From 2 June in France starts the second stage of release from quarantine. While large museums are only ready to receive its first visitors, a small already hard at work. The first opened in Paris in the Institut Giacometti. His art Director Christian Alandete answered questions Maria Sidelnikova.— The Institut Giacometti was the first Parisian Museum, which opened after the quarantine. As that decision was taken? Was there any doubt?— No doubt about it. For us it was a question not economic, but rather political. As soon as the life in France will come to life, museums must also play their role. Museums necessary for the person as well as shops and schools. This is an important part of our life and culture should accompany us in the process of emerging from quarantine. After the isolation we all experienced in different ways and in different conditions, for some it was a happy period, for others difficult. To life we are different, and the role of museums, the role of culture — to help, to distract, to change the subject. So we went back to work as soon as lifted the quarantine— may 11 and 15-took its first visitors. While we are only open four days a week, from Thursday to Sunday. Tickets are shattered instantly, and that’s nice: it means that there is no fear, people want to go to museums.— In addition to the shortened weeks what other changes have occurred in the Museum? Was it difficult to make it work with the sanitary requirements?— Institute of Giacometti — the Museum is small, “the size of a man and for man,” as we say in France. And since opening in 2018, our main idea was to create optimal conditions for viewing the exhibition, to build a close relationship between the works and viewers. We were required to control the flow: 200 people in the space of 350 sq m is just pointless. And exhibitions we have a small, and 20 works you look different than 200. By the way, we noticed that people on small exhibitions remain longer. Now, however, it is not yet possible: the chairs had to be removed, visits are shorter. Masks in the Museum is a must, gels to disinfect in every room. But otherwise we didn’t have to radically change the work. Even before the crisis we do sold e-tickets, but also the opportunity to buy them on the spot still was. Now this is not possible, the office is closed. And the number of viewers has reduced: if at a time before we were allowed into the Museum 40 people, now only 10.— Still four times… Can you already assess the economic damage?— That’s true, but however, all tickets available during the day, the intervals are completely sold out. If you used to be peak hours and when the Museum was empty, now all distributed very evenly. But there are additional expenses. For example, we��ICAS requires more staff. We do not have a marker on the floor in the halls, wanted to keep a familiar atmosphere, so the movement in the Museum regulate the Rangers — they help Orient, direct that the distance was perceived as something natural, not forced. So again, it was a human.— During the quarantine, Institute Giacometti was very active on the Internet, on social networks: lectures, virtual visits, Atelier for children. What did you gain from this experience?— New people — both outside France and inside the country and even city. Many said that he learned about the Institute during the quarantine, found the conference and listened to. And here they already have in the Museum. On the “live” conferences we were able to collect a maximum of 80 people, the Internet is connected 200-250 people at a time. This is a new audience, she is interested in Giacometti, and it is interesting to us. It is clear that communication on the Internet was a little strange, but still the questions came, people were thanked, wrote that they like. The reaction was very lively. I felt the unity, and it is a completely different experience than just watching a recording or listen to a podcast. We will continue to develop our presence in networks.— And how the virus changed exhibition plans?— We have not been canceled, but the schedule moved. For example, the exhibition of Douglas Gordon, which was scheduled for April—July, we moved for a year. This will be a dialogue between the works of Giacometti, the space of the Museum and works of Gordon. And the first hint, the announcement of this exhibition is already there — the black hand, which clings to the barrier in the library. The exhibition “In search of lost works” which we opened before the quarantine was extended until 21 June. Just at this time should open the border, and work will again be able to travel — we’ll send a courtesy we have “Self” in Zurich and hope to be able to works for the new exhibition, which here-here will declare.— How did the idea to make an exhibition about a lost job?— The Institute is engaged in the Giacometti exhibition and research work. And these works are connected. It is very interesting to find and explore the unknown side of the life and work of Giacometti. Early years — such a time. The exhibition begins with his arrival in Paris — he is a student of Antoine Bourdelle, many makes and a lot of kills, falls under the influence of Fernand Leger, Paul Klee, Ossip Zadkine and ends with a meeting with the Surrealists. This is a period of experiments with cubism, with African motifs, Giacometti seeks its language. He has created some 140 works, among them about 50 are reported missing. We have done a lot of research, almost a detective work. Studied letters, notebooks, archives, photographs of Giacometti’s many pictures of their production��a sketch, which is actually a rarity in those days, it was not so easy. And presented these works in documents, photographs, three of them even reproduced. I do not exclude that some of the work still exist, maybe the collectors do not suspect that it is a Giacometti— still early work, often without a signature. Perhaps, through this exhibition, we’ll find them.— Many of these white pages in the biography of Giacometti?— The early years — it was the first period that we so carefully studied. Now we will work on. It is known that many works were lost during the war. It’s all miniature sculptures, very fragile. And around them many legends. There is a beautiful story that Giacometti sculpture was so tiny that he was transporting them in match boxes. We believe that it was more of a box from under footwear. These sculptures have in our collection, and they are 4-5 cm in size but the smallest figure 2 see Very detailed on the massive square bandwagon. By a pure miracle. In time of war, Geneva, Giacometti did a lot of the figures. When you pick them up, my heart stops. One little wrong move and all, it doesn’t. They are made of plaster, without reinforcement, is very fragile. Some survived and were later cast in bronze, plaster but many, alas, have not survived.— Where you live the most important collectors of Giacometti? In France?— Not only. They have around the world. In Switzerland, Germany, his first works were bought in Argentina, but the most important collection, perhaps in the United States and in France. In America Giacometti exhibited and sold to the gallery owner Pierre Matisse, son of Henri Matisse. As to the Russian public collections, as far as I know, they should not be works by Giacometti. Except in private collections. In Russia, unfortunately, had some exhibitions of Giacometti. We planned one project in Moscow, but while it is under discussion.
