“All our efforts will be aimed at provoking surprise, amazement and pleasure, and at stimulating and constantly renewing the public’s interest for contemporary art.”
Laurent Le Bon, director, Centre Pompidou-Metz
The Centre National d’Art et de Culture Georges Pompidou, in Paris, also known as Beaubourg, is a multi-use cultural complex housing a public library, a music research centre (IRCAM) and the Musée National d’Art Moderne, the second largest world collection of modern and contemporary art after MOMA. Opened in 1977 and designed by Renzo Piano and Richard Rogers, it is also an architectural statement, exposing its inner workings in Technicolor. The Centre Pompidou is a national institution, but a modern one; and that’s maybe why it was the first in France to open a decentralised outpost in a regional city.
In 2002, the Centre Pompidou considered a number of cities to host this new sister-institution, including Caen, Montpellier, Lyon, Nancy, Lille – and Metz, a 120,000-resident city just south of the border with Luxembourg, birthplace of poet Paul Verlaine, with a history dating back to Roman times and a claim to be the cradle of Gregorian chant.
Amongst other factors that guided the choice of the hosting city, Metz could offer the access to a large new potential audience (northern France, Belgium, Luxembourg and western Germany), an ongoing revitalisation project via a new “cultural quarter”, part of a wider political strategy to invest in the creative economy and, pragmatically, “the necessary financial capacity to invest in such a project”.
Construction started in November 2006 and the new museum was inaugurated in May 2010. Conceived by Japanese architect Shigeru Ban, known for his innovative work with paper and cardboard tubes, the 20,000m2 building is topped by a wood-and-teflon roof inspired by a Chinese hat. The surrounding landscaped gardens are designed on sustainable principles.
3 years after its official opening, the Centre Pompidou-Metz is the most visited temporary exhibitions space in France outside Paris, with a record number of visit of 600,000 in its first year of operation (May-December 2010) and around 500,000 annually.
The 5-to-6 annual exhibitions are unique to the museum and not simply scaled down from previous Parisian incarnations. The “essence” of the programming choices is aligned with the original Centre Pompidou’s mandate to be “a leading centre of information, exhibitions, research and initiatives in numerous fields of contemporary creation” and is complemented by multidisciplinary events and performances that can take place in all indoor and outdoor spaces. Young audiences and families are also catered for, with workshops, special events and dedicated guided tours.
Right now, visitors can enjoy an in-situ installation by French artist Daniel Buren; a selection of works from Sol LeWitt’s personal collection; an exhibition on the history of aerial photography; an visual and acoustic immersive experience to dive into the Beat Generation; and a retrospective of Hans Richter’s work.
The wide appeal of the artistic programming goes hand in hand with a progressive pricing policy, with a sliding scale admission fee, from €7 to €12, depending on the number of galleries open on the day of purchase, just like in the Guggenheim Museum Bilbao. An annual membership pass granting unlimited admission costs €33 the first year, €27 afterwards, and admission is free for everyone under-26, but also for teachers, artists, journalists, seniors, Centre Pompidou employees, job seekers, disabled people and their assistant. Performances – dance, music, theatre… – are priced between €5 and €20. Artists’ talks are free, screenings and other educational opportunities cost €5. Guided visits are offered in French, English, German and French Sign Language.
Just as Louvre-Lens was opening its doors in December 2012, just 300 km north-west of Metz, L’Express was announcing that the tourism economic impact of Centre Pompidou-Metz was valued at €70 million for its first year only, a full return on investment on the building cost; however, as the total public infrastructure investment is estimated at €250 million, the municipal authorities remain cautious about drawing hasty conclusions on the net worth of the project. So does the French government, which is not planning to build any further physical buildings in the near future, preferring to let these two projects develop and mature to assess their impact.
A detailed activity report is available on Centre Pompidou-Metz’s website (in French), with varied insights on, amongst others, its communication strategy, audience development policy, and even its HR and financial management.
All images are licensed under Creative Commons and linked to their original location on Flickr.