Shut up when you speak, If you need anything … let me know and the immortal Where did you get in? We didn’t see you go out : these impossible, oxymoric titles of films will have made much the posterity of Philippe Clair. Died in Paris on Saturday at the age of 90, the actor and director was a registered trademark for nanar franchouillard in the 70s and 80s, moreover successful: in 1982, his More beautiful than me, you die with Aldo Maccione is tenth at the French box office with 3,264,775 admissions, far ahead Mad Max and Blade Runner.
Born Prosper Bensoussan in Ahfir (Morocco), Clair moved to Paris in the 1950s to become an actor, first on the stage, then by writing and playing shows marked by blackfoot humor – a Judeo-Arab comic marked by an accent, a gesture, a jargon and the uprooting of French Algeria. In 1967, he recorded the sketch on disc Nothing Nasser to run, satire of the Six Day War, which will be censored. He quickly finds his way to the cinema in front of and behind the camera with his first feature, Clicks and slaps (1965), prototype of the truth if I lie thirty years later. With the Great Java (1970), he finds spiritual colleagues in Les Charlots in a craft of disarticulated, out of tune burlesque, where a gag is sketched but slips by the coarseness and dissonance of its execution. Punk before its time therefore and despised by the critics.
Read also“The truth”, where did you get in?
Clair thus reached a peak of its kind, of its kind, with The guide in a slide (1974), his broke and anachronistic version of Dictator – and ancestor also of Grandpa is resisting, casually. Henri Tisot (comic known for his imitation of De Gaulle) belches Hitler, organizer of football matches, alongside Alice Sapritch in – technically – Eva Braun. Nothing goes in the film, festival of grimaces and big squinting eyes. A constant in the cinema of Clair, which will make as a logical move to hire the head of Hollywood squinter Jerry Lewis in Where did you get in… (1984) and to make it catastrophic there.
In the 80s, Clair’s success waned in the face of the rise of the humor of the actors of Splendid, less cartoonish, more in touch with French society. His attempt at a more sober and sentimental cinema ends in the failure of his final film The extraordinary adventure of an unusual dad (1989). But the Franchouillarde label may have been unwelcome in a cinema that has promoted metics faces or made the regressive Italian kéké Aldo Maccione a star in France. From Francis Blanche mingling with the Charlots in the Great Java to Alan Silvestri, composer of the soundtracks of Predator, Back to the future and Avengers, parachuted to the music of Where did you get in …, there is always an attempt to transplant generation, culture, perhaps not so far removed from the experience of Pieds-Noirs repatriated to metropolitan France. Hence the other meaning of this “gag” in le guide in foil, where a priest appears in front of three soldiers (in tricolor pajamas) about to be executed by the Germans. “Of course, I am French, I am from Bab El Oued”, he said with a blackfoot accent. He is interpreted by Philippe Clair.
The jW from 21./22. November contained a weekend conversation in which the Peruvian anthropologist Cesar Vivanco (83) looked back on the collaboration with Werner Herzog. Vivanco was Herzog’s advisor on the Kinski films “Aguirre, der Zorn Gottes” (1972) and “Fitzcarraldo” (1982), which were shot in the Amazon jungle. Hundreds of indigenous people who were obliged to act as extras were “used” by Herzog in the manner of a colonial ruler and then equipped with guns, Vivanco said in an interview with Unai Aranzadi. The consequences of these interventions for the Amazon region were devastating. René Lechleiter, Zurich, witnessed the shooting of »Fitzcarraldo« as a sound engineer and was prompted to make a replica. (jW)
It was with great astonishment that I read the two-page interview by Unai Aranzadi with Mr. Cesar Vivanco about the shooting of the film »Fitzcarraldo« in the weekend edition of 21./22. November noted. It is more than cheap, almost 40 years after the realization of this film – or almost 50 years after “Aguirre, the Wrath of God” – to accuse director Werner Herzog of “arrogance towards indigenous peoples”. Such blanket accusations may hit the nerve of the time, but they do not contribute anything to a serious discussion of European colonialism. On the contrary, only prejudices are confirmed, especially with regard to Werner Herzog’s author films.
Cesar Vivanco is presented completely uncritically as a key witness, although a number of his statements are demonstrably incorrect. There is now some literature on all the adversities that stood in the way of this film production, two documentaries and numerous essays that make the complexity of filming in an area like the Amazon jungle in the 1970s understandable. To call Werner Herzog and Walter Saxer “assholes” under these conditions does not correspond to the level of the jW.
