Stella Rollig, director of Vienna's Upper Belvedere Museum, faces the unique challenge of managing one of Austria's most popular tourist destinations while preserving the visitor experience. The museum houses Gustav Klimt's iconic painting "The Kiss" and attracts overwhelming crowds of international tourists year-round. In a recent summer interview, Rollig discussed the museum's ambitious expansion plans and the impact of recent government budget cuts on these projects.
The Upper Belvedere is among the Austrian museums most severely affected by Cultural Minister Babler's budget reductions, alongside the Art History Museum and Natural History Museum. The government had previously committed 100 million euros for new entrance facilities, but this funding has now been postponed indefinitely. This setback significantly impacts the museum's planned underground visitor center, which was designed to better accommodate the massive influx of tourists.
Rollig emphasized that the Belvedere's construction project differs substantially from those of other affected museums. "Our new Visitor Center isn't primarily about establishing accessibility – we largely have that already," she explained. "We're talking about nearly two years of construction time and an underground structural expansion of the building by several thousand square meters for a comprehensive new reception and service situation."
The planned underground expansion would add thousands of square meters to the museum's current infrastructure. This ambitious project aims to create a modern reception area and comprehensive visitor services that can handle the enormous crowds that flock to see Klimt's masterpiece and other Austrian art treasures. The construction timeline was estimated at approximately two years, making it a significant undertaking that would transform how visitors experience the museum.
When asked about her favorite location within the Upper Belvedere, Rollig pointed to the Carlone Hall, where contemporary art exhibitions are held. 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 mission to remain relevant to diverse audiences.
The interview also touched on Rollig's future plans and whether she intends to reapply for the director position when her current term expires. However, the immediate focus remains on navigating the financial challenges posed by the budget cuts and finding alternative solutions for the much-needed visitor center expansion that would help manage the overwhelming tourist crowds more effectively.
