WEBVTT

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[sil.]

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[music]

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There are works

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that we believed lost
forever, hidden objects

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whose existence has never been suspected
and which occasionally emerge

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from the shadows. Like
this legendary manuscript

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by the Marquis de Sade, 120 days
of Sodom, written on 12 meters

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of toilet paper while the Marquis
was imprisoned in Bastille.

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For most profaned erotic work of all time,

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hidden from view for more than 200 years,
this manuscript survive through evolutions

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and walls ending up in the very
secret library of Gerrard Nordmann,

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the biggest collector of
erotic art of our time.

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His secret side was only known
to a few close friends.

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[sil.]

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Thanks to the generosity of his widow,

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I was able to glance through some of these
rare books which have never been filmed

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or photographed before.

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[music]

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Geneva, May 2006.

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The Bodmer Foundation, for the first time to the general
public is able to discover the abundant delights

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and otherwise of the erotic works
collected by Gerrard Nordmann.

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Nordmann’s legendary
collection, a lifetime’s work,

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a unique human adventure. And now

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while the crates are being pack, a
question comes unbidden to mind.

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What’s going to become of all these books?

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[music]

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For every collection uncovered
today, many others remain hidden.

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[sil.]

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Six months later, the Nordmann collection
is put up for sale at Christie’s in Paris.

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I have a feeling that this unusual event

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will prove to be explosive.
The day before the sale,

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I meet up with some collectors I know.

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He was a man who had the good fortune

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to have a lot of money with which
he could fuel his passion,

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and he had good taste, and the dealers knew
that he had a lot of money and they delivered

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good quality things to him. And that’s what comes out of
this. This is the collection of a passionate millionaire.

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[music]

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[music]

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Tomorrow, these books are
born again with new parents

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and they will start another life.
That’s the way it goes. Prices now are

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so high that people won’t disregard
them and they will be kept carefully

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for another generation or even only as an
investment but you know, that’s not important,

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the important factor is that these
books generally will be preserved.

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[music]

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I leave Paris in search for another
hidden treasure. A friend arranges

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for me to meet Mr. Leonard in Hamburg.
After Nordmann’s death,

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he became the biggest collector of
erotic literature in the world.

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He has been collecting unique
volumes for more than 60 years

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and has around 20,000 books.

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What Nordmann had in mind, apparently,

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was to put these things
back into circulation.

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He wanted more people,

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and the new generation, which
exists also in this area,

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to enjoy them.

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That’s fine, but that’s
not what I would do.

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I’d go and look for a collector

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who was just as obsessed
by collecting as I was.

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I’d try to ensure that the entire
collection would be preserved

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by the collector to whom I’d entrust it.

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[sil.]

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I hardly ever show anything to others.

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If somebody wants to see
it: it’s not a secret

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that I collect erotica.

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As a mark of his faith in me, Mr. Leonard

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allowed me to see a real gem among
his many treasures, a rare book.

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[sil.]

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The door to the secret world has
now been opened to tiny crack.

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But how many masterpieces
still remain hidden today.

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[music]

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Pompeii, not far from Naples,

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a name that conjures up
catastrophe, a small ramen town

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buried under tons of ash
almost 2,000 years ago.

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[music]

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Excavation has revealed the entire city

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which is one of great beauty and a
collection of art that includes

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a large quantity of erotic material.

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[music]

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There is a tendency through
the lens of history

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to really focus on certain aspects of
the past, particularly the heroic,

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the beautiful wonderful
monuments of the past,

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and it’s only through archaeology and through these
discoveries that we can really see daily life

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and look at its diversity,
and across society,

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not just for the elite but for everybody, for all aspects
of society, and that’s what Pompeii and Herculaneum

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have really, they show the
whole spectrum of people

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and attitudes in daily life.

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It was a time bubble. In any other city,

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you have evolution. People
knock down buildings,

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build new buildings.
People move into houses,

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change the wallpaper, re-paint the
walls, put in new things. They die,

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off they go, somebody else comes in and changes
it again. So the essence of all cities

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is change unlike Pompeii which is static.

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So you have a moment

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of a period of an era in
which a certain type of art

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flourished, certain type of erotica.

