WEBVTT
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[German Language]
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I\'m sorry, Rein.
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It\'s not about who you hire,
but about who you fire.
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Super.
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Yes.
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It\'s all White artists.
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American Perspective.
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Yes.
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Nice.
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[music]
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[music]
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Okay.
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We did this one out in Paris.
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It\'s a different kind of exhibition
that we normally do at the Stedmak.
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This one is about
Kirchner and about Nolde,
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about expressionism and about colonialism.
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We love and we hate the word
contextualizing these days.
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We love and we hate
that we are asking questions these days.
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Sometimes when I mention the title
of the exhibition people are startled
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and they say what do expressionism
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and colonialism
have to do with each other?
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Generally,
people thought of colonized people
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as people without art and Europeans
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and some other people as having art
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and being unique in that way.
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Contextualizing is a word I hate,
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but we have to use
it all the time these days.
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Kirchner for me
is really more important than Nolde
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because Kirchner did
not travel to the colonies.
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Everything he depicts
he had seen somewhere in Germany
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and this is a reflection
of black German history
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through the eyes of a white man.
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Also, through the white gaze.
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I would say
I am also a critic of Kirchner.
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Did Emil wake up one day
and say I want to be a model?
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Yes, and start looking and searching
for abstract with Kirchner,
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I really don\'t believe so.
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This is really important
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because when we ask the question,
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where did Emil come from and how did
she enter the studio of Kirchner,
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it opens the Pandora box
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and it\'s like even with
the answers to this question
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[music]
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That exhibition looks [?]
between our two institutions,
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and we\'ve been working
on it for more than four years.
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[?] is a very big issue.
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Some titles, I don\'t know.
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Will you want to go into this in detail?
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Oh, yes.
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Oh, okay.
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Do you change titles,
and if so, how do you do it,
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and what do you do with
the original titles?
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Are there any examples here
in the exhibition that we can find this--
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Yes, there are.
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This one behind me, for instance,
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the original German title is.
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In Copenhagen, we decided to translate
it into dance in Danish and English.
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[music]
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is circumstantial.
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That was
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Beatrice is not here now, but still,
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I think it\'s important to tackle
these questions.
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How do we react on this?
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What do we do with this?
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How do we react on society?
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How do we cope with society?
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How do we cope with critique,
and must we learn something from this?
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It\'s very disappointing
because we are a year
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after people went
on one knee for George Floyd,
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and now we see this reaction
towards his exhibition.
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I read anger almost.
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I think frustration
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How they were framed.
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at us daring to challenge
that these great painters
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and that there might be more stories
to tell.
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The reviews are, of course,
this is not what we signed up for.
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We just wanted a simple [?] show.
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We want to look at paintings.
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We just want to look at the paintings.
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This was the dilemma
from the beginning of the show.
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Absolutely.
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Although I don\'t want forbid
people to enjoy nice paintings.
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Not at all.
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We\'re trying to educate some people
for whom this is a new perspective.
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Many of them are clearly signaling.
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We are not interested.
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We\'d just like to see the pretty pictures,
please.
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For me, I\'m a bit
more than disappointed to be honest.
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I\'m a bit confused as well.
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I really think that there\'s no
way around this show.
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The emotional reactions,
but also these reactions in the press,
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just show how important the show is.
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That\'s like proof.
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By the way,
where we talk about visitor survey,
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we don\'t have enough data yet,
but up till now,
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the score is very good
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It\'s very high.
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for the exhibition by visitors.
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It\'s 7.7 at the moment,
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which is higher
than the Bruce Nauman appreciation.
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It\'s pretty extraordinary.
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[music]
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[laughs]
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[laughter]
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[laughs]
