ABOUT THE SPEAKER
Thomas P. Campbell - Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible.

Why you should listen

Thomas P. Campbell became the ninth Director of The Metropolitan Museum of Art in January of 2009.  Since he began, Campbell has pursued an agenda for the Met that focuses on scholarship and accessibility. These priorities maintain the Museum’s excellence in its exhibitions, publications, acquisitions and permanent collections, while encouraging new thinking about the visitor experience. Further initiatives include exploring the judicious use of technology in the Museum and fully integrating education into all the Met’s activities.

Campbell led the Met through the fiscal setbacks caused by the 2008 recession without reducing hours, gallery openings or programs. He launched an effort to redesign the Museum’s website which now attracts more than 50 million visits per year. FY2011 also saw the Met’s highest attendance in 40 years, rising to 5.6 million. The Museum has just opened new galleries for its Islamic Art Department and American Wing, and is working on plans to renovate The Costume Institute and to reconfigure the outdoor plaza and fountains. In 2011, Campbell announced a collaboration with the Whitney Museum in which the Met will program its landmark Breuer Building on Madison Avenue starting in 2015.  

 
Campbell had worked in the Metropolitan's Department of European Sculpture and Decorative Arts for fourteen years, rising steadily through the curatorial ranks as Assistant Curator (1995-97), Associate Curator (1997-2003), and Curator (2003 to December 2008). During this time, he conceived and organized the major exhibitions Tapestry in the Renaissance: Art and Magnificence (2002) and Tapestry in the Baroque: Threads of Splendor (New York, 2007; Palacio Real, Madrid, spring 2008), both of which incorporated drawings, paintings, and prints, as well as tapestries, and received widespread acclaim. The 2002 exhibition was named "Exhibition of the Year" by Apollo Magazine and its catalogue won the Alfred H. Barr, Jr. Award (College Art Association) for distinguished exhibition catalogue in the history of art (2003).  Since shortly after his arrival at the Museum, he also served as Supervising Curator of The Antonio Ratti Textile Center, which houses the Museum's encyclopedic collection of 36,000 textiles and is one of the preeminent centers of textile studies in the world.

 

More profile about the speaker
Thomas P. Campbell | Speaker | TED.com
TED2012

Thomas P. Campbell: Weaving narratives in museum galleries

Tomas P. Kambel (Thomas P. Campbell): Priča o tkanju u galerijama muzeja

Filmed:
677,732 views

Kao direktor muzeja Metropoliten u Njujorku, Tomas P. Kembel duboko razmišlja o izložbama - ne samo o izboru umetničkih predmeta, nego i o njihovom postavljanju u okruženje gde javnost može da sazna njihove priče. Uz predivne slike, pokazuje nam kako njegova filozofija izložbe funkcioniše pri izlaganju srednjevekovnih tapiserija - i za neverovatnu modu/umetnost Aleksandra MekKvina. (Iz sesije Design Studio, sa konferencije TED2012, koju su vodili gosti domaćini Či Perlman i Dejvid Rokvel.)
- Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible. Full bio

Double-click the English transcript below to play the video.

