turned to see the massive glass edifice rising from one floor through to the next.
After her cigarette, we continued our tour of the building and Canelle briefed me on the basics of the organisation. We went up a lift, along corridors lined with what looked like average, yet new, offices. We made our way back via the staff entrance again to the museum entrance, where patrons were going through security and into the main exhibitions. All the while, Canelle kept talking. She was from Guadeloupe and so at least we had something in common in terms of being people 'of colour' in a colonising country.
'There's around two hundred and seventy staff here, including trainers, cleaners, caterers, security and electricians. I'm in charge of the Oceania collection and I work alongside Philippe Peltier, the curator who worked with Hetti and Brenda on the original commission, as you would know.' We turned a corner. 'I secured the job because my English was good. You have to be bilingual to work here.'
I took a deep breath, knowing my French still wasn't that great. We walked past the bookshop and when I turned from the window display, I looked ahead to see Jean Nouvel's architecture from a different angle.
Canelle continued, 'We have shows at the musée in the springtime and the summertime. We recently had a Hawaiian dance show, and a South African choreographer with musical instruments made of bamboo. It's a wonderful space for a whole range of international work. That's why I love it here.'
We went back inside the musée and she directed me forward.
'This is the school groups and workshops reception. You'll be speaking mainly to French students, mostly from around Paris. You can do it in English, of course, but you must talk slowly.'
'I thought perhaps there would be a large international audience?' I said, hoping I didn't sound disappointed.
'Actually, about eighty per cent of our visitors are French, and mainly from Paris. Which is opposite to the Louvre, where only forty per cent are French.'
'That's interesting.' I was surprised.
'Well, we have items in our collection that are international, that the local French population haven't seen. And we are relatively new.'
I nodded with understanding. 'I get it. The Louvre is what the rest of the world wants to see, and the rest of the world is what the French want to see. Sounds like a good balance really.'
'Exactly.'
Canelle took me to meet the head of human resources to get my paperwork sorted, and as we walked I tried to remember every turn, lift and stairwell and the names of various staff we met along the way. There were five floors and three office buildings in the musée. It made the NAG look like a cubby house. I was trying to recall which lift went to what floor as we met the curators of each section. All the while, I waited patiently to see the artwork-adorned ceilings.
In yet another lift Canelle introduced me to the marketing manager, Adrien: short, balding, lean, round face, bushy eyebrows, piercing grey eyes and cigarette-stained teeth.
' Bonjour, Elizabeth, we are very pleased to have you here,' he said, looking me up and down, 'and so young to be working on such an important project.'
I wasn't sure if he was being sarcastic and questioning my credentials or actually flirting with me.
'I am well-qualified to do the job, Adrien, and I am very excited about being here. I'm looking forward to the opening of Authentication. '
He put his hand on my shoulder. 'Of course, we are looking forward to the exhibition as well.' I looked at his hand on my shoulder and he removed it. 'And we need to talk about the marketing and publicity. I have some journalists lined up to speak to you. We have a release ready to go out.'
'Excellent! May I see it first, please?'
Adrien used the same hand
After her cigarette, we continued our tour of the building and Canelle briefed me on the basics of the organisation. We went up a lift, along corridors lined with what looked like average, yet new, offices. We made our way back via the staff entrance again to the museum entrance, where patrons were going through security and into the main exhibitions. All the while, Canelle kept talking. She was from Guadeloupe and so at least we had something in common in terms of being people 'of colour' in a colonising country.
'There's around two hundred and seventy staff here, including trainers, cleaners, caterers, security and electricians. I'm in charge of the Oceania collection and I work alongside Philippe Peltier, the curator who worked with Hetti and Brenda on the original commission, as you would know.' We turned a corner. 'I secured the job because my English was good. You have to be bilingual to work here.'
I took a deep breath, knowing my French still wasn't that great. We walked past the bookshop and when I turned from the window display, I looked ahead to see Jean Nouvel's architecture from a different angle.
Canelle continued, 'We have shows at the musée in the springtime and the summertime. We recently had a Hawaiian dance show, and a South African choreographer with musical instruments made of bamboo. It's a wonderful space for a whole range of international work. That's why I love it here.'
We went back inside the musée and she directed me forward.
'This is the school groups and workshops reception. You'll be speaking mainly to French students, mostly from around Paris. You can do it in English, of course, but you must talk slowly.'
'I thought perhaps there would be a large international audience?' I said, hoping I didn't sound disappointed.
'Actually, about eighty per cent of our visitors are French, and mainly from Paris. Which is opposite to the Louvre, where only forty per cent are French.'
'That's interesting.' I was surprised.
'Well, we have items in our collection that are international, that the local French population haven't seen. And we are relatively new.'
I nodded with understanding. 'I get it. The Louvre is what the rest of the world wants to see, and the rest of the world is what the French want to see. Sounds like a good balance really.'
'Exactly.'
Canelle took me to meet the head of human resources to get my paperwork sorted, and as we walked I tried to remember every turn, lift and stairwell and the names of various staff we met along the way. There were five floors and three office buildings in the musée. It made the NAG look like a cubby house. I was trying to recall which lift went to what floor as we met the curators of each section. All the while, I waited patiently to see the artwork-adorned ceilings.
In yet another lift Canelle introduced me to the marketing manager, Adrien: short, balding, lean, round face, bushy eyebrows, piercing grey eyes and cigarette-stained teeth.
' Bonjour, Elizabeth, we are very pleased to have you here,' he said, looking me up and down, 'and so young to be working on such an important project.'
I wasn't sure if he was being sarcastic and questioning my credentials or actually flirting with me.
'I am well-qualified to do the job, Adrien, and I am very excited about being here. I'm looking forward to the opening of Authentication. '
He put his hand on my shoulder. 'Of course, we are looking forward to the exhibition as well.' I looked at his hand on my shoulder and he removed it. 'And we need to talk about the marketing and publicity. I have some journalists lined up to speak to you. We have a release ready to go out.'
'Excellent! May I see it first, please?'
Adrien used the same hand
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