An eight-legged visitor has returned to London’s South Bank to join the birthday celebrations for a rather special institution. Louise Bourgeois’ “Maman” first stalked Tate Modern’s Turbine Hall in 2000 and is one of the most memorable artworks commissioned for the space. 

Tate Modern, which turns 25 this month, is regularly cited as the world’s most popular museum of modern and contemporary art. As well as bringing back renowned works like “Maman” for a new art trail, this week the museum is hosting a Birthday Weekender of art, music and performance. Amidst the preparation, Monocle sat down with the director of the London institution, Karin Hindsbo, to discuss how the museum has changed the city, her favourite places in the building and what’s in store for the next quarter century. 

You were formerly the director of the National Museum of Art, Architecture and Design in Oslo and joined as director here in 2023. What was your perception of Tate Modern before?
Tate Modern has always been a majestic space for celebrating art and artists — and incredibly public. It’s always been a role model of how to transform millions of people into art lovers.

Nothing like Tate Modern existed in London before 2000. How do you think it’s changed the city?
It’s very hard to imagine London without Tate Modern. Obviously, the museum has transformed the city physically. Just look at the South Bank now and at pictures from 25-years ago. Moreover, before the museum opened, there were a significant number of art shows that, out of all European cities, would only show in Paris. That’s certainly not the case anymore. Tate Modern made London a global art capital.

Before Tate Modern existed, modern and contemporary art in London mostly involved the commercial world. Is it fair to say that Tate Modern has allowed different people to be part of that world? 
I think it’s more than fair to say that it has made modern art more accessible. The museum is profoundly public – I think it is one of the most public spaces in the world and especially within the art sector. The Turbine Hall is a ramp that takes you down from the entrance into an exhibition space, where children are free to run around. I can’t think of many other museums that also have that.

Are there particular parts of the space you like to spend time in?
I love the Tanks because they’re just so unique. We have an amazing Giacometti exhibition showing in one of the spaces right now. If I need to take a breather, I will go down to the Turbine Hall, 10 minutes before we open. It’s complete silence. No one is there because everyone is being briefed. Once the staff arrive, the doors will open and visitors will begin to stream in. If I’m having a hard week, I do this and think “this is why we do it.”

The Turbine Hall is a pretty unique place to commission for – is there something about the space that makes people think differently?
The space certainly is unique. The hall is very large so it can be a challenge to work with. Nevertheless, when artists take it on and succeed, it’s transformative. Think of Olafur Eliasson’s “The Weather Project” – it was an immersive work in a vast space that created a meditative vibe. People were lying down! You think of that as an art project now, but back then, there was no such thing. It was completely new and radical – both as an artwork, but also as an experience.

What do you think about the future of Tate Modern? 
First and foremost, we will always be here to celebrate art and artists – that is what we do. It needs to be the most important thing we do. And then secondly, it’s about the people who visit; our friends. Those two things are still very central and they will be in the future too.