Stella Rollig, director of the Upper Belvedere Museum in Vienna, is facing significant challenges as her institution grapples with budget cuts that have affected Austria's major federal museums. The museum, which attracts massive numbers of tourists annually, had been promised 100 million euros for new entrance facilities, but Culture Minister Andreas Babler's austerity measures have now delayed this funding. Rollig recently discussed these issues and her future plans during a summer interview series focusing on Austria's federal museums.
When asked about the impact of the budget cuts, Rollig emphasized that the Belvedere's situation differs significantly from other affected institutions like the Museum of Art History and the Natural History Museum. "I'd like to start with a differentiation: the Belvedere's construction project has a completely different dimension than those of the other two museums," she explained. Unlike other museums that primarily need to address accessibility issues, the Belvedere already has largely adequate accessibility features.
The planned construction project at the Belvedere involves a nearly two-year building period and an underground expansion of several thousand square meters. This ambitious undertaking would create a comprehensive new reception and service area for visitors. The underground visitor center represents a major infrastructural improvement designed to better handle the museum's heavy tourist traffic, particularly visitors who come to see famous works like Gustav Klimt's "The Kiss."
Rollig's favorite location in the Upper Belvedere is the Carlone Hall, where the museum's contemporary art program runs. Currently, the space features "Diabolus (Protector)" by artist Sarah Ortmeyer, representing the museum's commitment to showcasing modern works alongside its classical collections. This blend of historical and contemporary art reflects the museum's broader curatorial strategy under Rollig's leadership.
The interview also touched on whether Rollig would apply again for the director position when her current term expires, though the article notes this as part of ongoing discussions about leadership in Austria's federal museum system. The reference to a 94-year-old Russian museum director in the headline suggests broader conversations about age, experience, and leadership longevity in the museum world, highlighting the varied career paths of cultural institution leaders globally.