Vivanco’s main accusation that “these people came to Peru thinking they could do what they wanted with the indigenous peoples” is perfidious. Primarily it was the case that Herzog did not want to make ethnological studies or a documentary film about the Campas people, but rather a fictional film with a story that had actually happened at the beginning of the 20th century. There were a lot of indigenous people involved, and they weren’t handled with kid gloves. But is it more ethical that Vivanco, according to his statements, wanted to convey mestizos to Herzog as extras who would have been disguised “originally”, while Herzog hired authentic Indians as actors and extras? It is precisely from such antics à la Hollywood that Herzog has always distanced himself.
Nor did he just do “what he wanted” with the indigenous people. Rather, he dealt very intensively with their way of life, the richness of their culture, especially their language and mythology. This is, for example, impressively understandable in the 1982 making-of film “The Last of Dreams”, directed by Les Blank. For their participation in “Fitzcarraldo” the indigenous people were paid as extras, with twice the normal daily income, just as Vivanco was paid well. The agreements were made with the respective tribal chiefs and kept. Their involvement caused displeasure among rival groups and the camp was attacked. Only because of this incident did the issue of weapons arise, not as a means of payment, as Vivanco assumes.
The claim that Herzog had promised the Indians land in order to keep them going is demonstrably false. Knowing about the situation of the primeval forest peoples, the filmmaker made it clear in a conversation that one could perhaps help them in their – quote: – “Struggle for the legal land-title” (fight for legal land title). That has remained a central problem to this day, and we would have liked to hear from Vivanco what he has contributed to this fight since then.
Vivanco also accuses Herzog of stealing ideas; while working on »Aguirre« he wanted to convey the Fitzcarraldo idea to the director with all the details. The “Aguirre” story and that of Fitzcarraldo are based on historical facts. Even then, they were essentially publicly known and accessible. As an auteur filmmaker, Herzog has made his own version of this in an ever-changing script. It was not about retelling, but about making understandable what a capitalist, i.e. profit-oriented lone fighter is capable of in order to achieve his goal. Or, similarly in the “Aguirre” film, to make the megalomania of the conquistadors visible, who declared the infinitely wide (and already populated) stretches of land “left and right of the Amazon” to be subject to the Spanish king.
Vivanco, in his own way, still draws on the fact that during the undoubtedly unusual shooting of both films, there was already a strong mood against Herzog. So an appeal was made to the spiritualistic feelings of the indigenous people, according to which the film and photo recordings lead to the robbery of faces or even souls. Photos of mass graves from concentration camps were also passed around to suggest how this could all end under a German director.
There was such a hype against the white filmmakers ten years earlier when shooting »Aguirre«. Then the daily press in Lima published big horror stories in which Herzog burned down the huts of the horrified Indians. This location was set up in the deepest jungle especially for the film and with the help of indigenous people. But in all the weeks there was never a journalist as an eyewitness, it was all fake news made up in Lima.
Many indigenous people from the region around Cusco were also involved as extras in »Aguirre«. Cesar Vivanco helped prepare the film. Now he claims in the interview, without giving any further details, that “a lot got mixed up”. That’s a cheap assumption, especially when you consider that he only stayed until “half the shoot” himself. In contrast to Vivanco, I was involved in this extraordinary work from the first to the last day of shooting (responsible for the direct sound with the fishing rod). I noticed all of Klaus Kinski’s choleric abuses, but at no point did Werner Herzog have a discriminatory or even colonialist attitude.
Incidentally, Walter Saxer was not the producer of the films, but the production manager on site – an absolute backbreaking job. And this in an environment that had already lost much of its indigenous innocence back then. Coca-Cola and soldiers of fortune of all stripes were just as present as the big oil companies and all the unspeakable missionaries. Against the background of a filmmaker who makes precisely this invasion of “civilization” the subject of accusing him of being a white colonialist is absurd.
The final question in the interview, whether the Europeans are still colonialists, is avoided by Cesar Vivanco and says: “The worst are the Yankees”, which may be true, “with their foundations like Rockefeller, Ford and Soros” – what does that have to do with it Werner Herzog and his films to do?
It would have been better to talk to Vivanco in more detail about his anthropological work than about his undigested encounters with Herzog. He calls himself the “discoverer” of the Kugapakori people who previously lived naked in the Amazon jungle – Vivanco himself comes from Cusco, the Andean highlands, and speaks Quechua and Spanish. One could have asked him what has become of the Kugapakori, their language and culture.
