The Espoo Museum of Modern Art (EMMA) in Finland is set to chart a new course with Krist Gruijthuijsen at the helm as its next director and CEO; the appointment, announced earlier this month, signals a vibrant future for the institution. **What excites Gruijthuijsen about working with EMMA?** He emphasizes EMMA’s strong geopolitical context and forward-thinking attitude.
Between 2016 and 2024, Gruijthuijsen directed the KW Institute for Contemporary Art in Berlin. His curatorial portfolio includes shows on Hanne Lippard, Ian Wilson, Adam Pendleton, Ronald Jones, Hiwa K, Willem de Rooij, Beatriz González, David Wojnarowicz, Hreinn Friðfinnsson, Hassan Sharif, and Leonilson.
Nordic nuances
Gruijthuijsen’s appointment could mark an exciting shift, considering his experience in Berlin and his familiarity with the Nordic art scene, having studied in Stockholm.
When asked about his excitement regarding the new role, Gruijthuijsen stated, “EMMA is located in a strong geopolitical context, which offers many possibilities and opportunities. With its international multidisciplinary programme and prominent architecture, the museum has developed an established name for itself, both nationally and internationally, over the past decades. It is especially this forward-thinking attitude that sparked my interest. I am looking forward to learning from the region and the various collections the museum oversees.”
Finland’s distinct identity
Addressing potential surprises for those unfamiliar with the Scandinavian art scene, Gruijthuijsen clarified the geographical nuances: “Actually, Finland is not officially part of Scandinavia but part of the broader Nordic region and that’s exactly what’s exciting to me.” He added, “I would not be able to generalize the Nordic art scene as a whole as every country has its own particularities. Finland in particular has a distinct cultural identity shaped by its layered history between Sweden and Russia. It’s truly a culture of its own, and that complexity is reflected in its artistic landscape in fascinating ways.”
Berlin’s artistic evolution
Reflecting on his tenure as director of the KW Institute for Contemporary Art in Berlin between 2016 and 2024, Gruijthuijsen observed the city’s shifting artistic landscape. “Politically, Berlin changed dramatically over the course of this period, which greatly impacted the local art scene and its production,” he stated. He noted that the Berlin he encountered in 2016 was “eager to establish a strong cultural scene,” providing fertile ground for growth.
However, he acknowledged the challenges that arose: “Unfortunately, due to COVID-19 and the ongoing wars in Ukraine and Gaza, the city fell into a depression. I still find Berlin a unique place for artistic expression, but its energy needs to be rebuilt, which is difficult under the current situation.”
Honoring a legacy
Gruijthuijsen succeeds Pilvi Kalhama, EMMA’s longtime director. “Pilvi’s tenure has been foundational in shaping EMMA into the institution it is today,” Gruijthuijsen commented, acknowledging Kalhama’s impact. “The incredible growth the museum has undergone both in its programming and institutional presence is credited to her leadership.”
He further emphasized the unique strengths of EMMA: “EMMA’s unique profile, which brings together both contemporary and modern art and design, combined with its long-lasting collaborations with major collections, offers a rare and inspiring foundation to build upon.”
Looking ahead
As he steps into his dual role, Gruijthuijsen shared his initial approach to leading EMMA: “First and foremost, I want to take time to explore and learn from the region and the many collections that EMMA oversees. Only through that process can I begin to define directions more clearly.” He acknowledges EMMA’s prominent position as the largest art museum in Finland, combined with its relative youth, allows for “a lot of possibilities and potential to develop the museum further.”
Regarding his CEO responsibilities, Gruijthuijsen affirmed, “I am responsible for the complete operation, including its business side. I believe it’s important to know every angle and detail of an institution in order for it to grow and develop further.”
Currently, Gruijthuijsen is also developing a Paul Thek retrospective for Kunsthaus Zürich. Thek’s influence on generations of artists is undeniable. This exhibition aims to present an extensive overview starting from the 50s all the way up until his death in 1988.