00:16
When I was considerings obzirom na a careerкаријера in the artуметност worldсвет,
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Kada sam razmišljao o karijeri u svetu umetnosti,
00:20
I tookузела a courseкурс in LondonLondon,
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upisao sam kurs u Londonu
00:24
and one of my supervisorsnadzornici was this irascibleplah Italianitalijanski
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i jedan od mojih profesora je bio naprasiti Italijan
00:28
calledпозвани PietroPietro, who drankпио too much,
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Pjetro, koji je mnogo pio,
00:32
smokedpušio too much and sworeZakleo se much too much.
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previše pušio i preterano mnogo psovao.
00:37
But he was a passionateстраствено teacherнаставник,
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Ali on je bio strastven učitelj,
00:41
and I rememberзапамтити one of our earlierраније classespredavanja with him,
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pamtim jedan od početnih časova kod njega,
00:44
he was projectingпројектовање imagesслике on the wallзид,
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projektovao je umetničke slike na zid
00:46
askingпитајући us to think about them,
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pitajući nas
00:49
and he put up an imageслика of a paintingсликарство.
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šta mislimo o njima.
00:51
It was a landscapeпејзаж with figuresфигуре, semi-dressedpolu-obuci,
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Bio je to pejzaž sa figurama, poluobučenim,
00:55
drinkingпити wineвино. There was a nudegola womanжена
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kako piju vino. Tu je bila naga žena
00:58
in the lowerниже foregroundфорегроунд, and on the hillsideбрда in the back,
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u donjem prednjem delu, a na brežuljku u pozadini
01:01
there was a figureфигура of the mythologicalмитолошки god BacchusBacchus,
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bila je mitološka figura boga Baha
01:05
and he said, "What is this?"
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i on je pitao: "Šta je ovo?"
01:08
And I -- no one elseдруго did, so I put up my handруку, and I said,
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I ja – niko drugi, podigao sam ruku i rekao:
01:11
"It's a BacchanalMoje bahanalije by TitianTicijan."
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"To su Ticijanove Bahanalije."
01:14
He said, "It's a what?"
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On, na to: "To je - šta?"
01:17
I thought maybe I'd pronouncedizgovara se it wrongпогрешно.
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Pomislio sam da sam možda pogrešno izgovorio.
01:19
"It's a BacchanalMoje bahanalije by TitianTicijan."
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"To su Ticijanove Bahanalije."
01:23
He said, "It's a what?"
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On reče: "To je - šta?"
01:25
I said, "It's a BacchanalMoje bahanalije by TitianTicijan." (LaughterSmeh)
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Rekoh: "To su Ticijanove Bahanalije." (Smeh)
01:28
He said, "You bonelessbez kostiju bookwormmoljac!
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On reče: "Ti beskičmeni knjiški moljcu!
01:32
It's a fuckingјебено orgyorgije!"
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To je jebena orgija!"
01:34
(LaughterSmeh)
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(Smeh)
01:37
As I said, he sworeZakleo se too much.
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Kao što rekoh, mnogo je psovao.
01:40
There was an importantважно lessonлекцију for me in that.
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Bila je to važna lekcija za mene.
01:43
PietroPietro was suspiciousсумњив of formalформално artуметност trainingобука,
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Pjetro je bio sumnjičav prema
formalnom umetničkom
01:47
artуметност historyисторија trainingобука, because he fearedбојао
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obrazovanju iz istorije umetnosti, plašio se
01:51
that it filledиспуњен people up with jargonжаргон, and then they just
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da ono puni ljude žargonom i da oni potom klasifikuju
01:55
classifiedklasifikovan things ratherприлично than looking at them,
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stvari bez posmatranja, a on je hteo
01:59
and he wanted to remindПодсетите us that all artуметност was onceједном contemporaryсавремени,
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da nas podseti da je sva umetnost nekad bila savremena,
02:04
and he wanted us to use our eyesочи,
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hteo je da otvorimo oči,
02:07
and he was especiallyпосебно evangelicalevangelistički about this messageпорука,
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posebno je bio pobožan u vezi sa tim
02:11
because he was losingгубе his sightвид.
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jer je gubio vid.
02:13
He wanted us to look and askпитати basicосновно questionsпитања of objectsобјеката.
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Hteo je da gledamo i da postavljamo
osnovna pitanja o predmetima.
02:18
What is it? How is it madeмаде? Why was it madeмаде?
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Šta je to? Kako je napravljeno?
Zbog čega je to napravljeno?
02:21
How is it used?
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Kako se koristi?
02:24
And these were importantважно lessonsлекције to me when
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Ovo su mi bile važne lekcije kasnije, kada sam
02:26
I subsequentlyнакнадно becameпостао a professionalпрофесионално artуметност historianисторичар.
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postao profesionalni istoričar umetnosti.
02:29
My kindкинд of eurekaEureka momentтренутак cameДошао a fewнеколико yearsгодине laterкасније,
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Moj eureka momenat je nastupio posle nekoliko godina,
02:34
when I was studyingстудирање the artуметност of the courtsсудови of NorthernSeverni EuropeEurope,
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proučavao sam umetnost u sudnicama Severne Evrope,
02:39
and of courseкурс it was very much discussedдискутовано in termsуслови of
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o njoj se mnogo govorilo u vezi sa
02:43
the paintingsслике and the sculpturesскулптуре
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slikama i skulpturama
02:45
and the architectureархитектура of the day.
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i arhitekturom toga doba.
02:49
But as I beganпочела to readчитати historicalисторијски documentsдокументи
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Ali kada sam počeo da proučavam istorijska dokumenta
02:52
and contemporaryсавремени descriptionsopisi,
