Two exceptional films will be made – one about the basis of the presentation of artworks, the other about the works carried out within the “Restoration and securing of the symbol of Polish cultural heritage – the Museum of King Jan III's Palace in Wilanów” project. On this task, the museum will collaborate with an experienced company with successes in similar projects: “Big-Art Tomasz Okoń”. Its "flagship” product is the “History without censorship” series, which has nearly 600,000 subscribers on YouTube, with individual videos boasting several hundred thousand or even over a million views. There is no doubt that this cooperation will result in unique video documents.
The first of the films, discussing the various conditions for presenting artworks in historical palace interiors, will be published at the end of 2018. It will explain why the palace interiors do not always look the way tourists would like them to and, to quote their words, “why is it so dark in here?”, “why can’t we go everywhere?” and “why are there no labels for all the items?” The simplest answer is that these conditions are needed to ensure the safety of the priceless works of art; as everybody should remember that the Wilanów Palace is an original historical monument, which was not destroyed during World War II. Another concern is ensuring the safety of the 200,000 tourists who visit the interiors of the residence every year. The film will not be only an illustrative method of clarifying these issues, however. It is also intended to enable us to look at the issue on multiple levels, from various perspectives. It will include expert opinions and visitor statements – the audience can expect many surprises.The second film will comprehensively discuss the “Restoration and securing of the symbol of Polish cultural heritage – the Museum of King Jan III's Palace in Wilanów” project (see the project website: http://www.wilanow-palac.pl/o_muzeum/fundusze_pomocowe/projekt_efrr_poiis_III). It should be ready in December 2019 and reflect the gradual progress of the renovation, conservation and documentation work, as well as other tasks carried out under this comprehensive project. The cameras will therefore follow the work of conservators, building teams and even robots scanning palace interiors and artworks. The producers will also seek comments from the management, curators of individual tasks and the project director – assures Konrad Pyzel, curator of the “Promotion” task. The museum has entered into a collaboration that will last for more than two years in the hopes that its effects will once again gain the audience's recognition.
