Elena Filipovic, the new director of the Kunstmuseum Basel, is transforming the institution with her innovative approach to curation and museum leadership. Known for her dynamic methods, Filipovic engages the entire museum staff, including guards and shop cashiers, in in-depth discussions with featured artists whenever she opens an exhibition. This practice fosters a deep connection between the museum’s personnel and the artworks they protect and present.
In 2022, while still at Kunsthalle Basel, Filipovic exemplified this approach by leading a walk-through of Berenice Olmedo’s hanging sculptures featuring prosthetic-like limbs. She encouraged her staff to interact with the young artist, promoting a deeper understanding of the works.
Filipovic’s unique perspective has positioned her as one of the most closely watched curators today. After nearly a decade at the contemporary-focused Kunsthalle Basel, she began her tenure at the historic 17th-century Kunstmuseum Basel two months ago. As the first non-European and only the second woman to lead the institution, Filipovic brings a fresh, global perspective to the role.
Growing up in Southern California’s Inland Empire as the child of immigrants, Filipovic embodies a blend of American and European cultural influences. Reflecting on her upbringing and career, she told ARTnews, “I’d like to think I bring the best of both worlds with me.” At Kunsthalle Basel, she organized over 60 exhibitions showcasing artists such as Michael Armitage, Matthew Angelo Harrison, and Anne Imhof. Additionally, she curated the Croatian Pavilion at the 2022 Venice Biennale and co-curated the 2008 Berlin Biennale.
Filipovic’s vision and enthusiasm have garnered praise from the art community. Connie Butler, director of MoMA PS1, described her as a “visionary” with “one of the best curatorial programs anywhere.” Felix Uhlmann, president of the selection committee for the Kunstmuseum, noted her “infectious enthusiasm for the entire spectrum of art history” as a critical factor in her appointment.
Under Filipovic’s leadership, the Kunstmuseum Basel aims to strengthen its global standing and embrace inclusivity in its audience and art historical narratives. She is determined to propel the institution into the future, a mission she likens to steering a spaceship. “It’s important that we all remember that this should not be a cemetery of beautiful dead things but a spaceship. It should carry us into the future,” she said.
Filipovic acknowledges the radical history of the Kunstmuseum, which became the world’s first public museum in 1661. She aims to continue this legacy of innovation by asking, “How can you run an ancient museum that nevertheless has inscribed in its DNA the idea that it should still speak to generations in the future?”
One of her strategies involves highlighting underrepresented artists. This summer, she plans to rehang the museum’s newest building with works acquired through an expansive acquisition strategy, including pieces by Helen Frankenthaler, Julie Mehretu, and Cameron Rowland. “Every acquisition becomes a manifesto of sorts and a chance to rethink what legacy we leave for future generations,” she stated.
Filipovic has also commissioned Louis Lawler to create a work for the new foyer. Lawler’s photographs, which often distort or blur canonical artworks, comment on the systems that have elevated these works.
Elena Filipovic is committed to activating the museum’s existing collection through new research and exhibitions that contextualize historical works. She aims to show how centuries-old art remains relevant to contemporary issues. For example, she cites Hans Holbein the Younger’s The Dead Christ in the Tomb (1521–22) as a work that speaks to present-day themes of crisis and resilience.
Navigating delicate situations like restitution claims is another challenge Filipovic faces. The Kunstmuseum has dealt with several claims in recent years, including settlements over works acquired under questionable circumstances during the Nazi era. Filipovic plans to continue extensive provenance research and ensure transparency by sharing findings with the public.
As she leads the Kunstmuseum Basel, Elena Filipovic seeks to tell diverse and engaging stories through the rehang of the collection. “By rehanging the collection, you’re demanding that the public notice. That every juxtaposition might provoke a new reading of each work,” she explained. Her ultimate goal is to keep the collection vibrant and relevant, challenging the notion that these artworks’ significance is fixed and unchanging.