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i opise savremenika,
02:55
I foundнашао there was a kindкинд of a missingнедостаје componentсаставни део,
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otkrio sam da jedna komponenta svuda nedostaje,
02:59
for everywhereсвуда I cameДошао acrossпреко descriptionsopisi of tapestriestapiserije.
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gde god sam naišao na opise tapiserija.
03:04
TapestriesTapiserije were ubiquitousсвеприсутан betweenизмеђу the MiddleSrednje AgesVeku
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Tapiserije su bile sveprisutne u srednjem veku
03:08
and, really, well into the 18thтх centuryвек,
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i do dobrog dela 18. veka,
03:11
and it was prettyприлично apparentOčigledno why.
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bilo je jasno zbog čega.
03:13
TapestriesTapiserije were portableпреносив. You could rollролл them up,
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Tapiserije su prenosive. Mogu se urolati,
03:16
sendпошаљи them aheadнапред of you, and in the time
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poslati unapred, mogu da stignu na vreme
03:19
it tookузела to hangвиси them up, you could transformпреобразити a coldхладно,
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da bi se okačile, možete transformisati hladan
03:22
dankvlažnoj interiorентеријер into a richlybogato coloredобојено settingподешавање.
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vlažni enterijer u bogato obojenu prostoriju.
03:26
TapestriesTapiserije effectivelyефикасно providedобезбеђени a vastогромно canvasплатно
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Tapiserije su bukvalno bile velika platna, na kojima su
03:31
on whichкоја the patronspokrovitelji of the day could depictprikazuju the heroesхероји
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tadašnji pokrovitelji mogli da prikažu heroje
03:35
with whomкога they wanted to be associatedповезани,
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sa kojima su hteli da se identifikuju
03:38
or even themselvesсами,
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ili čak sebe,
03:40
and in additionдодатак to that, tapestriestapiserije were hugelyizuzetno expensiveскупо.
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a u prilog tome, tapiserije su bile veoma skupe.
03:45
They requiredпотребан scoresрезултати of highlyвисоко skilledквалификован weaversTkalje
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Bili su neophodni vrhunski vešti tkači,
03:49
workingрад over extendedпродужено periodsпериода of time
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koji su radili u dugim periodima
03:52
with very expensiveскупо materialsматеријали -- the woolsJedva иekaju, the silkssvila,
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sa vrlo skupim materijalima – vuna, svila,
03:55
even goldзлато and silverсребрна threadнит.
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čak zlato i srebrni konac.
03:58
So, all in all, in an ageстарост when the visualвизуелно imageслика
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Dakle, u periodu kada je bilo kakva vizuelna slika
04:03
of any kindкинд was rareретко, tapestriestapiserije were an incrediblyневероватно potentмоћан
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bila retka, tapiserije su bile neverovatno moćno
04:08
formобразац of propagandapropaganda.
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sredstvo reklame.
04:12
Well, I becameпостао a tapestrytapiserija historianисторичар.
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Postao sam istoričar tapiserija.
04:16
In dueдуе courseкурс, I endedзавршио up as a curatorкустос
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Na kraju sam završio kao kustos
04:19
at the MetropolitanMitropolit MuseumMuzej, because I saw the MetUpoznao
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u Metropoliten muzeju, jer sam video Metropoliten
04:23
as one of the fewнеколико placesместа where I could organizeорганизовати
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kao jedno od nekoliko mesta gde bih mogao da organizujem
04:26
really bigвелики exhibitionsizložbe about the subjectпредмет
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zaista velike izložbe o temi
04:30
I caredбринула so passionatelyстраствено about.
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koja me je jako zanimala.
04:33
And in about 1997, the then-directorTada-direktor PhilippeFilip deде MontebelloMontebello
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Otprilike 1997., tadašnji direktor Filip de Montebelo
04:38
gaveдала me the go-aheadХајде to organizeорганизовати an exhibitionИзложба
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dopustio mi je da organizujem izložbu
04:41
for 2002. We normallyнормално have these very long lead-inuvodne timesпута.
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za 2002. Obično imamo ovako duge rokove.
04:46
It wasn'tније straightforwardправо напред. It's no longerдуже a questionпитање
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To nije bilo jednostavno. Nije bilo više pitanje
04:50
of chuckingbacanjem a tapestrytapiserija in the back of a carауто.
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kako ubaciti tapiseriju u gepek.
04:53
They have to be woundрана on hugeогромно rollersvaljaka,
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Treba da se saviju na velike koturove,
04:57
shippedisporučeno in oversizedprevelikim freightersфреигхтерс.
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isporuče u ogromnim teretnim brodovima.
05:01
Some of them are so bigвелики we had, to get them into the museumмузеј,
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Neke od njih su bile tako velike, pa smo morali
05:03
we had to take them up the great stepsкораци at the frontфронт.
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da ih unosimo kroz velike ulazne stepenice muzeja.
05:08
We thought very hardтешко about how to presentпоклон this
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Ozbiljno smo razmišljali kako da predstavimo
05:13
unknownnepoznat subjectпредмет to a modernмодеран audienceпублика:
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ovu nepoznatu temu sadašnjoj publici:
05:16
the darkтамно colorsбоје to setкомплет off the colorsбоје that remainedостао
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da izdvojimo tamne boje od preostalih boja
05:19
in objectsобјеката that were oftenчесто fadedizbledela;
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na objektima koji su često izbledeli;
05:22
the placingпостављање of lightsсветла to bringдовести out the silkсвила and the goldзлато threadнит;
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o postavci svetla da bismo izdvojili svileni i zlatni konac;
05:26
the labelingoznačavanju.
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o natpisima.
05:28
You know, we liveживи in an ageстарост where we are so used
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Živimo u eri kada smo navikli na
