Varinia Brodsky and her departure from the Museum of Fine Arts: "For a more conservative sector, I was an uncomfortable figure"

Varinia Brodsky Zimmermann (49) had an intuition that her contract as director of the National Museum of Fine Arts—a position she took on in 2023, making her the first woman to hold that role since the return to democracy—might not be renewed. Nevertheless, she harbored some hope. "Many people, from different sectors, would approach me and tell me that I had to continue, that the work being done was very powerful, that the museum had taken off and was shining, that the number of visitors was historically remarkable," she says in conversation with Culto. "For political reasons, one can intuit that this was going to happen. Since the government of José Antonio Kast was established, of course, it was a possibility. It was on August 17 that I was notified. I was called to a meeting with the acting National Director of the National Heritage Service. Basically, it was an administrative act where I was informed that my contract had been decided not to be renewed," she recalls. In national institutions under the National Heritage Service, directorships have a three-year period, with one renewal to complete a maximum of six years of management. "At three years, an evaluation is done or should be done," Brodsky explains. ―In your case, was that evaluation done? Were you informed of it? No, I was not informed. There was no instance of a somewhat deeper meeting. Unfortunately, I did not have the opportunity to speak with the minister, nor to meet with him. I think it would have been good, given the level of the position. I can understand that there are programmatic differences, that is legitimate, but I would have expected an instance that had to do with the level of the position and with real, recognizably good work. So, that frustrated me a bit. I believe that beyond ideologies or differences one may have, dialogue and conversation should always be the means, and also recognition and gratitude toward people who have done serious and committed work. ―Do you think the treatment was ungrateful? Yes, it was ungrateful. ―Did you have the opportunity to speak with other authorities at the ministry, beyond the acting director of the Service? I had the opportunity to speak with Undersecretary Emilio de la Cerda, but because we knew each other before, we have a relationship of mutual respect, but I would have expected a formal meeting with the highest authority, to be able to talk about the museum's management and close my tenure on good terms and with the respect it deserves. ―In these months of government, between March and August, were there meetings? No. The undersecretary was the only person with whom I established conversations. ―And were there attempts on the part of the museum, on your part? Yes, there were attempts. ―Was this something political? Probably. Her departure 09 October 2026 Interview with Varinia Brodsky, former director of the National Museum of Fine Arts Photo: Andres Perez Andres Perez Brodsky's departure filled the headlines on September 10, the same day as the opening of the exhibition Luis Vargas Rosas. A Museum at the Pace of the Contemporary (1946–1970). Vargas Rosas was director of the MNBA for 24 years. "This is the first time that a directorship contract has not been renewed. There have been very long directorships. This is the first time a contract has not been renewed despite good management. That is why I would have wished for the opportunity and the instance to talk and to be able to account for what has been done and is being done," she reflects. The news of her departure crossed borders. From the Reina Sofía Museum and from other international cultural institutions, expressions of gratitude for her management and good wishes reached her. "These are institutions and people with whom one established ties. One of the challenges I had ahead was to advance so that it would become a reference point in Latin America. In my opinion, it was a museum that was extremely closed off." In Chile, Cecilia Vicuña published a video thanking her management. "Today Chilean artists celebrate Varinia Brodsky Zimmermann (...) she will be remembered as an admirable and legendary director," said the National Prize for Plastic Arts winner. "I have to thank Cecilia Vicuña very much, specifically, because she took the space and time to make a very loving video, of very deep recognition. Also other artists and curators with whom I worked at the museum, always from this line of strengthening the visibility of women. That was reciprocated. For me it was very surprising insofar as I was not working for that recognition. It was very beautiful to see it, to confirm that it really has been work in which you have contributed and that has been acknowledged," she reflects. Before assuming the directorship, Brodsky was already working at the museum, as artistic coordinator since 2022. In 2023 she took the position after a public competition, following the resignation of Fernando Pérez Oyarzún. ―How did the museum's work environment take the news? I think that for the majority there was sadness, there was concern about the uncertainty, not knowing what comes next, but I would say it was sad, because we managed to advance toward quite robust work as a team. The collection exhibition that exists today is a reflection of that, that a curatorial table was set up to address this new script. "They gave me a couple of very nice farewells. All very heartfelt. I think one of the things I value about my management is having managed to offer or invite the teams to work together, people who do not necessarily have a space of recognition for their knowledge, who in many cases are people who have been working at the museum for a long time. They were able, in essence, to have a space of voice, and I think that is tremendously valuable. I think there was a feeling of injustice, in general, on behalf of a museum that is at a very good moment." "That is why, beyond political views, there is a public institution that is doing very good work, and that is not my merit alone, it is the merit of an entire team that accompanied a project, that received it very well from the first minute and we managed to propel the museum that exists today." ―Do you think there is a lack of vision for cultural institutions? I think there is an underestimation of institutions. Above all of the importance that cultural institutions and the artistic sector imply and what the work means for the safeguarding and dissemination of heritage. These are long-term matters. That is to say, the investment that must be made in culture at a global level requires long-term projects for that to yield results. 