The British Museum breathes an air of renewed ambition in its rooms. Your new director, Nicholas Cullinantook the reins with a monumental mission: to transform the museum from its foundations, reimagining not only its spaces, but also its identity in a global and digital world. At 46 years old, he seems to have banished the word “impossible” from his vocabulary. “Everything is possible”he states, calmly, almost like a mantra.
His vision is not limited to small modifications; It is a comprehensive reconstruction of an institution that houses more than 3,500 rooms and 8 million objects. This project – in his own words, “the most ambitious museum reconstruction ever attempted”– promises to redefine the role of museums in the 21st century. But this optimism does not ignore the cracks that have begun to show, both in the museum’s walls and in its reputation.
The echo of a recent scandal continues to resonate in the corridors of the British Museum. The theft of some 2,000 pieces from its collection, most of them uncatalogued, unleashed a storm that culminated in the resignation of the previous director, Hartwig Fischer.
During an interview with Financial TimesCullinan described these events as “a curator’s worst nightmare.” However, in the midst of the tragedy, he found a purpose: to lead the recovery of the pieces and digitize 100% of the collection in the next five years, creating what will be “one of the largest digital resources for museums in the world.” .
Fischer resigned in August of last year, shortly after it was determined that thousands of artifacts from his collection were “missing, stolen or damaged.” According to the theft investigation hypotheses, authorities believe that insufficient registration was what made it possible for someone who knew about this to gradually steal them without being detected over decades. Since then, the museum has been under the leadership of interim director Mark Jonesuntil Cullinan was appointed at the end of March.
So far, more than 600 pieces have been recoveredthanks to a meticulous recovery operation – carried out by teams in Greece and Rome – and the commitment of museum staff. At the same time, this scandal served to consolidate transparency and renewal efforts, driven by a clear goal: to restore public trust and reaffirm the prestige of the British Museum.
The place chosen for the interview with the British newspaper, by the journalist Jan Dalleywas Café Deco, located a few meters from the British Museum in London. For the occasion he appeared in the director’s uniform: an impeccable dark suit, with a navy blue and maroon striped knit tie. “The only clue of a more dandy style in his free moments is a beautiful ornate carnelian ring on his left hand,” details the reporter.
Despite the complexity of the theft, and the challenges facing the Museum in the future, Cullinan acknowledged: “Taking into account everything that has happened, I had prepared myself for a much tougher timebut in fact it is the most welcoming place I have ever worked in: it has been a great surprise.”
The British Museum has recently announced a donation of 1,700 pieces of Chinese porcelain, from the Sir Percival David Foundation and valued at approximately 1 billion pounds, which reinforces its prestige, despite the theft scandal. This important contribution underlines the resilience of the institution and its ability to keep its credibility intact.
When asked about his impressions after exploring the museum’s collections, the director expressed that the characteristic that most impacted him was its “depth,” both in the magnitude of the collections and in the accumulated experience. He compared his experience with the one he had at the Metropolitan Museum of Art in New York, where he worked as a curator of modern and contemporary art between 2013 and 2015, stating that The British Museum is at a “quite extraordinary” level.
During his first six weeks on the job, which spent getting to know staff and familiarizing himself with departments, he described the experience as an educational process similar to “going back to college.” He highlighted the variety of research projects and the international scope of the initiatives that are developed beyond the walls of the museum. In his words, the institution can be defined as a “gigantic research organization with an attached museum.”
However, no debate surrounding the museum is more emblematic than that of the Parthenon Marbleswhose repatriation to Greece continues to be the cause of heated political and cultural confrontations. Cullinan, with his diplomatic but visionary style, prefers to talk about collaborations rather than ownership. “Everything starts with a conversation,” he noted, insisting on the need to find innovative answers outside the usual framework.
The issue has become even more urgent after the statements of Lisa NandyUK Culture Secretary, who supports reforms that could allow the return of objects of controversial origin. For Cullinan, the challenge lies in balancing the museum’s universalist mission with an ethical and transparent approach that reflects contemporary values.
At all times he displays his diplomatic and optimistic side: “I think everyone would like to see a really interesting and innovative solution. No, solution is not the right word: response. Something outside the usual framework. I start from the idea that anything is possible, and we will face reality as it evolves. Let’s not start with the idea that certain things cannot be done.”
The art historian, 46, knows Café Deco’s menu well. In the middle of the interview, a waitress approached, and both Cullinan and Dalley ordered their entry. He went for the beet soup, while she chose a broccoli entree with Dutch butter.
Looking ahead, the scale of the museum’s renovation project is simply enormous. Preliminary costs, which are around £1 billion, They talk about a total remodeling that will span two decades. Cullinan focuses on the Western Range, a critical section that represents a third of the exhibition space and will be the first step in this transformation.
The plan not only seeks to revitalize the galleries, but also modernize energy infrastructure and rethink the visitor experiencewith a new welcome pavilion to be built by 2029. Although there is no final design yet, five teams of architects are already working to shape this monumental vision, the execution of which will require creativity, patience and the new director’s ability to attract the necessary financing.
That phase alone will last a decade. When consulted by the journalist of the Financial Times Because of the cost, he nimbly evaded the question: “The difference in this competition is that here we do not ask the architect to present a finished design, but rather we appoint a team to work with it and shape what we really want to do. It is a conversation in which we shape it together.”
“But won’t it be difficult to raise a mountain of money without a plan or a target budget?” Dalley asked. Again, Cullinan responded unperturbed. He cannot imagine that the figure is less than 500 million pounds, because “the magnitude is enormous,” and seems to accept that it could be far superior.
Once the appetizer was over, they ordered the main course: he had a pear and frangipane galette with crème fraîche; and she some apple fritters.
Cullinan’s approach is founded on collaboration. During his time as director of the National Portrait Gallery, he demonstrated that sharing resources and establishing strategic alliances can broaden the horizons of an institution. Under his leadership, the gallery made a joint acquisition of Joshua Reynolds’ portrait of Mai with the J. Paul Getty Trust, an achievement that kept this masterpiece in the UK, at least part-time.
At the British Museum, Cullinan is weaving a global network of collaborations spanning projects in India, Mexico and Nigeria. Additionally, it has invited Mumbai’s CSMVS to curate an exhibition in London, showcasing the institution’s commitment to reciprocity and cultural exchange.
Cullinan himself seems to embody the spirit of effort and reinvention. Raised in Hebden Bridge, in a working family who educated him at home, he found his passion for art on a trip to Venice that marked his life. Since then, his career has been a succession of improbable achievements: from the Courtauld Institute to the Metropolitan Museum of Art and the Tate Modern, to the direction of the National Portrait Gallery, where he orchestrated a successful renovation.
Today, the art historian applies his unwavering optimism and his ability to challenge the establishment in the service of one of the most emblematic cultural institutions in the world. “Anything is possible,” he repeats, and under his direction, the British Museum seems willing to prove it: “The competition seems quite restrictive to me. I like to collaborate, it’s much more interesting. “If we are serious about global culture, we should work together,” he concluded.