The Judiciary Police (PJ) arrested two houses in Avenidas Novas, in Lisbon, “of great importance” for the summit of an international organization dedicated to trafficking cocaine from Brazil to Europe, now dismantled in an operation coordinated by Europol. The properties are valued, in total, at 2.5 million euros.
The national authorities also discovered, as the JN had reported on Wednesday, about 12 million euros in cash in a van parked in a garage in the capital. The notes had been hidden within more than ten suitcases.
In total, on November 23, 15 home and non-home searches were carried out in Portugal, under which “a large volume of documentation” and computer and telecommunications equipment was apprehended. PJ.
The diligences were accompanied by simultaneous actions in Brazil, Spain, Belgium and the Netherlands. In all, 179 home and non-home searches were carried out and 45 people were detained, the majority (38) in Brazil.
In Portugal, no suspect was arrested, said this Friday at a press conference at the headquarters of the PJ in Lisbon, the director of the Unit to Combat Drug Trafficking in that institution.
“Our focus must increasingly be not only on the seizure of drugs and the detention of people, but also on the decapitalization of these criminal organizations, in order to cut the [sua] capacity to act “, maintained Artur Vaz.
In addition to the amounts seized in the national territory, 37 aircraft in Brazil, 70 luxury cars in Brazil, Belgium and Spain and two properties valued at four million euros in Spain were seized, among other assets.
“It is a historic operation”, stressed, in Lisbon, the national director of the PJ, Luís Neves.
45 tons of cocaine per year
According to Artur Vaz, the network has trafficked, at least since 2017, 45 tons of cocaine per year from Brazil to Europe. According to the Spanish National Police, in the last six months alone, it will have achieved profits of 100 million euros.
“These benefits move, hide and diversify through a complex network of accountants and trust mules in different countries of the European Union”, adds, in the note, the institution. Portugal was one of the countries where bank accounts were arrested, in a global amount yet to be determined.
According to the Brazilian press, the head of the chain would be a 62-year-old former military policeman from that country.
The operation – dubbed “Enterprise” in Brazil and “Camaleão” in Europe, including Portugal – was revealed on November 23 by the Government of Brazil, the culmination of an investigation initiated in September 2017, after the seizure, in the state from Paraná, of 776 kilos of cocaine about to be expelled to the port of Antwerp in Belgium.
Over the course of three years, 52 tonnes allegedly connected to the now dismantled network were seized, Europol said in a statement this Thursday.
In addition to the PJ and the Spanish National Police, the Federal Police of Brazil, the Federal Judicial Police of Belgium, the National Police of the Netherlands, the Police of Romania and, in the final stage, the Police of Dubai also participated in the operation.
“Smart” speakers are also being developed by Mail.ru Group (with an assistant “Marusya”) and MTS (with “Marvin”). At the end of September, Sberbank introduced a new device SberPortal with built-in virtual assistants Sberbank, Athena and Joy, which David Rafalovsky, Executive Vice President and Head of Technologies, Sberbank, called a “smart” speaker with an integrated screen. As the managing director of Just AI, Kirill Petrov, explained then, the “smart” screen is “the newest and fastest growing segment in the smart speaker market in the world. Sberbank promised to start selling SberPortal by the end of the year, the cost was not disclosed.
Unlike Sberbank’s device, Yandex’s new product does not have a color screen. As Tigran Khudaverdyan, Managing Director of Yandex, explained, the company did not equip Stantsiya.Max with such a screen, “since the value that the speaker can give users with the help of a color screen will not be comparable to the price of its manufacture and the increased cost of the device”.
Read on RBC Pro
The company also announced new opportunities for business integration in Yandex search: company owners will be able to speed up the loading of their sites, simplify authorization for users and make sure that people see the price and availability of goods in the online store right in the search results.
