Word: pompidoglio
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...Paris-Paris," which fills a floor of the Pompidou Center in Paris until Nov. 2, is-so to speak-the fourth panel of a triptych. When "le Pompidoglio" opened in 1977, it started a series of exhibitions meant to show, in detail, how the capital cities of modernism had reacted to one another in our century. These were "Paris-New York" (1977), "Paris-Berlin" (1978) and "Paris-Moscow" (1979). The emphasis would be on painting and sculpture, but other wells of memory were also tapped-period rooms, reconstructions, photos, slide displays and documents. In the archaeology of the recently vanished...
...idea of established excellence. It is less a "proposition" than a calm, final statement. In that respect, it is unlike the only comparable museum (in terms of cost, elaboration and civic importance) to have been built in recent years, the Pompidou Center in the Beaubourg section of Paris. "Le Pompidoglio," as the French sardonically call it, turned out to be one of those populist-utopian fantasies of the '60s that have not yet been made to work. As a public meeting place, it certainly succeeds. Half Paris has taken to riding up and down its dramatic glass escalator tube, squinting...
Over the past few years its stolidly trendy Swedish director, Karl Pontus Hulten, has emitted much politic cant about how Le Pompidoglio would not be a museum in the traditional (read "elitist") sense, but rather a kind of cross between a people's palace and a pinball machine-a transcultural, interdisciplinary omnivorium. The real question was how the place might work as a museum. On seeing "Paris-New York," one wishes the question had not been asked. The show is a curatorial botch...
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