Last week the documentary series “The new National Museum of the NTR won the Silver Nipkowschijf, the prize for the best Dutch TV show in 2012. The reopening of the museum was broadcast live on television. NRC editor Pieter van Os annoyed by the lack of criticism of this kind of event television. While the conversion is so well suited for critical and interesting comments, such as “The New Rijksmuseum ‘shows.
The first time I heard of the department ‘events’, was in the company of the AVRO, the’ s Gravelandseweg in Hilversum. I then worked himself into a corner of the building, at Opium, then only a radio.
Dieuwke Wynia sat opposite me at the table. She was television. She told me how she Karel van de Graaf was temporarily editor at ‘events’ after one year. I did not ask what it was, or what events were used in the events department. Before that came the existence of such a department as a matter of course and I was 24 years old, not so sure where the line between curiosity and silliness was. Was Sterrenslag example an event? Or was it especially waiting for a change of rule, what then, still seemed the mid-nineties, in a distant future to lie.
Wedding Willem-Alexander and Maxima
I knew more a year later. I was called from the Siberia of the radio (a season Opium took half an event on TV) to help with a really big event. The wedding of Maxima and Willem-Alexander.
Roeland Kooijmans, AVRO-time celebrity, live would come into the picture before, after and during the intermission of a concert in honor of the couple. A few words about the concert. No, not that concert with the tear. That was during the wedding ceremony. This was at the Concertgebouw. ??
I could Kooijmans’ writing and speaking texts would help him on the spot with the rote learning of those texts: because in the course of the Concertgebouw was no teleprompter. A few days before that day, Kooijmans took me to the first meeting for the programming day, somewhere in the Media Park in Hilversum away.
NOS was in charge of the broadcast: AVRO only did classical music. The colleagues of the NOS chuckled about my presence: Kooijmans was the only one who had brought an editor. Maartje van Weegen and Umberto Tan made a casual remark about an event, did you yourself apparently, teleprompter or not.
A few days later I understood why: it was about nothing. Even facts were out of the question. Just describe what you saw on the monitor or had seen. Basically, what the viewer saw. For TV apparently they knew – and who was I to dispute that – that the viewer just wants to hear what he already sees. “Do not worry about it,” said Kooijmans. I did not worry about me: I saw my work at that time merely as a way to use my free time to pay. (And to give my parents a good feeling of course, but for the working twenties was that right?)
Every game is exciting
But I was not angry, I realized that day or that the command ‘frivolity’ has consequences. Criticism ended up with a small elite of journalists. At an event had the Concertgebouw Orchestra on TV never ‘a bad day’. The orchestra had never worrying about the tempi in the poco allegretto in the third of Brahms and the horn player, how hard he also next honked, better arrangements would never be too low level for the absolute top. Something was not said and was not even thought of.
It was worse than the voetbalverslaggeverij at RTL and SBS 6: every game was compelling, exciting or at least interesting. The logic was of iron: people do not want to watch a bad game and never told the presenter that the game was bad or boring, which also regularly occurs in football, even for lovers
.
Uncritical days
These are eventful days. 125 years Concertgebouw Orchestra, Artis 175 years, 400 years canals, even an abdication. Uncritical days so.
Where is that criticism of the loudest does feel, for the reopening of the Rijksmuseum. “It’s finally here.” If you are reading this, is that phrase endlessly already passed by. Also, all sentences must then radiate relief and satisfaction. I know, that’s the way of the world ‘, I wind me not to.
Interesting comments
Yet I can not resist thinking about how precisely this transformation lends itself to critical and interesting comments. This 375-million-euro renovation, “continue Cuypers’, cries out even, as is the building called for it when it was completed in 1885. At the time, some sounded harsh criticisms, creating a lively cultural debate emerged that the controversial section of the society occupied weeks.
central question: did the Catholic architect Pierre Cuypers this cathedral museum does justice to the Protestant past of the nation? Or, to remain in the language of cartoon artists of the time: here was not a popish monstrosity created
?
now is to ask the question: did all those museum directors in the twentieth century wrong? Was it wrong to liming, the wall paintings in the hall of honor to take away and bring to a single curl here and there?
the lavish ornamentation back the walls whiteUgly
In 1995 the museum organized an exhibition titled The Ugly time. One of the main products of those ugly time: the Rijksmuseum itself. The exhibitions were among others to see Pierre Cuypers had designed furniture. The renovation will bring the museum back to just that time. Find anyone who still “ugly”? No, because the reopening is a real event. Is there no more about modernist who says “it’s ugly!” Or even better: “it’s a shame!”
The building of the Guggenheim in Bilbao, Spain, people really did not get angry. It has since become one of the most visited and most acclaimed museum buildings in Europe become.
Ridiculous building
Urban has been lucky in this respect: the critic of the New York Times could not remember “to have ever seen a ridiculous building”, then the construction of the Capital. As if he listened Bach, he wrote, “played by a man in a clown suit.” But that was in the newspaper. On TV, the opening was another event. Heard no discord.
Oh no, yet, once, when Marlene Dumas furiously for a television held the front page of the NRC Handelsblad in the air. The newspaper had to speak to who doubted whether the City had a budget that was sufficient to play with the international top museums. Daring people Acid newspaper! Outrageous. “Be happy for once.” The TV like sent it out, but without a beginning of a discussion. Understandable: a critical judgment is the enemy of the event
.
In addition, the event makers verjaarsvisites trying to get credit for their missionary work. They try to make art. Many people as possible manageable But it is a mistake that thing without criticism. Those who have taken to promote the art noble task forget that argument, indignation and goings involves. Politicians understand that: they know they have to create if they want to captivate the viewer a conflict. In other words, as long reaguurders not respond to the new Rijksmuseum, the next rebuild all again soon at the door
.
end of 2003, the National Museum closed its doors for a major renovation. Ten years later, the project is nearing completion. Filmmaker Oeke Hoogendijk, the renovation from the beginning, with her camera. This resulted in 2008 in the two-part documentary, the new National Museum, which was not only about the conversion and the art of the museum, but also the compulsive consultation culture in the Netherlands.
Since the renovation took years longer than planned decision to make. makers of the film a sequel The two new sections are shown around the opening of the National Museum on 13 April. The documentaries are made possible by the Media Fund. Last week the documentary series won the Silver Nipkowschijf. The series is to look back here:
Part 1:
Part 2:
Part 3:
Part 4:
This item is from 609, the magazine of the Media Fund.
Who all articles of the latest edition of the magazine will read a pdf of 609 can be found on the website of the Mediafonds.nl
.
No comments:
Post a Comment