The Kunsthaus Zürich continues to report losses – despite increased ticket revenues

With a total of 513,162 visitors, the Kunsthaus Zürich enjoyed strong public interest. Ticket sales totaled approximately 5.5 million Swiss francs, an increase of almost one million compared to the previous year: by exactly 977,939 Swiss francs. This makes the Zurich institution one of the most visited museums in Switzerland.

This is somewhat encouraging, as admission prices had been increased. This was a decision taken as part of the austerity measures implemented last year. Switzerland's largest art museum hit the headlines in 2024 due to deep red figures. Admission revenue declined, and the annual financial statement deficit amounted to around 1.5 million francs within twelve months. The debt of the Zurich Art Society, the Kunsthaus's governing association, grew to 4.5 million francs.

A major reason for the shortfall, however, was the Kunsthaus expansion. Doubling the size of the operation resulted in much higher operating costs than originally estimated. Personnel and operating expenses increased by exactly CHF 1.5 million. This amount could not be offset by the substantial increase in municipal subsidies of CHF 4.5 million following the opening of the expansion. The city contributes CHF 13.3 million annually, almost half of the Kunsthaus's total income of an estimated CHF 28 million.

The annual deficit is once again around CHF 1.5 million. Operating costs appear to be continuing to rise. This puts the Zurich Art Society even deeper in the red, at CHF 6 million. It will take several more years to achieve the Kunsthaus's goal of a balanced budget. However, in 2024, fundraising and partnerships generated CHF 3.8 million, approximately CHF 1.7 million more than the previous year. Membership fees remained stable at CHF 2.6 million.

One of the highlights of last year was the retrospective of performance artist Marina Abramovic . It was the first exhibition of truly international appeal since the opening of the Kunsthaus's extension, the new Chipperfield building, in autumn 2021. However, this show attracted only 66,000 admissions. These are not exactly breathtaking figures. By comparison, the first presentation of the Bührle Collection at the Kunsthaus in 2010 attracted around 100,000 visitors. The Picasso show that same year generated twice as many admissions.

Contemporary art still has a relatively difficult time compared to classical modernism, and Picasso is a very big name. Going even further back in the history of Zurich's art institution at the Pfauen, one finds the magic number of 160,000 admissions for a Cézanne exhibition in 2000. And with Klimt in 1992, the Kunsthaus even counted more than a quarter of a million visitors.

That the golden eighties are over is no argument, however. That was when the concept of the blockbuster exhibition was invented. Today, one often hears that paintings by big names are no longer so readily available. However, just last year, around 260,000 art lovers visited the Fondation Beyeler: a Matisse exhibition was on display. With Edward Hopper in 2020, the museum in Riehen near Basel attracted 255,000 visitors, and with the young Picasso of the Blue and Rose Periods in 2019, over 330,000 admissions were recorded.

The Kunsthaus has had a strong holding in the field of classical modernism, at least since the Bührle Collection . Perhaps a major special exhibition in this area would be a good idea again. Unfortunately, one with a guiding star is not in the cards this year.