International opening: MusVerre, Sars-Poteries, France
Director Aude Cordonnier talks to Alice Durrans about glassmaking past and present, and the importance of reflecting its regional heritage
Pottery by name, pottery by nature – the little village of Sars-Poteries, with just 1,500 residents, was home to a burgeoning pottery industry in the 17th and 18th centuries. The bedrock in the area, largely being composed of clay and sandstone, lent itself to the village’s next industrial pursuit: glass.
The resident museum is dedicated to this industry. From 1802 to 1937, Sars-Poteries had two glassworks, employing most of the village’s population and infiltrating every resident’s life. In fact, the birth of the museum in 1967 is testament to the working conditionsnof these two factories. Glass workers often made glass items for personal use during their breaks, from roof adornments to inkwells, and these were affectionately referred to as “bousillés”. It was these unique objects – often on display in workers’ homes – that caught the eye of the local priest, Louis Mériaux, who organised an exhibition of them in 1967.
The show was such a success that it was decided to set up a glass museum in the Château Imbert, a residence named after the industrialist who owned the two glassworks. The collection of “bousillés” that forms the basis of thensmart new MusVerre.
Opened last October in its new bespoke home, the MusVerre provides a hub for visitors to learn about the history of glass and see contemporary glasswork by artists practising now. But for those who want to learn more, it also offers the opportunity to do a course in glassmaking, as part of the museum’s Glass University programme.
With sophisticated glassmaking facilities on site, MusVerre hosts two glass artist residencies each year. The architect Raphaël Voinchet has used local bluestone to clad the building, evoking the use of regional materials in the very framework of the museum and referring to the village’s history of taking clay for its pottery and sandstone for its glassmaking from the surrounding areas. MusVerre, a monument to glass and its creation, aims to reinvent this region of northern France on the Belgian border as the go-to place to learn about the history of the glass industry, and glass-based art.
How significant is the opening of the new museum?
Aude Cordonnier: Fifty years after its creation, the museum has passed a new milestone. We have changed its name from Musée du Verre to just MusVerre, asserting its identity around glass.
The new building also represents a shift towards fields that intersect with various artistic spheres, from sculpture, architecture and design to music, dance, poetry and culinary art. At the same time, MusVerre is situated at the epicentre of the leading glass-manufacturing basin in north-west Europe, and therefore prompts reflection on possible resonances with research, higher education and the local glass industry.
Why did you need a new building for the museum?
The construction of the new building shows the ambition of the Nord Department – the regional government of the Lille area – to provide the museum with the necessary conditions for its development. This includes being able to present the collection – now one of the most significant contemporary glass collections in Europe, with more than 800 items – at its best, providing the conditions for effective conservation and optimal care, offering visitors the services expected of a modern museum (a spacious reception, shop, relaxation area, workshops, a space for talks and events, as well as a co-working space) and optimising the links between the collection, the artists-in- residence and the glass studio that adjoins the new amenity.
How does the museum strike a balance between preserving the region’s history of glassware while encouraging contemporary work?
The museum was born of the passion of one man, Father Louis Mériaux, and his determination to promote and safeguard a local heritage. MusVerre seeks to reinvigorate that with the work of present- day artists, conserving a unique collection that is historical and contemporary, artisanal and artistic. It therefore holds highly diverse collections of objects and works.
MusVerre encourages contemporary creation by offering residencies to artists, who can stay at the museum’s glass workshop and create works that will join the collection. The museum will also strengthen its links with the glass museum of nearby Trélon, which has a more historical slant. The objective is to set up a regional tour route around glass destinations in the Avesnois natural park, where Sars-Poteries is based.
Has the new building been well received?
The first visitors have really enjoyed MusVerre. They have been impressed by the quality of the architecture and the brightness of the exhibition halls. It’s important to mention that Raphaël Voinchet’s use of local Hainaut stone has been very much appreciated.
How many visitors have you had since the opening?
We have received more than 40,000 visitors since opening in October.
What is the highlight of the museum?
The whole thing – the architecture, how it connects with the local area, the fact that is has the largest collection of contemporary glass in Europe. The many possibilities for multidisciplinary events inside and outside the museum are also an asset, making the place feel even more alive.
What type of audience visits the museum?
Many people from the Lille area – we call them “Lillois” – visit MusVerre. We have visitors from Paris, Bordeaux and other parts of France as well. Being so close to the Belgian border, we also have many visitors from our neighbouring country.