05:31
to televisionтелевизија imagesслике and photographsфотографије,
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televizijske slike i fotografije,
05:34
a one-hitsa jednim hitom imageслика. These were bigвелики, complexкомплекс things,
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popularne slike. A ovo su velike, kompleksne stvari,
05:39
almostскоро like cartoonsцртани филмови with multipleвише narrativesнарације.
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gotovo kao crtani filmovi sa mnogim pripovedačima.
05:43
We had to drawнацртати our audienceпублика in, get them to slowспор down,
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Trebalo je da privučemo publiku,
da ih nateramo da uspore,
05:46
to exploreистражити the objectsобјеката.
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da ispituju objekte.
05:49
There was a lot of skepticismскептицизам. On the openingотварање night,
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Bilo je mnogo skepse. Na veče otvaranja
05:53
I overheardсломљено one of the seniorвиши membersчланови of staffособље sayingговорећи,
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čuo sam jednog od starijih članova osoblja kako kaže:
05:57
"This is going to be a bombбомба."
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"Ovo će biti bomba."
06:00
But in realityреалност, in the courseкурс of the comingдолазе weeksнедељама and monthsмесеци,
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Ali u stvarnosti, narednih nedelja i meseci
06:04
hundredsстотине of thousandsхиљаде of people cameДошао to see the showсхов.
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stotine hiljada ljudi je došlo da vidi izložbu.
06:10
The exhibitionИзложба was designedдизајниран to be an experienceискуство,
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Izložba je bila dizajnirana da bude jedno iskustvo,
06:14
and tapestriestapiserije are hardтешко to reproduceрепродуцирати in photographsфотографије.
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tapiserije je teško reprodukovati u fotografije.
06:18
So I want you to use your imaginationsимагинације,
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Želim da upotrebite maštu
06:21
thinkingразмишљање of these wall-highzid visine objectsобјеката,
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da zamislite ove objekte visoke kao zidovi,
06:24
some of them 10 metersметара wideшироко,
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neki od njih su po 10m široki,
06:26
depictingkoje prikazuju lavishzasipam courtсуд scenesсцене with courtiersdvorjani and dandieskicoљi
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opisuju raskošne scene u sudnici
sa dvorjanima i kicošima
06:31
who would look quiteприлично at home in the pagesстранице of the fashionмода pressпритисните todayданас,
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koji deluju kao da su kod kuće na stranicama
današnjih modnih magazina,
06:36
thickдебео woodsšume with huntersловци crashingpada throughкроз the undergrowthrastinje
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scene gustih šuma sa lovcima kako se probijaju
06:40
in pursuitгоњење of wildдивље boarsdivlje svinje and deerJelena,
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u potrazi za divljim svinjama i jelenima,
06:43
violentнасилан battlesборбе with scenesсцене of fearбојати се and heroismherojstvo.
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nasilne bitke sa scenama straha i herojstva.
06:49
I rememberзапамтити takingузимајући my son'ssin je schoolшкола classкласа. He was eightосам at the time,
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Sećam se kada sam doveo razred mog sina.
Tada je imao osam godina
06:53
and all the little boysдечаци, they kindкинд of -- you know, they were little boysдечаци,
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i svi dečaci su – znate, bili su mali
06:57
and then the thing that caughtухваћен theirњихова attentionпажњу
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i onda im je jedna stvar privukla pažnju,
07:00
was in one of the huntingлов scenesсцене there was a dogпас
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bilo je to u jednoj od scena lova, jedan pas je
07:03
poopingпоопинг in the foregroundфорегроунд — (LaughterSmeh) —
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kakio u prednjem delu slike -- (Smeh) --
07:06
kindкинд of an in-your-faceu lice jokeшала by the artistуметник.
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kao da vam se slikar smeje u lice.
07:09
And you can just imagineзамислити them.
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Samo možete da ih zamislite.
07:12
But it broughtдоведен it aliveжив to them. I think they suddenlyизненада saw
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To im je donelo živost.
Mislim da su iznenada uvideli
07:15
that these weren'tнису just oldстари fadedizbledela tapestriestapiserije.
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da to nisu samo stare izbledele tapiserije.
07:18
These were imagesслике of the worldсвет in the pastпрошлост,
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Bile su to slike sveta u prošlosti
07:23
and that it was the sameисти for our audienceпублика.
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i za našu publiku.
07:26
And for me as a curatorкустос, I feltосетио proudпоносан. I feltосетио I'd shiftedпомерено the needleиглу a little.
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Kao kustos, bio sam ponosan. Osetio sam
da sam malo pomerio stvari.
07:31
ThroughKroz this experienceискуство that could only be createdстворено
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Kroz ovo iskustvo koje se može stvoriti samo
07:34
in a museumмузеј, I'd openedотворен up the eyesочи of my audienceпублика --
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u muzeju, otvorio sam oči svojoj publici –
07:38
historiansistoričari, artistsуметници, pressпритисните, the generalгенерално publicјавно --
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istoričarima, umetnicima, štampi, opštoj publici –
07:43
to the beautyлепота of this lostизгубљено mediumсредња.
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za lepotu ovog izgubljenog medijuma.
07:47
A fewнеколико yearsгодине laterкасније, I was invitedпозвани to be the directorдиректор
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Nekoliko godina kasnije, pozvali su me da budem direktor
07:51
of the museumмузеј, and after I got over that --
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muzeja i kad sam prevazišao reakciju -
07:54
"Who, me? The tapestrytapiserija geekштребер? I don't wearносити a tieкравата!" --
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"Ko, ja? Stručnjak za tapiserije? Pa ja ne nosim kravatu!" -
07:59
I realizedреализован the factчињеница: I believe passionatelyстраствено in that
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shvatio sam činjenicu: strasno verujem u
08:05
curatedvodio museumмузеј experienceискуство.
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iskustvo izložbe u muzeju.
