Curators who left the UK after the referendum took with them experience that is reshaping their cities’ art scenes
One of the things Stephanie Rosenthal acquired during her 10-year stint in London’s gallery world is an appreciation of the British art of queueing with a smile on your face.
Now, the experience of entering the palatial 19th-century building on the border of Berlin’s Kreuzberg and Mitte districts is more reminiscent of stepping into a London exhibition space such as the Royal Festival Hall or Tate Modern. For Germans, this is particularly true of those from the UK’s art and museums sector, long a popular destination for graduates from a country that regularly produces more art historians than it can offer jobs to. The British Museum, the V&A and Tate Liverpool have or have had directors with German passports.
The culture wars that were amplified in the years after the divisive vote also sapped his job of joy, Kalmár said. While the ICA is only 21% publicly funded – compared with 70% to 80% at comparable German institutions – the multidisciplinary venue was still perceived as being largely government-supported, and provocative programming could trigger furious letters of rightwing complaint that required careful legal responses.
“It’s a completely different approach to what we see as public service. A German museum may close for four weeks to install a new exhibition – that’s completely unthinkable in the UK.”
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