A new tone is mixing in the Frankfurt art scene, and it is unmistakably Palatine.

Which seems leisurely, but doesn't necessarily have to be like that.

Sebastian Baden, born in Kaiserslautern in 1980 and raised there, educated in Karlsruhe and Bern, curator of sculpture and contemporary art at the Kunsthalle Mannheim for the past six years, has been the new director of the Frankfurt Kunsthalle Schirn since July 1st.

Coming from the south, after a long search, he has now found a new home in the south of the city, dribbdebach.

Eva Maria Magel

Senior cultural editor of the Rhein-Main-Zeitung.

  • Follow I follow

Thanks to the many apartment visits, the newcomer got to know a considerable part of the city.

He likes it: international flair, yet proximity, everything is very exciting here, he thinks.

There has been criticism of the realignment of the Schirn announced by Ina Hartwig (SPD), head of the cultural department, in 2021, especially of the separation of the personal union of Städel and Schirn directors, which was introduced with Max Hollein in 2006.

Above all, there was the fear of additional costs - and, according to reports, discord in the appeal process.

“The separation grants us the autonomy that is particularly important for an art gallery.

This process caused additional costs that are administratively related.

Overall, the Schirn is well positioned with a solid budget.

But like all houses, we are affected by the effects of the pandemic, inflation and the increases in material and energy costs,” says Baden.

Cooperation is very important

He still looks very tidy.

"I feel very comfortable and have been given a warm welcome," he says.

“The very experienced curatorial team will remain in place.

But as the new boss, I'm there 100 percent, that definitely makes a difference.” Cooperation is important to him, says the new “full-time director”, who regularly discusses ideas and projects with the larger group of curators.

The plan is set by his predecessor Philipp Demandt, who is now concentrating on the Städel and Liebieghaus, by the turn of the year 2023/24.

Baden doesn't talk about the future with names and dates.

"The exhibitions will remain at the highest international level," he promises.

It should be varied, for example with individual or group exhibitions on modernism, as in previous years.

He says he is also interested in cultural-scientific topics that touch on everyday life and enable cultural-historical retrospectives.

The planning of contemporary contributions is still in the process.

“I have been following the work of certain artists for a long time that I want to show or have shown in the past.

Above all, I'm looking for something new.” To what extent, after years first as a gallery owner and then as a curator, he will be active as a curator at the Schirn himself, he does not want to specify yet.

"Because I take on many other tasks as director, I check which ideas I can implement with which curators or teams."

Better a small team than a large collective

He always works in a team anyway, which is also a recipe for success in contemporary art.

"It doesn't always have to be a collective," he says, referring to the Documenta in Kassel.

“Working together as a small team, also with external curators or a scientific advisory board, is important.

Because we often work with themed exhibitions that not only relate to German art history, but also to the art of the world.

When it comes to anti-Semitism, anti-racism, colonialism or diversity, there are experts in our society that we are happy to consult.

As an art gallery, we have a social mission, so it is important to us to involve different members of society.”

He is not afraid that the Documenta scandal could have a negative impact on contemporary art and its perception.

"On the contrary.

I see that people today are all the more interested in seeing what art can contribute to pressing issues in our society and in politics.

In contemporary art in particular, there are artists from all over the world who campaign for political issues, with extremely different perspectives.

This shows that although art is an autonomous field, it is always looking for points of contact with society and getting involved.

I think that is a very important factor.”