In August, services ivi, Avito, TsIAN, Profi.ru, Tutu.ru, Drom.ru, 2GIS and Zoon complained about Yandex to the Federal Antimonopoly Service (FAS) of Russia, Kommersant wrote. The key complaint of the companies concerned the fact that Yandex services are more prominently represented in the company’s search than services of other companies with the help of so-called “magicians” – interactive widgets (for example, when the query “food delivery” is used, the position “Yandex.Food” has subsections “ pizza “,” shashlik “, etc.). Tigran Khudaverdyan in an interview with RBC in response to these claims explained that such an algorithm allows the company to successfully compete with other search engines, such as Google. “It would be possible to prescribe to search engines -“ Yandex ”, for example, that all the results were the same, just the links and the title on the page. But the consumer will lose, because such “sterilization” will lead to deterioration of the product, ”Khudaverdyan said. At the same time, he said that the company is expanding its SERPs to other companies.
Another change related to search is a new technology for text analysis based on transformer neural networks called Yati. According to the company, they help to better assess the semantic relationship between user requests and the content of documents on the Internet. Since 2007 Yandex has regularly updated its search.
What else has Yandex presented
Yandex.Business is a service for entrepreneurs that will help attract customers and simplify advertising. With the help of a new promotion tool – advertising subscription – in the service, you can launch an advertising campaign on Yandex sites – in Search, Maps, Services, Zen, as well as on more than 40 thousand sites without any special knowledge advertising network.
“Click-to-order delivery” – an order from an online store can be delivered to the nearest Yandex.Lavka, and then the user can order delivery from there at a convenient time, it will be carried out in 15–20 minutes. So far, the service is being tested in about 100 Yandex.Lavki in Moscow and works to deliver goods only from Yandex.Market.
The ability to order the delivery of coffee and pastries to the car at gas stations through the applications “Yandex.Fuel”, “Yandex.Navigator” and “Yandex.Maps” through the section “Food at gas stations”, etc.
Denis Sologub closes the Forbes rating, and Pavel Grachev is in eighth position. Both newcomers received their shares as compensation from the owners. The top five leaders on the list have hardly changed
(Photo: Maxim Blinov / RIA Novosti)
Forbes’ fourth rating of directors-capitalists – who own the shares of their companies – for the first time included the heads of the gold mining company Polyus Pavel Grachev and supermarkets Azbuka Vkusa Denis Sologub.
The magazine estimates Grachev’s share in the largest gold producer in Russia in 0.2533% of shares at $ 69 million. The CEO of Polyus is on the eighth line of the list. Sologub closes the rating, consisting of 20 participants, with 0.6823% of shares in Azbuka Vkus, the publication estimated the value of the package at $ 2.2 million.
Last year, the newcomers to the list were the head of Sberbank, German Gref, and the general director of Aeroflot, Vitaly Savelyev. This year, Gref took 19th place: his share in Sberbank increased from 0.0031% to 0.004497%, and the share price increased by $ 100 thousand, to $ 2.7 million.Savelyev, who moved to the post of Minister of Transport in November , in the fourth ranking no.
Top 10 directors-capitalists of Russian companies according to Forbes
The Top 5 Forbes Capitalist Directors of 2020 are as follows:
Social conflicts within national drama centers (CDN) are frequent, but few result in the departure of their management, as in Limoges on Tuesday. Jean Lambert-wild, director of the Union Theater and the Academy, a higher school of dramatic art which depends on it, announced in a press release his resignation on December 31. The director’s decision taken “In conjunction with the Ministry of Culture” so that these two establishments “Can find the paths that suit them with confidence” occurs after a month and a half of mobilization.
Situation become inextricable
On October 8, a rare occurrence in this sector, employees and students had publicly denounced after a performance, the brutal management of the management couple, Jean Lambert-wild and Catherine Lefeuvre, his companion.
In order to untangle the springs of the crisis, they had met in recent weeks with the various supervisors. But the situation had become inextricable. A report from the General Directorate of Artistic Creation (DGCA) disclosed in the local press, already drew up a damning report last May: working conditions “Disturbing”, Jean Lambert-wild’s high salary (89,968 euros gross in 2018, when the national average for an equivalent position is 71,074 euros) and budget of the theater favoring its own creations.
Asked by Libé, students and members of the teaching team of the Academy described tantrums of “great violence” during which Jean Lambert-Wild could make sexist and discriminating remarks going so far as to say that people asking themselves questions on their gender suffered “Of a pathology to which the school cannot answer. The Academy is not a psychiatric hospital ”. The director denies all the acts denounced against him.
Since the announcement of the departure of Jean Lambert-wild, “It is relief”. Satisfied with having been heard by the Ministry of Culture and the communities, the employees undertook to abandon all legal proceedings against him. And welcome their commitment and union.
