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The Guggenheim Foundation's global network of museums

What does Helsinki need? Bread and circuses, yes, but at what cost the latter?

In January – after a study that cost the Finns a couple of million euros – the Salomon R. Guggenheim Foundation (est. 1937) indicated that it was favourably inclined toward the construction of a new art museum, bearing its name, in Helsinki. The leaders of Helsinki city council are aiming to make a positive decision as soon as possible.

The cost of the building, whose site adjoins the Presidential Palace in central Helsinki, is estimated at 130–140 million euros, with design costs of about 11 million euros. Unlike in the case of Berlin, no existing building is considered suitable; instead, an architectural dream must be realised, with plenty of wow-factor.

Its mere maintenance costs will be around 14.5 million euros a year. It has been estimated that the Helsinki Guggenheim’s income could be 7.7 million a year. In addition, a 20-year Guggenheim licence costs 24.6 million euros.

The project has provoked widely differing reactions. Proponents of the project believe that the Guggenheim brand would bring thousands of new visitors to Helsinki and that half a million people would visit it each year. Opponents doubt this, speak of a ‘Guggenburger’ franchising concept and of the fact that not even the existing art museums of Helsinki are particularly crowded.

The odd thing is, however, that the basic demographic differences between Helsinki and, say, Bilbao – where the Guggenheim museum has been a big success – are constantly ignored in the discussions: the population of Spain is almost 50 million and another 50 million visitors go there every year, while the corresponding figures for this most northerly part of Europe are five million inhabitants and visitors.

In Bilbao, moreover, there was no museum of contemporary art before the advent of the Guggenheim; Helsinki, on the other hand, opened Kiasma, a new museum of contemporary art (165,000 visitors in 2010) in 1998 and the neighbouring city of Espoo its Emma museum of modern art (82,000 visitors in 2010) in 2006.

Economic prospects on any level now offer little hope. The Finnish government, in the shape of the ministry of culture, has just cut grants to state-aided museums by three  million euros – the Museum of Cultures in Helsinki, for example, is closing its doors, and some 40 of the museum staff elsewhere will be sacked. The government is not promising any money to the Guggenheim.

How, then, to fund an annual deficit of 7 million euros? Finland does not have a great supply of art-minded millionaire sponsors, and no one has so far made any concrete offers on how to fund this project.

The Guggenheim Foundation itself is not taking any financial risks with this project. Neither has it announced in any detail what sort of art will feature in the museum’s temporary exhibitions.

People who live in the city are more preoccupied with, for example, the shortcomings of the health services: there are waiting lists for everything, often of many weeks, and the old university children’s hospital has outgrown its present space. There are cuts and shrinkages yet to come in the spending structure of  the country as a whole and of Helsinki – civil servants themselves estimate that the city’s budget is not sufficient to cover even the upkeep of basic services.

To judge by the public debate, the deep ranks of Helsinki taxpayers do not want a new monument, one for which it will be necessary to pay – in addition to maintenance – more than a million euros a year to an American brand for the mere use of its name, for more than 20 years.

Do the people of Helsinki wish to begin to pay additional taxes for the revival, yet again, of the age-old dream of guaranteeing Finland ‘a place on the world map’, in a situation where economic difficulties are a matter of everyday life for increasing numbers of them? (We believe, incidentally, that Finland already has an appropriate place on the world map.) Will their opinion be asked, or heard?