We have had lots of visitors from other European countries too. The modern look of the building attracts all age groups and, whether young or older, visitors are curious to discover such a building.
The resident museum is dedicated to this industry. From 1802 to 1937, Sars-Poteries had two glassworks, employing most of the village’s population and infiltrating every resident’s life. In fact, the birth of the museum in 1967 is testament to the working conditionsnof these two factories. Glass workers often made glass items for personal use during their breaks, from roof adornments to inkwells, and these were affectionately referred to as “bousillés”. It was these unique objects – often on display in workers’ homes – that caught the eye of the local priest, Louis Mériaux, who organised an exhibition of them in 1967.
The show was such a success that it was decided to set up a glass museum in the Château Imbert, a residence named after the industrialist who owned the two glassworks. The collection of “bousillés” that forms the basis of thensmart new MusVerre.
Opened last October in its new bespoke home, the MusVerre provides a hub for visitors to learn about the history of glass and see contemporary glasswork by artists practising now. But for those who want to learn more, it also offers the opportunity to do a course in glassmaking, as part of the museum’s Glass University programme.
With sophisticated glassmaking facilities on site, MusVerre hosts two glass artist residencies each year. The architect Raphaël Voinchet has used local bluestone to clad the building, evoking the use of regional materials in the very framework of the museum and referring to the village’s history of taking clay for its pottery and sandstone for its glassmaking from the surrounding areas. MusVerre, a monument to glass and its creation, aims to reinvent this region of northern France on the Belgian border as the go-to place to learn about the history of the glass industry, and glass-based art.
How significant is the opening of the new museum?
Aude Cordonnier: Fifty years after its creation, the museum has passed a new milestone. We have changed its name from Musée du Verre to just MusVerre, asserting its identity around glass.
The new building also represents a shift towards fields that intersect with various artistic spheres, from sculpture, architecture and design to music, dance, poetry and culinary art. At the same time, MusVerre is situated at the epicentre of the leading glass-manufacturing basin in north-west Europe, and therefore prompts reflection on possible resonances with research, higher education and the local glass industry.
Why did you need a new building for the museum?
The construction of the new building shows the ambition of the Nord Department – the regional government of the Lille area – to provide the museum with the necessary conditions for its development. This includes being able to present the collection – now one of the most significant contemporary glass collections in Europe, with more than 800 items – at its best, providing the conditions for effective conservation and optimal care, offering visitors the services expected of a modern museum (a spacious reception, shop, relaxation area, workshops, a space for talks and events, as well as a co-working space) and optimising the links between the collection, the artists-in- residence and the glass studio that adjoins the new amenity.
How does the museum strike a balance between preserving the region’s history of glassware while encouraging contemporary work?
The museum was born of the passion of one man, Father Louis Mériaux, and his determination to promote and safeguard a local heritage. MusVerre seeks to reinvigorate that with the work of present- day artists, conserving a unique collection that is historical and contemporary, artisanal and artistic. It therefore holds highly diverse collections of objects and works.
MusVerre encourages contemporary creation by offering residencies to artists, who can stay at the museum’s glass workshop and create works that will join the collection. The museum will also strengthen its links with the glass museum of nearby Trélon, which has a more historical slant. The objective is to set up a regional tour route around glass destinations in the Avesnois natural park, where Sars-Poteries is based.
Has the new building been well received?
The first visitors have really enjoyed MusVerre. They have been impressed by the quality of the architecture and the brightness of the exhibition halls. It’s important to mention that Raphaël Voinchet’s use of local Hainaut stone has been very much appreciated.
How many visitors have you had since the opening?
We have received more than 40,000 visitors since opening in October.
What is the highlight of the museum?
The whole thing – the architecture, how it connects with the local area, the fact that is has the largest collection of contemporary glass in Europe. The many possibilities for multidisciplinary events inside and outside the museum are also an asset, making the place feel even more alive.
What type of audience visits the museum?
Many people from the Lille area – we call them “Lillois” – visit MusVerre. We have visitors from Paris, Bordeaux and other parts of France as well. Being so close to the Belgian border, we also have many visitors from our neighbouring country.
We have had lots of visitors from other European countries too. The modern look of the building attracts all age groups and, whether young or older, visitors are curious to discover such a building.