveness and development of their
territory: Mr President of the Committee on Cultural Affairs
Jacques Legendre, President of the Nord-Pas region
Daniel Percheron, President of the Aquitaine region
Alain Rousset The Deputy Mayor of Cambrai François-Xavier
Villain, Frédéric Cuvillier, Deputy Mayor of Boulogne-sur-Mer,
Edouard Philippe, Mayor of Le Havre, Mrs Magali
Giovannangeli, President of the Metropolitan Community of the Country
of Aubagne and the Star.
Finally, a special thank you to the patrons here
without which this project could not have seen the light of day, and
interest from the beginning: Philippe Houzé (Galeries Lafayette),
Mr Olivier Jaillon (La Parisienne), Mr Christophe de Margerie
(Total) , Mr Gérard Mestrallet (GDF-Suez). I do not forget that Marin
Karmitz was the first to support this project. I wish
also welcome your commitment, Mr Minister, dear Luc
Chatel, both as Minister of Education and as Mayor
in this department of the Haute-Marne where the
with the spirit of the Enlightenment, from Voltaire finding refuge in
Cirey-sur-Blaise, in Diderot raised on the spur of Langres, in this city
of Chaumont where the graphic tradition and visual creation have a
history, through the International Poster Festival.
With the Centre Pompidou mobile, the 20th century art collections of a
of the world’s largest modern art museums will be
accessible to all in France. With 800,000 visitors in one year,
with an exhibition of masterpieces of the museum’s collections that was
the Centre Pompidou-Metz, opened in May 2010, met with its
public and success. Recently, the experience of visual magic that we
we owe it to Daniel Buren, already praised by the critics, to translate this state of mind,
this «permanent evolution» that Georges Pompidou called himself
when he imagined and dreamed of the project.
Everyone knows that the collection of the National Museum of Modern Art has a
international reputation. Its presence must be
the resolute and determined action of President Pompidou in
for contemporary art and creation. On the occasion of the 100th
anniversary of his birth (1911), I wanted to recall the ambition of
who cherished both the literary heritage and the new
artistic languages, of the one who nurtured a true ambition
modernist for Paris: building, to quote him, a Museum of Arts
contemporary (…) on the Beaubourg plateau”.
This spirit of innovation I also identify in this unique project of
nomadic museum, travelling museum, which responds deeply to the culture
mobility present in contemporary societies.
In a mobility society, new models of
emerging development, new frontiers are emerging,
new segregation risks – spatial, generational – se
modern lifestyles and economy are both
urban and globalized, global and local, in permanent direct link.
Urbanity historically based on place ceased to be the monopoly of
the city, culture has ceased to be sheltered in places: it has gradually become «
virtualized”, it has become “multi-location”, so to speak. These are the
major future challenges to which cultural
museums policy will have to face: preserving collections while
developing a new accessibility. I think I can say that the project
of the Pompidou Mobile Centre responds to this profound
practices and behaviours.
In the same way, your architectural project, which is itself a work
of the Centre Pompidou mobile, dear Patrick Bouchain, fully subscribes
in the culture and aspirations of the 21st century public. I am
especially convinced that this museum of human size is able to raise
the prevention and intimidation of those who dare not cross the
doors of the temples of culture. This remarkable work is part of the
great architectural history of the Centre Pompidou du binôme Renzo
Piano-Richard Rogers for Beaubourg to Shigeru Ban in Metz.
This project is basically part of my policy in favour of
I have travelled extensively over the past two years: I have been able to
measure the quality of projects launched in the regions and the level of expertise
cultural actors. As part of the reform of local authorities,
I fought to keep the possibility of cross-financing in
the cultural sector. In this context, we need to
partnerships between the State and local authorities. The Centre Pompidou
is an illustration of this new situation. Only mobilization and
the attention of the communities that will host the Centre can give life
to the project.
I want to salute the mayors of the cities who have agreed to host the
First stages of the Pompidou Mobile Centre: Chaumont in October
2011, Cambrai at the beginning of 2012, Boulogne-sur-Mer in May
2012. These medium-sized cities, often rich in considerable heritage,
reveal the novelty of this project, which shakes the geography of what
Malraux called the «imaginary museum».
I have made museums in the regions one of the priorities of my action in favour
of the territories. Wear the masterpieces of the national museums,
internationally recognized, close to their audience is at the heart of the
major projects in my department. The idea is to make these museums
attractive cultural facilities, to support the development of
to put a common heritage at the disposal of the largest
number. Decentralization and cultural democratization are two
the pillars of this ministry’s action over the past 50 years: I intend to reaffirm them and
implement them.
The Louvre Lens contributes to this ambition. After the Centre Pompidou-
Metz, this is the second antenna of a delocalized national museum.
Started in 2004, it is a project in which the Louvre is fully
mobilized with, again, the active and valuable support of communities, and
especially the Nord-Pas-de-Calais region, dear Daniel
The Museum of European and Mediterranean Civilisations (MUcem)
will be the first national museum fully decentralized,
as part of Marseille-Provence European Capital of Culture in
2013. At the meeting point between heritage and creation, in the
beautiful building of Rudy Ricciotti, in the heart of a city in full
MuCEM will combine the history and future of both shores.
