Barbican arts head Devyani Saltzman leaves role after 18 months – The Art Newspaper

Devyani Saltzman, the director of arts and participation at the Barbican centre in London, is leaving her post after only 18 months in the role. According toThe Stage, Saltzman was made redundant. A Barbican spokesperson said that it is “unable to comment on individual staffing matters”.

Saltzman recently announced a five-year creative vision for the venue, saying last June: “At a time of deep international geopolitical and technological change, our ideas-led, seasonal approach allows us tangibly to respond to the world today, through a programme that allows audiences to see the world holistically, in a wholly new light: interconnected, and always evolving.” Last month a new chief executive, Abigail Pogson, started at the central London arts venue, which draws around 1.5 million people annually.

Saltzman, appointed in 2024, was previously the director of public programming at the Art Gallery of Ontario. “Key to her vision for the next chapter of the Barbican is the potential to create a new type of ethos in public institutions that is truly in service to their people and public, in addition to presenting the best of cutting-edge programming,” said a press statement on her appointment. Saltzman was approached for comment.

Saltzman’s departure caps a turbulent time for the Barbican. In 2021, the Barbican Centre carried out an extensive staff reorganisation following the publication of a book that included more than 100 alleged instances of prejudicial behaviour at its venue.

Will Gompertz was appointed director of arts and learning at the Barbican in March 2021, later becoming artistic director. In late 2023, he left the museum after being appointed the director of Sir John Soane’s Museum in London. Gompertz was at the forefront of implementing the organisation’s anti-racism plan.

In 2023, meanwhile, a display at the Curve Gallery at the centre was taken down after Resolve Collective accused Barbican staff of censoring a talk.

According to the Guardian, Saltzman had been seen “as a figure who helped repair trust between the organisation and sections of the artistic community”.