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There, we’ve got the best snapshot into

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ancient culture that we aren’t going
to get anywhere else in the world.

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In 1819, King Ferdinand

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accompanied by one of his
daughters visits the excavations.

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The princess is astonished at such a display
of genitals and scenes of copulation.

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The king decides to restrict access only

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to those issued with permits
with which he is very sparing.

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[music]

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Naples, we are ahead for the
National Archaeological Museum.

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It’s there that King Ferdinand housed
the collection of all the erotic

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objects found at Pompeii shutting
them away in a secret place,

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Gabinetto Segretto, the first secret museum

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in modern history. Today, royal
permission is no longer required

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but the ordinary ticket only
allows a 15-minute visit.

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This was actually a piece of history that
was restricted in terms of knowledge

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for very long time, and is now on public
display, and people can actually see that

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aspect of Roman culture for the first time.
And also have an understanding

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about the way in which the
past has been classified,

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how it’s been protected, how
access has been controlled

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over 200 years.

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[sil.]

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Those people are completely innocent.

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And I don’t mean that in
the nice sense but just

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in the sense of ignorance of
what is going on around them,

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and that’s just as well. I mean there’s no
reason why everybody should know about it

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because I don’t believe it should be thrust down people’s
throats. If people are interested they will find it.

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[music]

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Paris, National Library of France.

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My purpose to visit the stock of rare books,
L’Enfer (inaudible) created by Napoleon in 1810.

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L’Enfer refers to all this
literature that is damned,

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and what is damned, goes to hell.

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In that sense, this Enfer is the
damnation of forbidden books.

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[music]

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In this building

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with its ultra modern architecture,
to reach the doorway to hell,

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one must go down, down, down.

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[music]

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[sil.]

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What a discovery! I didn’t see books like
these either at Nordmann’s or at Leonard’s.

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I feel the excitement of a
collector who by chance

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has discovered some unsuspected item.

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[music]

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London, the British Museum, an institution.

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Until 2005, this museum still housed the (inaudible) a
legacy of the Victorian era, an inaccessible repository

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where objects considered unfit
for public gaze are collected.

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[sil.]

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Dear Peter Woditsch, as you may know,

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the ‘secretum’ no longer exists as such,
and has not existed for a quite long time.

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Therefore, we feel that the concept of ‘secret
museum’ no longer applies to the British Museum.

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The museum will be unable to commit
to any filming requests. I’m sorry

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we have not been able to
accommodate this request for you.

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Although we are not granted permission to film
it, I’m able to make an appointment to see it.

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I’m taken to the secretum, a
locked cupboard. I’m told

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it’s empty. I insist that it be opened.
It is claimed that

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unfortunately the key has been mislaid.

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David Gaimster also used to be responsible for
the secretum. May be he will be able to help us.

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It’s a place where we separate culture

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and control access to it.

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The location of the secretum in the British
Museum or even at its previous location is of

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huge historic interest
and so I believe that

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any resistance to filming at that
location is very unfortunate

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and does actually fall into the category of
censorship. I don’t believe that we should

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umm… judge on who should

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and who shouldn’t have access to public collections.
It’s different I think with private collections

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but in terms of public collections which are
publicly funded, then I think public institutions

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have a duty to provide full access
to those who want to have access.

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If it’s a secret museum, somebody has the key.
Somebody’s got to run it. Somebody’s got to decide

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who can be let into the secret.
How many can be let into secret.

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When they can be let into the secret.

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That starts raising an
enormous number of questions

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about privilege, about

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moral systems that is, if morality
is not the same for everybody,

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why isn’t it, why isn’t it democratic.

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A secret museum is not a
democratic institution.

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And the implication is
always that some people

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are better, superior to others.

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[music]

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Today, L’Enfer, the hell
of the major museums

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is supposedly accessible. However
at the National Library of France,

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you do not enter to Leah. In
Naples, the Gabinetto Segretto

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was still not open to women till 1989.

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And at the British Museum in London,
The Warren Cup with (inaudible)

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has been on display since 2005. Yet the
secular term remains inaccessible.