According to the new rules, the board of a company, consisting of three or more people, must have at least one woman. Quotas were also set for government agencies. Last year, experts linked the rise of women to leadership with falling profits
Photo: Hannibal Hanschke / Reuters
The parties that are part of the German government have agreed to introduce mandatory quotas for the presence of women in the top management of German companies. It is reported by the Financial Times.
The ruling bloc of the CDU / CSU, headed by Chancellor Angela Merkel, has come to an agreement with the Social Democrats that there should be at least one woman on the company’s board, which includes three or more people. As the newspaper writes, the initiative was perceived as “a big step towards gender equality.”
The initiative also assumes that in companies controlled by the government, at least 30% of supervisory board seats will go to women. Women’s quotas have also been established for government agencies in the areas of health care, pensions, and insurance. According to the Ministry of Justice, the decision will be made by the Cabinet of Ministers of Germany in the coming months.
Analysts reveal an outflow of investors from companies due to female leaders
German Minister for Family Affairs, Senior Citizens, Women and Youth Franziska Giffay called the decision a historic breakthrough. “We are putting an end to women-free executives in large companies,” she said. Giffay noted that the voluntary quota for women on boards of directors, in force since 2015, has not been effective.
Two months later, Javier Aguirre’s mother (San Sebastián, 1935) plunged him into the darkness of a cinema. And that baby didn’t cry. At the age of ten he wrote down the films he saw, at the age of twelve he wrote reviews for his private archive and at the age of fifteen he became a contributor to the mythical magazine ‘Ideal Film’. At seventeen he founded the first film club in San Sebastián and at nineteen he made his first amateur film in which he gave his first role to a certain Alfredo Landa. His passion became his trade; his filmography, which exceeds 80 titles, an unusual example of creative schizophrenia in which some of the highest-grossing films in Spanish cinema and experimental productions coexist, only shown in marginal circuits.
The Film Academy has confirmed today the death of the San Sebastian director after a long illness at 84 years old. The news comes a few days after the institution honored him on November 21 with the Gold Medal to him and his eternal companion for the last 45 years, actress Esperanza Roy. Together they shot eight films, among them ‘Battered meat’, ‘Life bitch’ and ‘La monja alférez’.
“In Javier I met a man who spoke to me about art, who was honest and who as a director demanded a lot from me, he never made me a big star”, praised the actress. Their daughter, the also director Arantxa Aguirre, recalled her father, already too ill to collect the award from the Academy: «This Gold Medal seems like a poetic act of justice in the case of a man who has loved cinema above all things and has dedicated his long life to it as a critic, then as a director, screenwriter, producer and, always, always, as a spectator.
Javier Aguirre was in recent years a habitual in the sessions of the Filmoteca in the Madrid cinema Doré with Esperanza Roy. Few viewers recognized the author of ‘Once a year being a hippy does not hurt’, ‘Single and father in life’ and In search of the lost egg ‘, who said goodbye to the commercial theaters in 1991 with’ Love does have a cure ‘, a comedy at the service of Fernando Esteso. But Aguirre was also the author of tapes such as ‘Voz’ (2000), a monologue in which Fernando Fernán-Gómez recites texts by Samuel Becket in a fixed shot lasting 80 minutes, the duration of the lit candle in the foreground. The actor confessed to him when reading the script that he had not understood anything.
In the spectator’s place
“When I make any film I always deposit my soul,” Aguirre told this journalist at the presentation of ‘Voice’. «What happens is that in some I put myself in the place of the average spectator and in others I put something more visceral. Always I roll like I’m watching the best movie ever knowing that it is not. The director also knew that the price for not making artistic concessions was “going into debt and receiving no salary.” Nothing to do with the millions of spectators that filled the rooms where their profitable products were screened to the greater glory of musical groups such as Los Bravos –’The boys with the girls’ (1967), almost 3 million spectators– and Parcheesi –’Las Locuras de Parchís’ (1982), ‘Parcheesi comes into action’ (1983).
Aguirre was proud that I had never lost money to any producer. He played all genres except the western. Although it may seem incredible, his excellent terrifying trilogy composed of ‘The Hunchback of the Morgue’, ‘The Great Love of Count Dracula’ and ‘The Murderer is Among the Thirteen’ was shot the same year, 1973. He studied at the Official School of Cinematography while writing magazine reviews and started as an assistant director in the late 1950s and doing newscasts on the No-Do. He made his directorial debut in 1961 with two short documentaries, ‘Tiempo de playa’ and ‘Pasajes tres (lo viejo, lo nuevo y más)’, the latter being awarded the Golden Shell for best short at the San Sebastian Festival.
