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Notre-Dame priest denies redesign of French cathedral is too radical

The world watched in awe as Paris' Notre-Dame burned in 2019. The priest in charge of redesigning its interior has deflected accusations that the cathedral is being turned into a 'politically correct Disneyland'.

The redesigned interior of Paris' Notre-Dame cathedral will likely include banners in Mandarin and soft mood lighting. The priest in charge has defended the proposed changes.
The redesigned interior of Paris' Notre-Dame cathedral will likely include banners in Mandarin and soft mood lighting. The priest in charge has defended the proposed changes. (Photo by Christophe ARCHAMBAULT / AFP)

Plans to replace the gothic ambience of Notre Dame cathedral with a softer vibe of modern art and warm lighting have raised a few eyebrows, but the priest in charge denies any radical transformation is afoot.

With the cathedral set to reopen in 2024 — five years after a fire devastated much of its roof and spire — church authorities are putting forward new plans on December 9 for how the public will experience the iconic Parisian landmark.

They include Bible quotes to be projected in multiple languages on the walls and new art installations in place of its little used 19th century confessionals, said Father Gilles Drouin, who is charged with reworking the interior, in an interview with AFP.

READ ALSO Notre-Dame restoration work begins as Paris cathedral on track to reopen in 2024

Gone would be the traditional straw chairs, to be replaced by more comfortable benches with their own little lamps to brighten the gloom — perhaps even able to disappear into the floor when not in use to leave more room for tourists.

Rather than lighting cast down from its cavernous ceiling, there will be “softer lights at head height” to give a more intimate feel to the 2,400 masses and 150 concerts held annually.

The National Heritage and Architecture Commission will hear the detailed plans next week, but already some conservative hackles have been raised.

Britain’s Spectator magazine warned of a “politically correct Disneyland” that would be full of “emotional spaces” and cosmopolitan “discovery trails”.

Drouin denied the plans were radical, however. He said the objective was to preserve Notre-Dame as a religious place that can better welcome and inform the public “who are not always from a Christian culture”.

“Chinese visitors may not necessarily understand the Nativity,” he said.

The lesson from the cathedral’s existing chapel dedicated to 19th century Chinese martyr Saint-Paul Tchen is that visitors from that country will stop and light candles because there are banners in Mandarin, he added.

One major change for visitors will be that they enter from the large central door, rather than the side entrances. The altar will remain in place but other items such as the tabernacle and baptistery will be rejigged, while most of the confessionals will move to the first floor, leaving only four in the main section.

Side chapels, which were in a “terrible state” even before the fire, will be entirely renovated with a focus on artworks including “portraits from the 16th and 18th century that will be in dialogue with modern art objects.”

He said this would include a “cycle of tapestries”, without giving details. “The cathedral has always been open to art from the contemporary period, right up to the large golden cross by sculptor Marc Couturier installed by Cardinal Lustiger in 1994,” he said.

Notre-Dame cathedral dates back to the 12th century. It was largely adapted in the late 1800s by architect Viollet-le-Duc, though in keeping with the Gothic style that was having a renaissance at the time.

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PARIS

‘Fantastic but scary’: The new Paris exhibition grappling with Picasso’s controversial legacy

When British fashion designer Paul Smith was asked to oversee a rehang of the Picasso Museum in Paris to mark 50 years since the artist's death, he decided to have some fun.

'Fantastic but scary': The new Paris exhibition grappling with Picasso's controversial legacy

The 76-year-old designer’s playful approach does away with the usual art gallery white cube and piles on the colour.

It is simple yet highly effective: Pablo Picasso’s blue period is presented in a room painted and carpeted in rich dark blue, the bullfighting sketches on blood-red walls, the “Luncheon on the Grass” in verdant green.

“I had carte blanche to do whatever I want in the whole museum, which was obviously fantastic but also quite scary,” Smith told AFP.

The museum approached him five years ago with the commission, and Smith spent months trawling through some 200,000 works from its archives.

He has plucked out little-seen items, including silly and lewd doodles that Picasso made over magazine ads — signs of a mind that was always working.

“He never really stopped,” said Smith. “There were drawings on magazines, on napkins, on newspapers. He was constantly thinking about creating shapes.”

It’s a fun way to start off the exhibition, along with Smith’s favourite piece: a bicycle seat and handlebars that Picasso put together to look like a bull’s head.

“The way he thought about things was fascinating and very interesting,” he said.

“I made it very decorative because the idea is that young school children and teenagers will come and see his work in a different light. Many of us have already seen Picasso many times around the world, so we hope to show it in a new way.”

Six living artists are also featured, including a Black Lives Matter-inspired piece by New Yorker Mickalene Thomas that sits alongside Picasso’s wartime work.

And of course, the trademark Paul Smith coloured stripes also crop up.

“To stay in fashion as an independent company… to stay relevant for all these years, means you’re constantly reassessing, rethinking, which is probably one of the reasons why I got asked to do this exhibition,” Smith said.

The museum faces a constant challenge in finding new ways of venerating an artist whose work is so omnipresent, and whose decidedly old-school views on women have led to some severe #MeToo reappraisals.

“This museum’s job is not to serve as a mausoleum to a great man,” its director Cecile Debray told AFP.

“We want to be open to debates and reflection on Picasso so as to reconsider his work and show its continued vitality.”

Smith’s playful rehang is mostly an opportunity to see the masterpieces in a way that shows how fun and contemporary they still look, but doesn’t entirely shy away from the controversies.

Paintings by Congolese artist Cheri Samba and Nigeria’s Obi Okigbo highlight the debt Picasso owed to African traditions.

Some have accused him of appropriation, though Smith saw an artist who was very open about his inspirations.

“He was never afraid to admit that he took it from Cezanne or took influence from the classics or from Manet,” said the designer. “A lot of creators today don’t really ever admit that somebody’s been an influence.”

Born in October 1881 in Malaga, Spain, Picasso spent most of his life in France and died on April 8th, 1973 on the Cote d’Azur, aged 91.

Dozens of exhibitions and conferences are marking the 50th anniversary of his death around the world, with a new research centre to be opened near the Paris museum in the autumn.

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