The Dresden State Art Collections (SKD), one of Germany's most prestigious cultural institutions, is grappling with significant financial challenges as rising operational costs collide with budget constraints at both federal and state levels. Director General Bernd Ebert has confirmed that the institution will need to implement cuts across programming, personnel, and art acquisitions, with fewer exhibitions planned for the coming years.
The financial pressures stem from rapidly escalating costs for personnel, services, and facility maintenance over recent years. Despite stable government funding at state and federal levels, Ebert explained that the institution requires additional resources just to maintain its current operations. "We need more money to maintain the status quo," he stated during an interview with MDR. The upcoming 2027/2028 budget presents what Ebert describes as a "budgetary challenge" for the collections.
The SKD leadership is currently fighting to secure funding for long-term investments, though exact figures for the upcoming state budget allocation remain unclear. Simultaneously, costs for personnel, craftsmen, and other services continue to climb. The financial burden of exhibitions and projects, including the borrowing of artworks from other institutions, has also grown substantially, particularly for loans from the United States.
Visitor revenue, which the SKD heavily depends upon, has become another source of concern. Tourism in Dresden has declined overall, with visitor numbers dropping significantly in the first quarter of 2025. Although numbers recovered later in the year, this downturn poses problems for an institution that relies heavily on admission fees. "A cinema or amusement park naturally has the economic goal of profit maximization. We don't. We already operate at a loss when we open our doors," Ebert clarified.
To address these financial challenges, the art collections are exploring various cost-cutting measures. The institution plans to reduce international loans that generate enormous expenses, especially those from the United States. The SKD has already begun adjusting opening hours and increasing admission prices, though Ebert emphasized this doesn't mean the institution aims to generate profits.
Staffing adjustments are also underway, though the approach focuses on strategic reduction rather than wholesale cuts. "We are not trying to cut positions or lay people off, but rather to generate additional positions through third-party donors and support that make projects possible," Ebert explained. However, temporary staff positions are particularly affected by the cuts. The collections currently employ over 400 people, according to Ebert.
The programming scope will inevitably be reduced, with the SKD unable to maintain its previous schedule of dozens of exhibitions per year. "That's a cycle we won't be able to afford in the long run, not even in terms of staffing," Ebert told MDR Culture. However, he views this constraint as potentially beneficial, questioning whether "a limitation, a focus, is really a disadvantage." He believes the institution can develop exciting new programs specifically focused on presenting the SKD's permanent collection.
Despite the financial constraints, Ebert maintains an optimistic outlook about the institution's future. The director, who has led the State Art Collections since May, expressed surprise at what the institution has accomplished in his first six months despite all restrictions. He credits this success to his staff, who demonstrate "unique identification with the collections." Current major exhibitions, including works by William Kentridge and "The Blue Swords" showcase of Meissen porcelain from the GDR era, continue to demonstrate the SKD's international appeal and cultural significance.
Ebert remains confident that the SKD can maintain its prominence locally, nationally, and internationally, even while operating under tighter financial constraints. The institution continues to honor existing contracts and carry out planned projects, though smaller initiatives are being postponed. This strategic approach aims to preserve the collections' core mission while adapting to new economic realities in the cultural sector.