08:08
We liveживи in an ageстарост of ubiquitousсвеприсутан informationинформације,
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Živimo u vremenu sveprisutne informacije,
08:12
and sortврста of "just addдодати waterвода" expertiseекспертиза,
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gde je dovoljno samo zalivanje vodom da stvari uspeju,
08:16
but there's nothing that comparesupoređuje with the presentationпрезентација
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ali ništa ne može da se uporedi sa predstavljanjem
08:20
of significantзначајно objectsобјеката in a well-toldDobro rečeno narrativeнаратив,
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značajnih objekata u dobro ispričanoj priči,
08:24
what the curatorкустос does, the interpretationinterpretacija of a complexкомплекс,
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a to je posao kustosa, interpretacija kompleksnog
08:29
esotericezoterične subjectпредмет, in a way that retainszadržava the integrityинтегритет
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ezoteričnog predmeta, na način koji zadržava celinu
08:33
of the subjectпредмет, that makesчини it -- unpacksraspakuje it
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subjekta, koji ga čini – otkriva ga
08:36
for a generalгенерално audienceпублика.
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opštoj publici.
08:39
And that, to me, todayданас, is now the challengeизазов and the funзабавно
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Za mene je to izazov i zabavni deo mog posla je
08:42
of my jobпосао, supportingza podršku the visionвизија of my curatorskustosi,
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da podržavam viziju mojih kustosa,
08:47
whetherда ли је it's an exhibitionИзложба of SamuraiSamuraj swordsmačevi,
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bez obzira da li je u pitanju izložba mačeva samuraja,
08:50
earlyрано ByzantineVizantijske artifactsartefakti, RenaissanceRenesansa portraitsпортрети,
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artefakti ranog vizantijskog doba, renesansni portreti
08:56
or the showсхов we heardслушао mentionedпоменуто earlierраније,
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ili izložba koja je ranije pomenuta,
08:59
the McQueenMcQueen showсхов, with whichкоја we enjoyedуживала
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Mek Kvinova izložba, koja je bila
09:02
so much successуспех last summerлето.
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veoma uspešna prošlog leta.
09:04
That was an interestingзанимљиво caseслучај.
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Bio je to zanimljiv slučaj.
09:07
In the lateкасни springпролеће, earlyрано summerлето of 2010, shortlyUbrzo after
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U kasno proleće ili rano leto 2010., neposredno pošto se
09:12
McQueen'sMcQueen je suicideсамоубиство,
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Mek Kvin ubio,
09:15
our curatorкустос of costumekostim, AndrewAndrew BoltonBolton, cameДошао to see me,
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naš kustos za kostime, Endru Bolton, je došao do mene
09:19
and said, "I've been thinkingразмишљање of doing a showсхов on McQueenMcQueen,
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i rekao: "Razmišljao sam da napravim Mek Kvinovu izložbu
09:22
and now is the momentтренутак. We have to, we have to do it fastбрзо."
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i sad je trenutak. Moramo da to uradimo brzo."
09:27
It wasn'tније easyлако. McQueenMcQueen had workedрадио је throughoutтоком his careerкаријера
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Nije bilo lako. Mek Kvin je tokom cele svoje karijere
09:32
with a smallмали teamтим of designersдизајнери and managersменаџери
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radio sa malim timom kreatora i menadžera
09:35
who were very protectiveзаштитни of his legacyнаслеђе,
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koji su jako štitili njegovo nasleđe,
09:39
but AndrewAndrew wentотишао to LondonLondon and workedрадио је with them
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ali Endru je otišao u London i radio sa njima
09:41
over the summerлето and wonпобедио theirњихова confidenceсамопоуздање, and that of
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preko leta i stekao njihovo poverenje i poverenje
09:45
the designersдизајнери who createdстворено his amazingНевероватно fashionмода showsпоказује,
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kreatora koji su pravili njegove
fantastične modne izložbe,
09:49
whichкоја were worksИзвођење радова of performanceперформансе artуметност in theirњихова ownвластити right,
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koje su bile prava umetnička dela
09:54
and we proceedednastavili to do something at the museumмузеј,
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i mi smo produžili da pravimo nešto u muzeju,
09:56
I think, we'veми смо never doneГотово before.
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što nikad ranije nije napravljeno.
09:58
It wasn'tније just your standardстандард installationинсталација.
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To nije bila samo standardna instalacija.
10:01
In factчињеница, we rippedпоцепао down the galleriesgalerije to recreatestvori
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Ogolili smo galerije da bismo ponovo stvorili
10:06
entirelyу потпуности differentразличит settingspostavke, a recreationrekreacija of his first studioстудио,
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potpuno drugačiju postavku, stvorili smo njegov prvi studio,
10:11
a hallдворана of mirrorsогледала,
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dvoranu od ogledala,
10:14
a curiosityрадозналост boxбок,
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čudnovatu kutiju,
10:16
a sunkenpotopljenog shipброд, a burned-outspaljena interiorентеријер,
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potonuli brod, dotrajali enterijer
10:20
with videosвидеос and soundtracksљto that rangedkretao se from
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sa video i zvučnim zapisima od
10:23
operaticoperski ariasArije to pigsсвиње fornicatingblud.
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operskih arija do svinjskih bordela.
10:27
And in this extraordinaryизузетно settingподешавање, the costumeskostimi
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U ovoj vanrednoj postavci, kostimi
10:32
were like actorsглумци and actressesglumice, or livingживи sculpturesскулптуре.
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su bili kao glumci i glumice ili žive skulpture.
10:37
It could have been a trainвоз wreckolupina.
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Mogla je biti olupina voza.
10:39
It could have lookedпогледао like shopсхоп windowsвиндовс on FifthPeti AvenueAvenija
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Mogla je da liči na izloge Pete avenije
10:44
