5 Questions – Alicia Holthausen

CH When Kunsthalle unterwegs was first conceived, it responded to an unexpected change in circumstances. At what point did you realise that it could become more than a temporary solution - and perhaps even a new way of thinking about what a Kunsthalle can be?

AH Kunsthalle unterwegs (Kunsthalle on tour) is a modification of our interim programme, which was originally planned to run from summer 2026 to summer 2029 during the renovation of Kunsthalle Düsseldorf. This interim programme was entitled Die Kunsthalle schließt. – Willkommen zum Opening! (The Kunsthalle is closing. – Welcome to the opening!) and we had set ourselves the aim of not simply disappearing whilst our building was out of use during the renovation, but rather, quite the opposite, of maintaining a presence throughout the city and visiting all 50 districts of Düsseldorf with our programme. Right from the start of the planning process, it was clear to us that we didn’t want a permanent interim venue somewhere on the outskirts of the city, where we would then be more or less forgotten for the three-year period of renovation, but rather that we wanted to remain highly visible and visit people where they are – in their neighbourhoods, in squares, in parks, in nature and in urban spaces. As we moved on to the detailed planning stage, we became increasingly aware of the vast scope of possibilities this concept offered, and just how much it would help us to approach our desire to open up Kunsthalle, meet new people and reach new audiences. In January 2026, however, the city of Düsseldorf unfortunately decided to postpone the renovation of Kunsthalle by three years, meaning that the interim programme was suddenly no longer necessary. However, as we had already put a great deal of work into the programme, many partners and artists were already involved, and the first collaboration was due to start as early as April 2026, we decided to go ahead with at least some of the projects under the new title Kunsthalle unterwegs after all.

CH The projects in Kunsthalle unterwegs take place in very different settings across Düsseldorf, from parks and forests to public squares and other urban spaces. How do you decide which location becomes a meaningful partner in a project, rather than simply a venue?

AH Some of the locations for the projects were chosen by us, whilst for others we were invited there by cooperation partners. It was important to us to work in a lot of unusual locations, places that even the people of Düsseldorf might not yet be very familiar with, and which we could (re)discover together with the artists and visitors. The projects have therefore all been developed specifically with these locations in mind. We asked ourselves what each location brings to the table, what defines it, and what it tells us, and we developed corresponding concepts and invited artists accordingly. For example, we developed the exhibition concept Ecologies in Motion for Malkastenpark in collaboration with the Künstlerverein Malkasten, in which we explore the park as a social, aesthetic and ecological space, and the artists’ works engage with and respond to the different characteristics and conditions of this historic park. At the Jan-Wellem Fountain and in the Grafenberg Forest, we organised The Forest as Echo, a sound and performance festival in which the artists connected with the sounds and noises of the forest and the fountain – a truly magical experience. We have also recently opened an exhibition at Suitbertus Lake, which takes place on, by and around the lake and invites visitors to spend time there and reflect on the importance of green spaces and the creation of shared spaces in the city. So none of the locations is simply a venue; rather, they are all active participants in the concepts.

CH Many institutions are currently looking for new ways to connect with audiences beyond the museum building. What do you think can only happen when contemporary art leaves the white cube and enters everyday public space?

AH There is a great deal of chance, many encounters and plenty of interaction when you are out and about in public spaces rather than in the ‘White Cube’. Visiting an exhibition space is always a conscious decision; hardly anyone stumbles upon one by chance. In public – or at least semi-public – spaces, people happen to pass by; they may be puzzled, intrigued or amazed; they stop and take a look at what’s going on. They strike up a conversation, take something away with them or contribute something. But even when they come there intentionally, they are often different people from those in the exhibition space. Neighbours come along to see what’s happening in their neighbourhood, residents of the district, people from Düsseldorf wanting to discover a new place, and people who have heard about the project through our partners. We have already very much appreciated the value of the encounters and exchanges we’ve had over the past few months at the project sites – encounters that would never have taken place in a conventional exhibition space.

CH Collaboration seems to be at the heart of Kunsthalle unterwegs, bringing together artists, local initiatives and partner institutions. As a curator, how do you balance a clear artistic vision with the openness that genuine collaboration requires?

AH Openness, flexibility and a willingness to communicate are probably the most important factors. You cannot approach the project with an overly rigid vision and expect everything to be implemented exactly as planned. This doesn’t work in the exhibition space either, as there are always unforeseen circumstances that make it necessary to adapt and rethink your approach. Outdoors, however, there are many more factors that influence the project: nature, local residents, artists, partners and local authorities, all of whom have their own different needs and requirements for the project, which must be reconciled. You have to be flexible, creative and, above all, hands-on, whilst ensuring that the best possible version of the artistic vision is realised. Fortunately, we’ve been very lucky so far with our artists and partners, who’ve all wanted to make the most of it and have worked very hard alongside us to tackle all manner of conditions and obstacles, be it stormy weather, nature conservation requirements or intense heat.

CH Looking ahead, do you see Kunsthalle unterwegs as a chapter that will end once the renovated Kunsthalle reopens, or has it fundamentally changed the institution's identity in a way that will continue to shape its future programme?

AH For now, we’re hoping that we’ll be able to continue running Kunsthalle unterwegs beyond 2026. We had also planned further collaborations for 2027 and 2028 as part of the interim programme, but now that the Kunsthalle is not being renovated and we’re also running a programme at the Kunsthalle on Grabbeplatz, we won’t be able to carry out all these additional projects. In 2026, we’re currently juggling a lot at once: seven Kunsthalle unterwegs projects running alongside the programme at the Kunsthalle. Given the short notice, there was no other option – in fact, we’ve already had to cancel quite a few things – but it’s an enormous double burden on the team at the moment, which we cannot sustain in the long term. Added to this are the huge budget cuts we’re currently facing; naturally, this too will have a major impact on any future Kunsthalle unterwegs programme. However, we must say that these projects are so valuable to us in terms of their contents and artistic significance and so central to shaping our identity, our vision and our self-image as an institution at the moment that it would truly be a tragedy if we were unable to continue them.