‘It’s a dream vessel for me’: Defne Ayas appointed new director of the Van Abbemuseum
Defne Ayas has been appointed director of the Van Abbemuseum in Eindhoven in The Netherlands, replacing Charles Esche who has been in post for two decades. Ayas takes the reins ahead of the museum’s 90th anniversary in 2026.
“It really is a match; it feels like the mothership is landing. It’s a dream vessel for me,” Ayas tells The Art Newspaper.
Ayas was previously the director of the Kunstinstituut Melly (formerly Witte de With) in Rotterdam (2012-17) and has co-curated major biennials such as the 13th Gwangju Biennale in 2021 (Minds Rising, Spirits Tuning) and the 11th Baltic Triennale in 2012 (Mindaugas Triennale).
The Van Abbemuseum, established in 1936, was one of the first public museums for contemporary art in Europe. Its 3,400-strong collection includes works by artists such as Marc Chagall, René Daniëls and Marlene Dumas. It’s programming, meanwhile, “is centered on ideas of social engagement, accessibility, and the intersection of art with political and cultural contexts”, says a museum statement.
The museum says online that “colonial thinking is closely linked with modernity. The Van Abbemuseum wants to break away from this frame of thinking and embrace a decolonial perspective”.
On this topic, Ayas says: “A great deal of work has already been done by the museum in terms of decolonisation. There’s also a strong emphasis on accessibility. The Van Abbemuseum truly functions as a city museum in that sense.
“But what’s equally exciting are the opportunities for collaboration, both nationally and internationally. I’m also thrilled to be working with a collection.”
And how does Ayas see the future role of the museum? “The city is committed to the art of prototyping and to building a world that’s future-proof in the 21st century. I’m dedicated to continuing this spirit of experimentation and invention, an approach that reflects both the innovative energy of the city and of the museum itself,” she says.
“Museums will face many disruptions in the coming few years, particularly with AI. This museum, situated where it is [in a city home to numerous technology companies], offers the perfect environment to test new ideas.
“How will this affect and streamline bureaucratic processes? How can this momentum energise the workforce?”
Ayas was recently at the centre of a controversy around the Istanbul Biennial. In February 2023, the Istanbul Biennial’s advisory board, whose members included the former Whitechapel Gallery director Iwona Blazwick, unanimously chose Ayas as the best candidate to curate the next exhibition, which was due to open in September 2024. But the Istanbul Foundation for Culture and the Arts (IKSV) which administers the show, rejected the board’s recommendation and instead appointed Blazwick.
“I’m glad that long-overdue changes have finally taken place,” Ayas says. “One of the most positive developments is the formation of self-organised forums and initiatives, and the fact that local voices are now being heard by the foundation [IKSV]. The biennial is in good hands with Christine Tohmé as curator.”