at ChristmasBožić, but because of the way that AndrewAndrew
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za Božić, ali zbog načina na koji se Endru
10:47
connectedповезан with the McQueenMcQueen teamтим, he was channelingnepobitnih
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povezao sa timom Mek Kvina, prikazivala
10:51
the rawnesssirovost and the brillianceбриљантност of McQueenMcQueen,
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je sirovost i brilijantnost Mek Kvina
10:55
and the showсхов was quiteприлично transcendanttranscendant,
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i izložba je bila prilično uzvišena
10:58
and it becameпостао a phenomenonфеномен in its ownвластити right.
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i postala je pravi fenomen.
11:00
By the endкрај of the showсхов, we had people queuingчекање
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Do kraja izložbe, ljudi su stajali u redovima
11:03
for fourчетири or fiveпет hoursсати to get into the showсхов,
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po četiri ili pet sati da bi ušli na izložbu,
11:06
but no one really complainedse žalio.
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ali niko se nije žalio.
11:09
I heardслушао over and over again, "WowVau, that was worthвреди it.
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Čuo sam ponovo: "Vau, vredelo je.
11:12
It was a suchтаква a visceralVisceralno, emotiveemotivnim experienceискуство."
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Bilo je to pravo unutrašnje, emotivno iskustvo."
11:16
Now, I've describedописани two very immersiveinteraktivna exhibitionsizložbe,
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Opisao sam dve veoma impresivne izložbe,
11:20
but I alsoтакође believe that collectionsколекције, individualпојединац objectsобјеката,
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ali isto tako verujem da kolekcije,
pojedinačni predmeti
11:26
can alsoтакође have that sameисти powerмоћ.
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mogu imati istu snagu.
11:28
The MetUpoznao was setкомплет up not as a museumмузеј of AmericanAmerikanac artуметност,
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Metropoliten nije osnovan kao muzej američke umetnosti
11:32
but of an encyclopedicenciklopedijski museumмузеј,
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već kao enciklopedijski muzej
11:35
and todayданас, 140 yearsгодине laterкасније, that visionвизија
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i danas, 140 godina kasnije, ta vizija
11:40
is as prescientvidovita as ever,
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je proročanska kao nikad do sad
11:43
because, of courseкурс, we liveживи in a worldсвет of crisisкриза,
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jer živimo u svetu sa krizama,
11:47
of challengeизазов, and we're exposedизложено to it
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sa izazovima i tome smo neprekidno
11:49
throughкроз the 24/7 newsreelsnovinama.
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izloženi.
11:52
It's in our galleriesgalerije that we can unpackraspakujem the civilizationsцивилизације,
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U našim galerijama otkrivamo civilizacije,
11:57
the culturesкултура, that we're seeingвиди the currentТренутни manifestationманифестација of.
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kulture u sadašnjem trenutku.
12:02
WhetherDa li it's LibyaLibija, EgyptEgipat, SyriaSirija,
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Bez obzira da li je Libija, Egipat, Sirija,
12:06
it's in our galleriesgalerije that we can explainобјасни
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u našim galerijama možemo da objasnimo
12:09
and give greaterвеће understandingразумевање.
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i pružimo veće razumevanje.
12:11
I mean, our newново IslamicIslamska galleriesgalerije are a caseслучај in pointтачка,
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Naše nove islamske galerije su ilustracija koja ovo opravdava,
12:14
openedотворен 10 yearsгодине, almostскоро to the weekНедеља, after 9/11.
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otvorene su 10 godina posle 11. septembra.
12:20
I think for mostнајвише AmericansAmerikanci, knowledgeзнање of the IslamicIslamska worldсвет
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Mislim da su mnogi Amerikanci malo znali o islamskom svetu
12:24
was prettyприлично slightблаго before 9/11, and then it was thrustпотисак uponна us
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pre 11. septembra, na nama je bilo
da doprinesemo shvatanju
12:28
in one of America'sAmerike darkestnajtamniji hoursсати,
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jednog od najmračnijih trenutaka Amerike
12:32
and the perceptionПерцепција was throughкроз the polarizationpolarizacije
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kroz polarizaciju
12:35
of that terribleстрашно eventдогађај.
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tog strašnog događaja.
12:38
Now, in our galleriesgalerije, we showсхов 14 centuriesвековима
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Sada u našim galerijama, prikazujemo 14 vekova
12:42
of the developmentразвој of differentразличит IslamicIslamska culturesкултура
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razvoja raznih islamskih kultura
12:46
acrossпреко a vastогромно geographicгеографски spreadширити,
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preko ogromnog geografskog područja,
12:49
and, again, hundredsстотине of thousandsхиљаде of people have come
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ponovo stotine hiljada ljudi je došlo
12:53
to see these galleriesgalerije sinceОд they openedотворен last OctoberOktobra.
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da vide ove galerije od kako su otvorene prošlog oktobra.
12:58
I'm oftenчесто askedпитао, "Is digitalдигитални mediaмедији replacingзамењујући the museumмузеј?"
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Često me pitaju: "Da li će digitalni mediji zameniti muzej?",
13:05
and I think those numbersбројеви are a resoundingresounding rejectionodbijanje
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mislim da ti brojevi pokazuju da se to neće desiti.
13:09
of that notionпојам. I mean, don't get me wrongпогрешно,
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Nemojte da me pogrešno razumete,
13:13
I'm a hugeогромно advocateадвокат of the WebWeb.
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veliki sam pristalica interneta.
13:16
It givesдаје us a way of reachingпостизање out to audiencesпублике
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To nam daje mogućnost da stignemo do publike
13:19
around the globeглобус, but nothing replaceszamenjuje the authenticityautentičnost
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na celoj planeti, ali ništa ne može da zameni autentičnost
13:25
of the objectобјекат presentedпредстављен with passionateстраствено scholarshipstipendiju.