All that avant-garde and experimental cinema who never stopped cultivating, grouped it under the name of ‘anticine’, which he also baptized an ideological manifesto and a book published in 1971. «I share what Octavio Paz said: I prefer two poetry readers who delve into and feel it, than two hundred thousand people cheering me on in a soccer studio. It is not a question of quantity, but of quality. I already know what commercial successes are. And they don’t satisfy me », confessed the author of films to the greater glory of Raphael –’Volveré a nacer ‘(1973)’, Torrebruno –’Rocky Carambola ‘(1979) -, Tuesdays and Thirteen –’Martes y Trece, ni te marry Ni te embarques ‘(1982) – and María Jesús and her accordion –’Los pajaritos’ (1983) -.
Most prolific and blockbuster
The most prolific and blockbuster Basque director in the history of cinema was ccapable of bringing more than two million viewers to theaters with ‘Single and mother in life’, with a pregnant Lina Morgan working in a brothel, and 1.3 million with ‘The Astronaut’ (1970), where Tony Leblanc traveled to the Moon armed with a jug. It was the same Javier Aguirre who pierced the celluloid in ‘Entropic Fluctuations’ (1971), left an abandoned camera to film passengers leaving the subway in ‘Target forty degrees’ (1969), showed 113 variations of a kiss between Javier Bardem and Inés Sastre in ‘Variaciones 1/113’ (2003) and who closed her career with ‘Sol’ (2009), a documentary shot in Madrid’s Puerta del Sol over several decades. “The frustrating thing is trying to please everyone and not succeeding,” he concluded.
Leticia Ruiz Gómez (Santander, 1961) will be the new director of the Royal Collections of National Heritage. His appointment has been approved by the Institution’s Board of Directors, after receiving the advice of a commission of eight renowned experts who shortlisted four of the twelve candidates presented. Ruiz, who will join the position in the next few days, replaces José Luis Díez.
Among the tasks of Leticia Ruiz will be “to promote the launch of the future Royal Collections Museum, taking into account the context marked by the COVID-19 pandemic and its consequences in the sector,” according to National Heritage. They will also have to “manage the funds that make up the Royal Collections and develop a proposal to link the future museum with the Royal Collections of the Royal Sites, which allows building a comprehensive and balanced management model.”
“I return to what was my ‘alma mater’, the place where I have nurtured myself intellectually, formatively” declares Ruiz. «It is also a great satisfaction to do it as director of the Royal Collections and at such an important moment that fills me with enthusiasm: to finish a project that is already very mature, such as the Museum of the Royal Collections and also to do it with an important group of professionals whom I highly value professionally and highly esteem personally. I feel like a friend of many of the professionals who work in the Royal Collections and I am very excited to start working on this now, “she adds.
Leticia Ruiz Gómez is currently the head of the department of Spanish Renaissance Painting and of the Marcos Area of the Prado Museum. Doctor in Art History, graduated in Restoration from the Official School of Conservation and Restoration and Conservation of Cultural Assets of Madrid, center of which she has taught. She also has a degree in History and Geography with a bachelor’s memory on The collections of Venetian painting in the Royal Monastery of El Escorial, which National Heritage published in 1991.
It has maintained a close relationship with National Heritage, since it was part of the Institution’s Conservation Area between 1990 and 1998, carrying out, among others, the inventory and cataloging of the historical-artistic assets of the Royal Palace of Madrid. He has also published studies on the Royal Collections, especially on the Monastery of the Descalzas Reales in Madrid and the institution’s photographic collection. Between 1995 and 1998, he directed the cataloging of the historical photography fund of the National Heritage, a work that culminated in the exhibition ‘Photography in royal collections’.
In 1999, she joined the Facultative Body of Museum Conservators, and began working as a curator at the Prado Museum, where she was in charge of the collection of works from the Renaissance and the first third of the 17th century. With the collaboration of Patrimonio Nacional, he has also published ‘The Majesty of Spain’ (2001).