In September 2010, I launched the “museum plan” in the regions, with the
the same desire to rebalance the museum offering and to promote
the attractiveness of the territories. With over 1200 museums in France
certified by my ministry, our country presents a mosaic
exceptional, too little known, important to highlight, such as
last weekend on the occasion of the European Night of
museums, with nearly 2 million visitors. In
79 museum projects throughout France, the Plan pour les
museums in the regions highlights the quality of the collections, but also the
public policies and cultural projects of these institutions
mostly supported by communities.
For it is with all the institutions present in the regions that the
Centre Pompidou mobile will be able to establish new partnerships,
to renew the relationship between the State and the communities. The
modern art museums present in our regions will be partners
relays, sounding boards. I am thinking of the museum of
Villeneuve d'Ascq that I inaugurated last summer or at the art museum
of Troyes that I visited recently, in two regions
which will host the Centre Pompidou mobile. In my eyes, the presence
one does not serve the other; on the contrary, it enriches it, it
interest. The presence of the Centre must be conceived
Mobile Pompidou not as an epiphenomenon or manifestation
short-lived but as a long-term development tool
for regional institutions dedicated to modern art and for the awakening of
this dimension.
In this respect, the Regional Funds for Contemporary Art (FRAC) and the
Art centers will be associated with these stages. Created in the 1980s to
initiative of the Ministry of Culture, in partnership with the
FRAC are a creative support, a cultural development tool of the
an exemplary public awareness tool. They are the
only institutions to cover the entire artistic process ranging from support
artists through participation in the production of works, acquisition and
presentation to the public. For the past 30 years, with nearly 24,000 works, the
FRAC did not constitute contemporary art collections
“regional” but many collections for the regions.
Like them, I am sure that the Pompidou Mobile Centre project
will raise the requirement of broadcasting and accessibility, which it will propose
innovative and renewed forms of awareness-raising, involving the
associations, colleges, high schools, hospitals, in other words
places not specifically dedicated to the visual arts.
The Pompidou Mobile Centre will therefore be a formidable tool at the service of this
work, the formation of a more rooted artistic culture and
more diffuse. Nothing substitutes the aesthetic shock of the encounter with the eye
Miro, nothing replaces the emotion felt at the sight of a mobile of
Calder, especially among the younger ones. Today even more than yesterday,
museography, scenography, exhibitions and museums can bring
visitor to a sensitive experience, the visitor may “drift” to
new technologies and works on display. It is this
The Pompidou Mobile Centre takes note of this new requirement in the
extent to which it presents itself as experience of the senses and
presence of the work. In the approach to art, it is necessary to recreate the
surprise, the extraordinary, the event, the fantasy.
In this respect, it is part of the proactive education policy
artistic and cultural that we wear together, dear Luc Chatel. The
generalization of a history of arts teaching since 2008 to all
school levels as well as the compulsory examination for the
this year is the translation. But the “reconciliation of the sensible
and the sensitive», to use the expression of Didier Lockwood,
We must continue our commitment and effort.
To make room for the «change of scenery», the «change of horizon»
of the works – the works of which they do not
do not always have codes, which they do not always share
“symbolic capital” - it takes an initiation, an accompaniment, a
mediation. For each stage, the Centre Pompidou mobile has considered
this dimension, especially for young audiences, the
schools. Any ambitious public policy must
first of all to sensitize the uninitiated, to train the public of tomorrow, to train
these “educated looks” without which the visit is a lure or a
entertainment without tomorrow. It is the whole issue of dialogue that must
accompany the coming of the Centre Pompidou mobile, with the medium
educational, with associations, with the cultural actors of the territory.
As you can see, ladies and gentlemen, territorial ambition is at the heart
of my leadership of this ministry. It is more than ever
necessary to regain the “lost territories” of cultural action.
Yesterday, my predecessors worked to reduce “cultural deserts” by
active spatial planning policy; this ambition must
today be continued and extended, even in these deserts of
intimacy” where art only enters by breaking and entering. This is the meaning of
programme of the Centre Pompidou mobile, in an enhanced dialogue with
local and regional authorities.
In the age of digitalisation, of individualization of access to goods
cultural – including the culture of entertainment in its forms
standardized, sometimes sanitized – I remain convinced of the strength of our
“cultural model” and the need to preserve cultural diversity. A
the hour when major internet players present works and
museums on the web, I remain convinced of the relevance of the museum as
physical place. The museum is and will remain a meeting place, a
a place of learning. Exceptional and rare contact with
a work between a visitor and a work, a historical document, form
imagination and sensitivity as much as it opens the mind. One must not well
to the illusion of «aesthetic shock», to say how much beauty
is demanding and requires context, an explanatory narrative, a
pedagogy. The specifications of the Centre Pompidou mobile marries
precisely these issues.
And I mean how much the idea of carrying in all points of the territory, in all
places the masterpieces of modern art present at the Georges Centre
Pompidou marks a real turning point in the history of our policies
cultural events. As we commemorate the 150th anniversary of the
birth of Georges Méliès, at the time of his Voyage in the Moon
(1902) was presented in a restored and colorized opening version
of the Cannes Film Festival, I am delighted to see how much nomadic culture and
the fairground spirit also inspires the policy of a great Institution
visual art. In terms of cultural policies, every
period is the sum of the previous ones but this does not have to us
prevent “new territories” for action. I see
in the Centre Pompidou mobile a tool adapted to our time for
major priority missions of the Ministry of Culture: the conquest of
territories and democratization of culture and knowledge.
Thank you.