Michael Lewis
speaker
310 appearances
1 recordings
1 series
first heard Sep 2026
last heard 8 Sep
Michael Lewis’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Sep 2026 with 1.
Appearances
And they'd made quite a few efforts in terms of pursuing this.
And essentially, I kind of got contacted, I think it was in probably March last year.
by the embassy to say look do you think the British Museum would have the tapestry if the French were agreeing to loan it and of course that was way above my pay grade so I kind of passed on the message to the director of the British Museum and I think from then on it was pretty quick that this agreement was made obviously there's lots of negotiations that I wasn't sort of part of but but yeah that's essentially the backstory to the to the loan from from my perspective.
I'm just a plain curator, I think, to be fair.
It's kind of funny, actually, because I suppose it would depend on what museum you're in.
So, obviously, the British Museum is a massive organisation.
And as part of this project, it's obviously been essential that different people work on different aspects of the exhibition.
So...
Like I said, I wasn't involved with the kind of transportation aspect, the object handling side.
Obviously, the conservation side is left to the conservators at the British Museum.
In terms of the design, you know, we have an exhibitions team that oversees the sort of design, but obviously there's a conversation between the curatorial team.
So there's a team of us essentially working on this.
The main role of the curators, so initially it was really to decide how was this going to work, what we were going to do.
But I've got to say, this is obviously a pretty unique project.
Most British museum exhibitions taking in external loans would probably have several hundred objects and there would be various narratives that go through those and you'd be thinking about how they sort of group together.
I mean, we knew obviously we were going to have one object that was going to completely dominate this exhibition, the Bayeux Tapestry.
Not only in terms of its fame, but also its physical size.
It only just about fits in the Sainsbury's exhibition gallery.
And also because of the extraction and installation of the tapestry, there has to be a reasonable amount of space behind it for that kind of work to happen.
I wasn't involved, for example, in the case, the showcase.
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