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predmeta koji predstavi vatreni učenik.
13:31
BringingDonosi people faceлице to faceлице with our objectsобјеката
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Uživo prikazivanje objekata
13:36
is a way of bringingдоносећи them faceлице to faceлице with people
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je način da spojimo ljude sa ljudima
13:39
acrossпреко time, acrossпреко spaceпростор, whoseчије livesживи mayможе have been
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kroz vreme, kroz prostor, čiji su životi možda bili
13:44
very differentразличит to our ownвластити, but who, like us,
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mnogo drugačiji od naših, ali koji su kao i mi
13:49
had hopesнада and dreamsснове, frustrationsfrustracije and achievementsdostignuća
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imali snove i nade, poraze i dostignuća
13:54
in theirњихова livesживи. And I think this is a processпроцес
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u svojim životima. Mislim da je ovo proces
13:57
that helpsпомаже us better understandРазумем ourselvesсами,
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koji nam omogućava da bolje shvatimo same sebe,
14:01
helpsпомаже us make better decisionsОдлуке about where we're going.
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da donesemo bolje odluke kuda ćemo da krenemo,
14:06
The Great HallDvorana at the MetUpoznao is one of the great portalsportali of the worldсвет,
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Velika dvorana Metropolitena je jedan
od najvećih portala u svetu,
14:11
awe-inspiringkoji vam oduzima dah, like a medievalсредњевековни cathedralkatedrala.
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koja uliva strahopoštovanje, nalik srednjevekovnoj katedrali.
14:16
From there, you can walkходати in any directionправац
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Odatle možete odšetati u bilo kom pravcu
14:18
to almostскоро any cultureкултура.
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u bilo koju kulturu.
14:21
I frequentlyчесто go out into the hallдворана and the galleriesgalerije
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Često odem u hol i u galerije
14:24
and I watch our visitorsпосетиоци comingдолазе in.
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i posmatram naše posetioce.
14:27
Some of them are comfortableудобан. They feel at home.
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Nekima je ugodno. Osećaju se kao kod kuće.
14:31
They know what they're looking for.
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Znaju zašto su došli.
14:33
OthersDrugi are very uneasynelagodu. It's an intimidatingzastrašivanje placeместо.
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Drugima je neprijatno. To je zastrašujuće mesto.
14:38
They feel that the institutioninstitucija is elitistelitista.
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Osećaju da je ta institucija elitistička.
14:41
I'm workingрад to try and breakпауза down that senseсмисао of that elitismelitizam.
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Pokušavam da razbijem taj osećaj elitizma.
14:47
I want to put people in a contemplativefilozofsku frameРам of mindум,
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Želim da omogućim ljudima da razmišljaju,
14:51
where they're preparedприпремљен to be a little bitмало lostизгубљено, to exploreистражити,
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da budu spremni da se pomalo izgube, da istražuju,
14:57
to see the unfamiliarNepoznata in the familiarпознат,
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da vide nepoznato u poznatom
15:01
or to try the unknownnepoznat.
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ili da pokušaju nepoznato.
15:05
Because for us, it's all about bringingдоносећи them faceлице to faceлице
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Za nas, sve je u tome da uživo vide
15:10
with great worksИзвођење радова of artуметност,
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sjajna umetnička dela,
15:13
capturingхватање them at that momentтренутак of discomfortneugoda,
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uhvatiti ih u tom momentu nelagode
15:17
when the inclinationsklonost is kindкинд of to reachдостигнути for your iPhoneiPhone,
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kada postoji namera da dohvate svoj iPhone,
15:21
your BlackberryBlackBerry, but to createстворити a zoneзоне
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Blekberi i da se stvori prostor gde
15:26
where theirњихова curiosityрадозналост can expandпроширити.
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njihova radoznalost može da se raširi.
15:31
And whetherда ли је it's in the expressionизраз of a Greekgrčki sculptureскулптура
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Bez obzira da li se radi o izrazu na grčkoj skulpturi
15:35
that remindsподсећа you of a friendпријатељ,
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koja vas podseća na prijatelja
15:37
or a dogпас poopingпоопинг in the cornerугао of a tapestrytapiserija,
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ili psu koji kaki u uglu tapiserije
15:41
or, to bringдовести it back to my tutortutor PietroPietro,
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ili da se vratimo na mog tutora Pjetra,
15:44
those dancingплес figuresфигуре
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one figure koje igraju,
15:47
who are indeedзаиста knockingkuca back the wineвино,
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koje se opijaju vinom
15:50
and that nudegola figureфигура in the left foregroundфорегроунд.
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i ta gola figura u levom prednjem delu.
15:53
WowVau. She is a gorgeousдиван embodimentизвођење of youthfulmladalački sexualityсексуалност.
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Vau. Ona je prekrasno otelotvorenje
mladalačke seksualnosti.
16:02
In that momentтренутак, our scholarshipstipendiju can tell you
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U tom momentu, naš student može reći
16:07
that this is a bacchanalmoje bahanalije,
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da je ovo bahanalija,
16:11
but if we're doing our jobпосао right,
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ali ako svoj posao radimo dobro
16:14
and you've checkedцхецкед the jargonжаргон at the frontфронт doorврата,
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i ako ste ostavili žargon na ulaznim vratima
16:18
trustповерење your instinctинстинкт.
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verujte svom instinktu.
16:20
You know it's an orgyorgije.
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Znate da je to orgija.
16:24
Thank you. (ApplauseAplauz)
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Hvala vam. (Aplauz)
16:27
(ApplauseAplauz)
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(Aplauz)
Translated by Tatjana Jevdjic
Reviewed by Bojan Mijić

