The Curator Speaks. Interview with Udo Kittelmann

Udo Kittelmann stands as a prominent figure in the contemporary art scene, having spearheaded several large-scale exhibition projects in recent years. Noteworthy among these are "The King is Dead, Long Live the Queen" at the Frieder Burda Museum (opened in May 2023), "Human Brains" in 2022, and "The Boat is Leaking. The Captain Lied" in 2017, all showcased at the Fondazione Prada in Venice. Another notable presentation was "K" in 2020 at the Fondazione Prada in Milan. Kittelmann's projects have consistently garnered admiration for his nuanced curatorial approach, grappling with complexity on numerous levels while delicately developing ideas that flow freely, propelled by interest and curiosity. For him, the potency of art lies in its capacity to facilitate discoveries in a world marked by rapid and unimaginable change. In these challenging times, his creative response aims to engage with the evolving complexities of the contemporary world.

Regarding his latest project, "The King is Dead, Long Live the Queen," exhibited at the Frieder Burda Museum, Kittelmann sheds light on the inspiration drawn from Peggy Guggenheim's exhibition 80 years ago, which showcased the works of 31 artists. Critiquing recent exhibitions focused on women artists, Kittelmann sought to shift the narrative from issues of feminism and gender discourse to a more profound exploration of the art itself and its potential. The project explores the historical "31 Women" exhibition organized by Peggy Guggenheim in 1943 at her Art of This Century gallery in New York. Marcel Duchamp's role in shaping the exhibition, which featured both renowned and lesser-known women artists, intrigued Kittelmann, prompting him to delve into why precisely 31 female artists were included.

Kittelmann underscores the collaborative spirit among the women artists, emphasizing their ability to work together without competition, resulting in a harmonious and delightful experience. He expresses surprise at the positive dynamics that emerged during the collaborative process.

When queried about differences in art created by men and women, Kittelmann shifts the focus to the importance of the result rather than gender distinctions. He believes that the best outcome is when it becomes challenging to discern whether a woman or a man created the artwork, emphasizing our shared humanity.

Transitioning to the exhibition at the Fondazione Prada dedicated to the human brain, Kittelmann shares that he has always sought challenges and was drawn to the idea when approached by Miuccia Prada. Exploring themes beyond traditional art, he believes that the concept of an art museum, as known today, will undergo a transformative shift, expanding its scope to embrace broader themes such as neuroscience. The exhibition at the Fondazione Prada explores the intricacies of the human brain, reflecting Kittelmann's belief in the evolving role of art institutions in the contemporary landscape.

Alice Hall:You have been responsible for some of the most discussed large-scale exhibitions of the last decade. When looking back at projects such as The Boat Is Leaking. The Captain Lied, Human Brains, K, and most recently The King Is Dead, Long Live the Queen, is there a common thread that runs through your curatorial thinking?

Udo Kittelmann:I think the common thread is curiosity rather than a fixed methodology. I am not interested in repeating a formula or in developing a recognisable “style” of curating. What drives me is the sense that the world is changing faster than our language for understanding it. Art, for me, is not a mirror of reality but a tool for discovery. Each exhibition begins with a question rather than a thesis. I try to create situations in which art can unfold its complexity without being reduced to a message or an illustration of a concept.

Hall:Your exhibitions often engage with complexity on multiple levels—historical, philosophical, emotional—yet they never feel didactic. How do you balance openness with structure?

Kittelmann:That balance is crucial. Too much structure suffocates the work; too little leaves the visitor without orientation. I think of exhibitions as living organisms rather than arguments. There must be a rhythm, a dramaturgy, but also moments of silence, contradiction, and surprise. I trust the intelligence of the visitor. An exhibition does not need to explain everything. Sometimes it is enough to create conditions in which something can happen—an encounter, a realisation, even confusion.

Hall:The King Is Dead, Long Live the Queen draws inspiration from Peggy Guggenheim’s 31 Women exhibition in 1943. What initially drew you to this historical reference?

Kittelmann:Peggy Guggenheim’s exhibition fascinated me because it was both radical and oddly understated. At a time when women artists were largely marginalised, she presented an exhibition consisting entirely of women without framing it as a political manifesto. It was not about claiming space through rhetoric, but through presence. I was intrigued by the number—31 women—and by Marcel Duchamp’s involvement. Why these artists? Why this constellation? These questions opened a path into the project.

Hall:Many recent exhibitions focusing on women artists foreground feminist discourse. You deliberately chose a different approach.

Kittelmann:Yes. I felt that the conversation around women artists had become somewhat predictable, even limiting. My intention was not to deny the political dimension, but to shift the focus. I wanted to ask: what happens if we look at the work first, without immediately categorising it? Art should not be reduced to identity. The strongest works are those that resist being neatly framed. Ideally, the moment arrives when it no longer matters whether a work was made by a man or a woman—only that it speaks powerfully to our shared condition.

Hall:You have spoken about the collaborative spirit among the women artists involved in the exhibition. That seems to have surprised you.

Kittelmann:It did. There was a generosity, a willingness to listen and to work together that felt very natural. Competition, which is often taken for granted in the art world, was largely absent. The process became a dialogue rather than a negotiation of positions. It reminded me that collaboration does not weaken artistic strength—it can amplify it.

Hall:Your exhibition Human Brains at the Fondazione Prada marked a significant expansion of what an art exhibition can be. How did that project come about?

Kittelmann:Miuccia Prada approached me with the idea, and I was immediately interested because it was outside the traditional boundaries of art. I have always been drawn to challenges that force institutions to rethink themselves. The human brain is perhaps the most complex subject imaginable—it is where perception, creativity, memory, and emotion converge. Why should art museums restrict themselves to art alone? I believe the museum of the future will be a space where different forms of knowledge intersect.

Hall:Do you see this as part of a broader transformation of cultural institutions?

Kittelmann:Absolutely. The classical model of the art museum—as a neutral container for objects—is no longer sufficient. We live in a time of uncertainty, rapid technological change, and profound ethical questions. Museums must respond to this by becoming spaces of inquiry rather than authority. They should host conversations that cannot happen elsewhere.

Hall:Your projects often feel timely without being topical. Is that intentional?

Kittelmann:Yes. I am wary of exhibitions that respond too directly to current events. Art operates on a different temporal scale. It can absorb the present, but it also reaches backward and forward in time. What interests me is how art can help us navigate uncertainty—not by offering solutions, but by sharpening our awareness.

Hall:Looking ahead, how do you imagine the role of the curator evolving?

Kittelmann:The curator must become less of a gatekeeper and more of a listener. Authority today comes not from certainty, but from the ability to hold complexity. Curating is not about control; it is about care. If an exhibition succeeds, it is because it allows art to do what it does best—open spaces for thought in a world that increasingly demands quick answers.

Hall:Finally, what do you hope visitors take away from The King Is Dead, Long Live the Queen?

Kittelmann:I hope they leave with questions rather than conclusions. If the exhibition creates a moment of attentiveness—if it slows someone down, even briefly—then it has done its work. Art cannot change the world on its own, but it can change how we look at it. And that, I believe, is where real transformation begins.