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as very rich and still living cultures, we are not talking about dead objects in showcases. a final thought, and it s a reflection on what this cultural institution is. i mean, it s hugely ambitious. it cost hundreds of millions of euros over the last 20 years to set all of this up. governments in europe right now are strapped for cash. it is very unlikely that projects like this are going to be launched in the nearfuture. and the big money now, it seems, for the development of new cultural institutions is coming from, for example, the middle east, where the gulf states, saudi arabia, are pouring billions of dollars into new galleries, new museums, like the new louvre, the new guggenheim in abu dhabi, at vast expense. does this please you or do you worry that this is a dangerous way in which culture and soft political power are being used
in the 21st century? we are in very good contacts with colleagues in the emirates or in china and looking carefully around. i think it s interesting to see what happens in these countries and.but i believe it is not a convincing idea to export european or western museums worldwide. how a museum works in singapore or in brazil, it depends on the situation in these countries and, but internationally or globally, we have to rethink and to really find what a museum could be, and i think we can learn a lot from different types of museums, especially, for instance, somewhere in the favela in southern america, it s perhaps more influential on museums than the big, new building, iconic
the discussion in germany, the situation, and many things changed in between. so there is much more attention given by the museums, which are in charge to provenance research, and there are much more political interest and support given to restitution in various ways. so, in a sense, she forced the museums to think much harder about these issues. i think it is part of a european discussion generally, so that we cannot exhibit these objects without recognising that the world has changed and that the function of museums and its collections is changing tremendously. what about justice? for you, as an influential voice in this world of curation and museums, is the ultimate form ofjustice to return many of these items to the places where they were made?
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