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ABOUT THE SPEAKER
Thomas P. Campbell - Museum director
Thomas P. Campbell, director of The Metropolitan Museum of Art, aims to make the venerable museum's offerings both narrative-driven and accessible.

Why you should listen

Thomas P. Campbell became the ninth Director of The Metropolitan Museum of Art in January of 2009.  Since he began, Campbell has pursued an agenda for the Met that focuses on scholarship and accessibility. These priorities maintain the Museum’s excellence in its exhibitions, publications, acquisitions and permanent collections, while encouraging new thinking about the visitor experience. Further initiatives include exploring the judicious use of technology in the Museum and fully integrating education into all the Met’s activities.

Campbell led the Met through the fiscal setbacks caused by the 2008 recession without reducing hours, gallery openings or programs. He launched an effort to redesign the Museum’s website which now attracts more than 50 million visits per year. FY2011 also saw the Met’s highest attendance in 40 years, rising to 5.6 million. The Museum has just opened new galleries for its Islamic Art Department and American Wing, and is working on plans to renovate The Costume Institute and to reconfigure the outdoor plaza and fountains. In 2011, Campbell announced a collaboration with the Whitney Museum in which the Met will program its landmark Breuer Building on Madison Avenue starting in 2015.  

 
Campbell had worked in the Metropolitan's Department of European Sculpture and Decorative Arts for fourteen years, rising steadily through the curatorial ranks as Assistant Curator (1995-97), Associate Curator (1997-2003), and Curator (2003 to December 2008). During this time, he conceived and organized the major exhibitions Tapestry in the Renaissance: Art and Magnificence (2002) and Tapestry in the Baroque: Threads of Splendor (New York, 2007; Palacio Real, Madrid, spring 2008), both of which incorporated drawings, paintings, and prints, as well as tapestries, and received widespread acclaim. The 2002 exhibition was named "Exhibition of the Year" by Apollo Magazine and its catalogue won the Alfred H. Barr, Jr. Award (College Art Association) for distinguished exhibition catalogue in the history of art (2003).  Since shortly after his arrival at the Museum, he also served as Supervising Curator of The Antonio Ratti Textile Center, which houses the Museum's encyclopedic collection of 36,000 textiles and is one of the preeminent centers of textile studies in the world.

 

More profile about the speaker
Thomas P. Campbell | Speaker | TED.com