On March 19, 1966, André Malraux inaugurated in Amiens one of the most emblematic institutions of French cultural policy. The Amiens House of Culture was the first house of culture specifically built for that purpose. It was designed by architects Pierre Sonrel, Jean Duthilleul, and Marcel Gogois. The building embodies the idea of a multidisciplinary space bringing together theater, music, visual arts, cinema, and intellectual gatherings.
The project was part of the cultural policy defined with the creation of the Ministry of Cultural Affairs in 1959. Malraux expressed the ambition to make significant works of humanity accessible to as many French people as possible. The House of Culture was seen as the privileged instrument of a policy aiming to shift the center of French artistic life outside of Paris.
The Amiens House of Culture was prefigured by the Marrey brothers, Jean-Claude and Bernard, who designed the project as a multidisciplinary space integrating performances, visual arts, cinema, music, as evidenced by the opening program showcasing diversity and artistic excellence.
In 1966, Malraux, the Minister of Cultural Affairs, inaugurated the sixth House of Culture of France in Amiens. The event featured figures like Richard, president of the board of directors, Maurice Vast, mayor of Amiens, and Pierre Larrieu, prefect of Somme.
For the inauguration of the Amiens House of Culture in February 1966, the state staged, in an almost programmatic manner, the ambition of cultural democratization promoted by Malraux. Ten major works by renowned artists like Nicolas Poussin, Eugène Delacroix, Vincent Van Gogh, and others were exhibited, offering a condensed journey through French painting history.
The inauguration showcased sculptures by Alberto Giacometti, Aristide Maillol, and Henri Laurens, confirming the desire to foster interactions among the arts. The event embodied Malraux’s concept of the “museum without walls,” where art transcends geographical constraints. The inauguration served as a material and temporary translation of this concept.
The early years of the Amiens House of Culture, under the direction of Philippe Tiry (1965-1971), highlighted international and multidisciplinary programming. Renowned figures like Jean-Louis Barrault, Giorgio Strehler, and Thelonious Monk were featured along with emerging artists like Ariane Mnouchkine and Patrice Chéreau.
This artistic fervor was disrupted by the events of May 1968, impacting cultural institutions like the Amiens House of Culture. Initially conceived for artistic diffusion, these institutions evolved into spaces for political and aesthetic debate. The period marked a turning point, showcasing the critical reassessment of the cultural democratization model proposed by Malraux.
Following this transformative period, the Amiens House of Culture adapted and expanded, reflecting the broader shifts in French cultural policies in the 1980s and beyond. The institution adopted new initiatives focusing on artistic and creative industries, moving beyond mere presentation to active participation in the production and circulation of art.
As the cultural landscape evolved, subsequent directors like Jacques Pornon and Gilbert Fillinger emphasized territorial anchoring and active collaboration with the state and local governments. The shift towards a collaborative model was solidified in 2005 when the institution became an Establishment of Public Cooperation in Culture, reflecting the changing trends in French cultural policies post-decentralization laws.
Under the leadership of Gilbert Fillinger from 2005 to 2017, the house fostered long-term artist residencies, international collaborations, and a multidisciplinary approach, positioning itself as a nodal point for regional, European, and international artistic creation and production.
The current director, Laurent Dréano, continues the trajectory of diversified programming, focusing on audience engagement, territorial collaborations, and participatory culture. Future plans include enhancing sustainable development, social inclusivity, and innovative access to art, aligning with recent European cultural policy shifts.
In addition to the institution’s milestone celebrations and extensive exhibitions, the 60th anniversary was marked by various interactive events, such as performances by theatrical companies, recreations of Malraux’s inaugural speech, and concerts by the Orchestra de Picardie.
The recent period has seen new forms of collaboration, particularly through the establishment of the International Pole of Production and Diffusion, involving several national theaters in Hauts-de-France. This initiative underlines the evolving nature of territorial cultural policies, creating platforms for global art circulation and international partnerships.