The committee of experts that assessed his appointment was chaired by Ana María Arias de Cossío, member of the National Heritage Board of Directors, doctor in Art History and emeritus professor. It was formed by María Bolaños, director of the National Sculpture Museum of Valladolid; Manuel Borja-Villel, director of the Museo Nacional Centro de Arte Reina Sofía; Miguel Falomir, director of the Museo Nacional del Prado; Carmen Iglesias, director of the Royal Academy of History; Carmen Jiménez, deputy director general of State Museums. Josep Serra, director of the National Museum of Art of Catalonia and Guillermo Solana, Artistic director of the National Thyssen-Bornemisza Museum
“Leticia Ruiz will be an excellent director of the Royal Collections, given that she meets the essential requirements to face the challenges that this institution has set for the future,” said Llanos Castellanos, president of the National Heritage, who thanked the work done by the commission of experts. «She is a great professional, who comes from doing a magnificent job in one of the cultural institutions of reference in Spain, the Prado Museum, and who, in addition, knows this institution very well, because she has been part of it before. It has everything to give the Royal Collections the space it deserves both nationally and internationally »added Castellanos.
Leticia Ruiz Gómez (Santander, 1961) will be the new director of the Royal Collections of National Heritage. His appointment has been approved by the Institution’s Board of Directors, after having the advice of a committee of eight renowned experts who shortlisted four of the twelve candidates presented. Ruiz, who will join the position in the coming days, replaces José Luis Díez.
Among the tasks of Leticia Ruiz will be “to promote the launch of the future Royal Collections Museum, taking into account the context marked by the COVID-19 pandemic and its consequences in the sector,” according to National Heritage. They will also have to “manage the funds that make up the Royal Collections and develop a proposal for linking the future museum with the Royal Collections of the Royal Sites, which allows building a comprehensive and balanced management model.”
“I return to what was my ‘alma mater’, the place where I have nurtured myself intellectually, formatively” declares Ruiz. «It is also a great satisfaction to do it as director of the Royal Collections and at such an important moment that fills me with enthusiasm: to finish a project that is already very mature, such as the Museum of the Royal Collections and to do it with an important group of professionals whom I highly value professionally and highly esteem personally. I feel like a friend of many of the professionals who work in the Royal Collections and I am very excited to start working on this now, “he adds.
Leticia Ruiz Gómez is currently the head of the department of Spanish Renaissance Painting and of the Marcos Area of the Prado Museum. Doctor in Art History, graduated in Restoration from the Official School of Conservation and Restoration and Conservation of Cultural Assets of Madrid, center of which she has taught. She also has a degree in History and Geography with a bachelor’s degree on The collections of Venetian painting in the Royal Monastery of El Escorial, which National Heritage published in 1991.
It has maintained a close relationship with National Heritage, since it was part of the Institution’s Conservation Area between 1990 and 1998, carrying out, among others, the inventory and cataloging of the historical-artistic assets of the Royal Palace of Madrid. He has also published studies on the Royal Collections, especially on the Monastery of the Descalzas Reales in Madrid and the institution’s photographic collection. Between 1995 and 1998, he directed the cataloging of the National Heritage historical photography fund, a work that culminated in the exhibition ‘Photography in royal collections’.
In 1999, she joined the Facultative Body of Museum Conservators, and began working as a curator at the Prado Museum, where she was in charge of the collection of works from the Renaissance and the first third of the 17th century. With the collaboration of Patrimonio Nacional, he has also published ‘The Majesty of Spain’ (2001).
The committee of experts that assessed his appointment was chaired by Ana María Arias de Cossío, member of the Board of Directors of National Heritage, doctor in Art History and emeritus professor. It was formed by María Bolaños, director of the National Sculpture Museum of Valladolid; Manuel Borja-Villel, director of the Museo Nacional Centro de Arte Reina Sofía; Miguel Falomir, director of the Museo Nacional del Prado; Carmen Iglesias, director of the Royal Academy of History; Carmen Jiménez, deputy director general of State Museums. Josep Serra, director of the National Museum of Art of Catalonia and Guillermo Solana, Artistic director of the National Thyssen-Bornemisza Museum
“Leticia Ruiz will be an excellent director of the Royal Collections, given that she meets the essential requirements to face the challenges that this institution has set for the future,” said Llanos Castellanos, president of the National Heritage, who thanked the work carried out by the commission of experts. «She is a great professional, who comes from doing a magnificent job in one of the cultural institutions of reference in Spain, the Prado Museum, and who, in addition, knows this institution very well, because she has been part of it before. It has everything to give the Royal Collections the space it deserves both nationally and internationally »added Castellanos.