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I can lead you to sites

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on the web for which you don’t even need

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to pay to get in, or to register to get in,

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or anything of that kind. I can
lead you to sites on the web

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where the combination of
sadism and sex are so extreme

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that I guarantee you, it far surpasses
anything which the British Museum

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has at secretum, provided you know

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the URL, where to go.
Three clicks of the mouse

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and you are there. And these are

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images far more extreme, far more

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genuinely shocking to
most people than anything

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any museum in the world control.

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And what if you were to
look further afield.

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All roads lead to Rome.

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There’s no more intriguing myth than the
one that claims that the ultimate secret

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is to be found at the Vatican.
The list of the forbidden works

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drawn up by the Holy Inquisition
still fuels the imaginations

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of those to whom they are inaccessible.
The Vatican has one of

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the biggest collections of pornography,
but it’s not, books and objects,

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not open to the public.

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[music]

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[music]

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[sil.]

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[sil.]

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Should this myth of the secret store room

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be kept alive or should
candle be sold at all costs.

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[sil.]

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[music]

00:37:55.000 --> 00:38:00.000
[sil.]

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[music]

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So it’s sufficient just to look

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to discover the unexpected.

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[music]

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[sil.]

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[music]

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[sil.]

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Both at the Vatican and the Museum,

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eroticism is laid bare,
unchecked, and in full view.

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[sil.]

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I work with lots of Americans.

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I often hear this question, from
slightly embarrassed Americans,

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which visibly takes them quite
a lot of courage to ask:

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Why are there so many naked
people in your museums?

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In the year 2006 I’m obliged
to make them discover the fact

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that the Greeks and the Romans
simply were naked very often.

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That Greek warriors often
went to war naked.

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And that the Christian prohibition
on showing the genitals

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started less than 2000 years ago.

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And when I say this, I can
see that they didn’t know.

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Are there other things we wouldn’t know?

00:43:35.000 --> 00:43:39.999
In 1847, Clesinger made a sculpture
which is now in the Musee d’Orsay:

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Woman bitten by a Snake.
It represents a woman,

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stretched out, the body twisted,

00:43:50.000 --> 00:43:54.999
clearly suggesting an orgasm.

00:43:55.000 --> 00:43:59.999
When his friends saw the statue, they
said: You’ll never get away with that.

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So Clesinger thinks of a trick. He
puts a little snake around the wrist,

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as if the woman were bitten. So
officially she’s writhing with pain,

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even though everybody knows she isn’t.

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The honor was saved and the
statue made it into the Salon.

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There had been a scandal,
the press was all over it,

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but the trick had saved it.

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It’s often a matter of alibis.

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[sil.]

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The reason we have secrets is that
nobody knows where the boundary lies.

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Nobody, nobody, nobody,
nobody can tell you,

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\"Oh, well, in such and such a situation,
this is permissible and that is not.\"

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They can’t even tell you within

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a given country or within
a given legal system,

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what is okay and what isn’t.
The line is always

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swaying back and forth.

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[music]

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Rome, in the museum of (inaudible)
Borghese, stands a statue described as

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a sleeping hermaphrodite.

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A snake which acts as an alibi,
the genitals of a Centaur

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which are difficult to see, and a
hermaphrodite with its back to us.

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[music]

00:52:05.000 --> 00:52:09.999
[music]

00:52:10.000 --> 00:52:18.000
[sil.]

00:53:10.000 --> 00:53:14.999
And the Whitechapel claimed the reason
for that is they ran out of space

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which is such an enormous space, there was
no way they could have run out of space.

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[music]

00:53:25.000 --> 00:53:29.999
Last year the Bellmer exhibition came here
from Centre Pompidou and later went to London.

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There a range of works
could not be displayed.

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The more erotic ones were not on show.

00:53:55.000 --> 00:53:59.999
They just deliberately did
not want to antagonize

00:54:00.000 --> 00:54:05.000
people who are disturbed by erotica.

00:54:25.000 --> 00:54:29.999
In 2006? In anytime. It probably
would be the same in 2020.

00:54:30.000 --> 00:54:34.999
Hans Bellmer, a painter

00:54:35.000 --> 00:54:39.999
who defied Nazi censorship is the
author of a work full of eroticism.