09 October 2026 Interview with Varinia Brodsky, former director of the National Museum of Fine Arts Photo: Andres Perez Andres Perez From León Ferrari to "framed paintings" Brodsky's management had historic figures, with 517 thousand visits in 2025. The focus was on highlighting women and LGBTQ+ artists, both historical and contemporary. Nevertheless, her tenure was not without controversies. The most recent was the cancellation of the exhibition by Argentine artist León Ferrari, in June. The work began after the signing of an agreement with the Museum of Fine Arts of Argentina. However, it was suspended due to lack of budget. The project was financed by an annual agreement with the Ministry of Cultures. "Months started passing and it didn't come through, the agreement stalled. Then they notify us that there is no money, so we found ourselves obligated to take it down. The museum did not have its own resources to carry out that exhibition and we had a portion financed, but it was absolutely necessary to have those other resources. We had to take that measure, which was terrible," explains the former director. ―How does this leave the museum at the international level? It leaves us in a very bad position, because we lose a lot of credibility at the institutional level. It is understood, or should be understood, that a national museum of these characteristics carries out work with a commitment that has ways and means of being fulfilled. We came out very badly, because beyond a change of government, national institutions and museums have a permanent role. That was very damaging for us and for me personally as director, because explanations have to be given. Also, evidently, the frustration of not being able to achieve it after all that time of work. These are projects that require time; this is not programmed in view of an incoming government, it is programmed in view of an editorial vision that I was trying to carry forward. When the controversy erupted, the minister of the portfolio, Francisco Undurraga, assured Radio Bío Bío: "Unfortunately, the resources were not found. I, personally, have not spoken about this matter with the director of the MNBA." ―Was there conversation? No, we never had occasion to meet to talk. The artist's work would occupy the main hall of the building, the Matta Room, which now, after the lack of an exhibition, remains closed. The exhibition Struggles for Art also generated debate, due to questions about the "framed paintings," as well as criticism of the Janet Toro exhibition, Radical Intimacy. Overflowings and Gestures. "At the level of the directorship, at the level of the team, of course those were difficult moments to deal with. Above all, I would say the one related to Struggles for Art, which was the issue of the frames, because this was an exhibition that had opened before I assumed the directorship. It was very surprising that more or less a year and a half later, this arose indicating that the director was being negligent with the country's heritage and that the curators were putting certain works at risk; also not understanding what critical museology implies today, which is something that all museums with a certain contemporary outlook are developing at a global level," she recalls. "So, I think there was a misogynistic view in this regard. I think that for a certain more conservative sector, I was probably an uncomfortable figure, because I represent other things from what had been being done at the Fine Arts museum," she adds. Despite everything, she sees the positive side of public debates. "Situations like these caused many people to come to the museum, for example, to see with their own eyes what they were talking about. That is extremely interesting." The halt to the Master Plan When speaking of lack of resources, Brodsky puts a sensitive issue on the table: the paralysis of the Master Plan. Designed by the architect and former director Fernando Pérez, it contemplated three stages of execution. The first was successfully carried out between 2023 and 2025 and included the restoration and conservation of the central hall and the perimeter of the second floor. However, the second and third, which included the recovery of the amphitheater, no longer have resources. "Unfortunately, that funding, on account of the cuts, is withdrawn and we are left with very important works for the museum's infrastructure pending," she reveals. "It surprised me a lot that the cut to the museum's infrastructure was taken away, because I think there is a cross-cutting understanding that heritage and heritage buildings are a priority," she adds. The void The 2027 Budget Law project contemplates a decrease of 10.1%. How could the cuts affect the Fine Arts museum? "I suppose that the non-renewal of my contract is going to have a projection of seeking a person with the experience and common lines, in terms of content, with the government. Which means, I imagine, that this will also signify a reinforcement in budgetary terms. Otherwise, it would be even more absurd not to have renewed me. I hope that is the case, I wish the Museum of Fine Arts the best." "My relationship is not personal with the museum. I am part of a system of people who with much conviction have and will continue working for the development of culture and, in my case, the visual arts. I am totally sure that it is a sector that requires significant investment. I think that hopefully the new directorship manages to give continuity to certain work of openness that we have developed, I hope the publics continue to feel the museum as a space of their own, that all the communities, groups and people for whom we opened; not only participation, but feeling the place as your home. I think that was felt, I hope it continues to be so." 03/09/2025 - VARINIA BRODSKY - Photo - Mario Tellez / La Tercera MARIO TELLEZ The acting directorship will be assumed by María Soledad Castro Martínez, who is currently an advisor to the cabinet of the national directorate of the National Service of Cultural Heritage. She was also seremi of Cultures for the Ñuble region between 2018 and 2022. Officially, Brodsky left the position on September 30. These days, she has been going through different states of professional and personal reflection. "It has been twenty years of constant work. With much conviction to contribute to the development of the visual arts. But one of the things that has given me much strength and much peace is the support I have received, not only from the artistic sector, but also from citizens," she reflects. ―Would you run again for the directorship? It could be, I don't rule it out, but at this moment it is difficult for me to project anything, because it is hard work, which requires a more integral view on the part of the institutions, which even has to do with Finance. I do not understand how institutions of this importance and scale have such precarious budgets, even compared to other institutions that do not safeguard the country's heritage. I think the matter of heritage and collections is weighty. In her professional future, she sees herself in academia and independent projects. "I prefer to give myself a space of greater freedom, greater reflection, and pause my institutional relationship a bit, which has always been like my focus." This pause also permeates the close environment of the former director. "Well, my daughter (12 years old) is happy (laughs), because it means spending more time with her. Families are also affected when their mother dedicates one hundred percent to a job. I like having the space and time to be more present for her. To aim for a better quality of life in that sense," she says. By way of closing, she reflects: "Life is made up of so many parts, I have given my all. It is a space that for the first time I face: the void, which seems to me, in symbolic terms, important to be able to live, process, and understand well how to continue. It is a void, but a positive void, it is not the abyss."