00:54:40.000 --> 00:54:44.999
I have seen great authors among the
gems of the Nordmann collection

00:54:45.000 --> 00:54:49.999
illustrated by Bellmer from
(inaudible) to (inaudible).

00:54:50.000 --> 00:54:55.000
[music]

00:55:30.000 --> 00:55:34.999
[sil.]

00:55:35.000 --> 00:55:39.999
The key is not

00:55:40.000 --> 00:55:44.999
to look at sex as such
but to look at anxiety.

00:55:45.000 --> 00:55:49.999
So many things in

00:55:50.000 --> 00:55:54.999
our society are driven by
the need to rid oneself

00:55:55.000 --> 00:55:59.999
of anxiety and I think that

00:56:00.000 --> 00:56:04.999
a secret museum can be regarded

00:56:05.000 --> 00:56:09.999
as a mechanism for controlling anxiety.

00:56:10.000 --> 00:56:18.000
[music]

00:56:20.000 --> 00:56:24.999
Anders Zorn is one of the most celebrated Swedish
painters of the end of the 19th century.

00:56:25.000 --> 00:56:29.999
His international reputation at the time

00:56:30.000 --> 00:56:35.000
led him to work for the Swedish royal
family and for the White House.

00:57:10.000 --> 00:57:15.000
[sil.]

00:57:45.000 --> 00:57:49.999
A lot of erotica has disappeared over the
years because people have destroyed them.

00:57:50.000 --> 00:57:54.999
Umm… It… it’s

00:57:55.000 --> 00:57:59.999
What turns you on in
private is not necessarily

00:58:00.000 --> 00:58:04.999
what you want other people
to remember you by.

00:58:05.000 --> 00:58:09.999
We all have different images of ourselves,

00:58:10.000 --> 00:58:14.999
the intimate image of what we really want

00:58:15.000 --> 00:58:19.999
or like, the public image
that we want to show

00:58:20.000 --> 00:58:24.999
and the ultra public image
that we want to display.

00:58:25.000 --> 00:58:33.000
[music]

00:58:45.000 --> 00:58:49.999
Alibi, censorship, destruction.
There are many weapons

00:58:50.000 --> 00:58:54.999
with which to protect
oneself from eroticism.

00:58:55.000 --> 00:58:59.999
[music]

00:59:00.000 --> 00:59:04.999
Munich. Thanks to the expert Mr. Dopp,
an exception has been made for us,

00:59:05.000 --> 00:59:09.999
and we have been able to obtain permission
to film in one of these storerooms.

00:59:10.000 --> 00:59:15.000
[music]

01:01:40.000 --> 01:01:45.000
[sil.]

01:01:55.000 --> 01:02:00.000
[sil.]

01:04:15.000 --> 01:04:23.000
[sil.]

01:04:25.000 --> 01:04:29.999
Great, unlisted, because it has no value.

01:04:30.000 --> 01:04:34.999
Perhaps other forgotten
greats lie in the dark

01:04:35.000 --> 01:04:39.999
far away from possibly
(inaudible) Nothing is new

01:04:40.000 --> 01:04:44.999
except that which has been forgotten.

01:04:45.000 --> 01:04:50.000
[music]

01:06:15.000 --> 01:06:23.000
[music]

01:07:25.000 --> 01:07:29.999
For almost 150 years, before being

01:07:30.000 --> 01:07:34.999
hung in the Orsay museum in
1995, the origin of the world

01:07:35.000 --> 01:07:39.999
painted by Gustav Courbet
sparked numerous controversies.

01:07:40.000 --> 01:07:44.999
The successive owners have always come up
with a way of concealing or hiding this work.

01:07:45.000 --> 01:07:49.999
It’s last owner, the celebrated
French psychoanalyst Jacques Lacan

01:07:50.000 --> 01:07:54.999
decided to disguise the original
work with another painting, a mask,

01:07:55.000 --> 01:08:00.000
which recreates the secret.

01:09:00.000 --> 01:09:08.000
[sil.]

01:09:20.000 --> 01:09:28.000
[sil.]

01:09:45.000 --> 01:09:50.000
[sil.]

01:11:45.000 --> 01:11:50.000
[music]

01:12:15.000 --> 01:12:23.000
[music]

01:12:55.000 --> 01:13:03.000
[music]