As Munich’s Gasteig celebrates its 40th anniversary, the city’s largest centre for arts and learning finds itself both in transition and renewal. Home to the Munich Philharmonic, the Volkshochschule adult education centre, the Munich Public Library and the University of Music and Theatre, the Gasteig has long embodied Munich’s belief that culture should be open to all.
As its historic home prepares to be extensively renovated, the institution has moved further down the Isar river to its temporary site, Gasteig HP8 – a place where industrial heritage meets new cultural energy. Managing Director Stephanie Jenke, who has guided the Gasteig through this pivotal period, speaks to Juliette Barber about the meaning of space and the future of cultural participation
The Gasteig celebrates its 40th anniversary this year. How has it evolved since its opening, and what does it mean to Munich today?
The Gasteig opened in 1985 and, from the very beginning, became Munich’s most important cultural centre. It brought together some of the city’s leading institutions: the Munich Philharmonic Orchestra, the Munich Public Library, the Volkshochschule adult education centre, and the University of Music and Theatre. That was a visionary idea at the time: to unite culture, learning and public life under one roof.
For nearly four decades, the Gasteig has been a place of ideas and encounters – a truly public space, open to everyone. Every Munich resident has their own memory of it. Before the relocation, due to the renovation, we welcomed over two million visitors a year and staged nearly two thousand events a year. The Gasteig has always stood for the idea of “culture for everyone”, and that remains our guiding principle today.
When the Gasteig moved to the interim site, Gasteig HP8, during the pandemic, it was a major shift both in location and context. How have audiences and artists adapted to this new environment, and what has surprised you most about this transition?
The Gasteig HP8 has a completely different character – industrial, more experimental and accessible – but the central idea is the same: bringing cultural institutions and people together. Of course, we have fewer spaces and smaller halls, but with the new surroundings there is a huge inspiration to try new things.
The Isarphilharmonie offers world-class acoustics, and our open Central Hall has become a daily meeting place for everyone. It’s an open, accessible space – you can come in for a coffee, join a dance class or attend a concert. That’s very much in the spirit of the original Gasteig.
What kind of new ideas or formats have you been exploring there?
The Gasteig HP8 gives us the freedom to test new participatory formats. We run community dance projects for all ages, festivals that focus on social themes and educational programmes that encourage active participation.
A recent example was our Mental Health Arts Festival, a five-day event with concerts, discussions, performances and workshops exploring how the arts can be helpful for everyone’s mental health. It attracted more than 4,500 visitors, which showed there’s a real appetite for this kind of programming.
How have artists and audiences responded to this new environment?
It’s been wonderful to see how the surroundings affect creativity. The Munich Philharmonic, for instance, has used the Gasteig HP8 to expand its offerings, such as late-night concerts, new programmes and more relaxed, informal formats that appeal to younger people.
Audiences, too, feel comfortable here. They can wander between spaces, see a concert, go to the library or just sit and talk. It’s a place that feels alive.
You mentioned the Isarphilharmonie’s acoustics – can you tell us more about that space?
The hall was designed by Yasuhisa Toyota of Nagata Acoustics – the same acoustician behind Hamburg’s Elbphilharmonie and Los Angeles’ Walt Disney Concert Hall. It’s a classic “shoebox” design: entirely wood lined and intimate in atmosphere. The acoustics are exceptional – we made no compromises there, because keeping our audience and artistic quality was crucial.
From the outside, the Gasteig HP8 retains its industrial shell, but when you step inside, it feels like entering a different world – warm, immersive, almost like a cocoon. It works beautifully for classical music, but also for world and pop music.
The renovation of the original Gasteig has now been delayed until 2034. How does that shape your long-term plans?
We see this extended period as both a challenge and an opportunity. The Gasteig HP8 has become a kind of laboratory – a place to experiment, test formats and understand what audiences need today.At the same time, we’re preparing for the future Gasteig. The architectural plans are already advanced, and all institutions of the Gasteig were involved in the design process. The new Gasteig will emphasise openness – literally and symbolically. There will be a huge glass façade facing the city, creating light-filled public spaces that invite people in.
We’re also giving education a stronger focus – around 900 square metres dedicated to learning and participation. This reflects our belief that culture and education belong together.
You’ve spoken passionately about the Gasteig’s social role. How do you see its responsibility to Munich as a cultural space?
The Gasteig is not just a venue – it’s part of the city’s social fabric. We have a responsibility to foster inclusion, diversity and dialogue. Culture is a way to listen, to learn from one another and to defend democratic values.
We want to be a platform for the urgent issues of our time – from diversity and sustainability to mental health. That means listening to the public, creating opportunities for participation and offering space for discussion
and exchange.
And looking ahead to the new building – what are your hopes for the Gasteig of the future?
Munich is a growing city – from 1.6 million people today to more than 1.8 million by 2040. As the city grows, the need for spaces like the Gasteig only increases.
The renovated Gasteig will continue to be a place where art, learning and community meet. Its openness to the city, both architecturally and socially, will symbolise what Munich stands for: creativity, connection and curiosity. In short, considering the growth of the city, Munich needs even more of the Gasteig.
You’ve been with the Gasteig for more than 25 years. How would you describe your personal journey?
I’ve learned something new every single day. My work has always been deeply connected to people – artists, technicians, educators, audiences. Over the years we’ve faced new challenges: shifting cultural expectations, the pandemic and now the move to the Gasteig HP8. Each stage has been a lesson in adaptability and collaboration. For me, the greatest motivation is the spirit of the arts – that sense of renewal and discovery. It still fascinates me as much as it did on my first day.
What have you brought personally to the role of Managing Director?
I see myself as a connector – building networks and new partnerships, especially in times of limited resources. My goal is to make our open spaces even more accessible: to offer free programmes, reach people who may feel excluded and strengthen the Gasteig as a “third place” – not home, not work, but a place where everyone belongs.
The Gasteig is part of a wider European cultural network, which includes art centres in Rome, Brussels, Paris, Lisbon and many other cities. What are the key challenges you’re all discussing?
Across Europe, we share similar concerns: reaching new audiences, understanding those who don’t yet participate in culture and staying relevant.
We talk about community building, accessibility and courage – being bold enough to address difficult social topics. And we agree on one thing: cultural spaces must be welcoming, flexible and open, not just to art but to everyday life.
Last month you began the Gasteig’s 40th anniversary season – can you share how you are marking this milestone?
We’re celebrating not just a single event, but a whole season – to show the diversity of what the Gasteig offers. We began in mid-October with PLAY, a new installation in Hall E by Munich artist Ayzit Bostan. It’s a giant reflective disco ball which is playful, but also symbolic: it mirrors the city, our society and ourselves.
Our motto this year is “Celebrate Culture”. We’ll have concerts, children’s programmes, parties and dance events under the disco ball, and a “40 Hours of Gasteig” festival next summer – they are all open to the public and free of charge. It’s our way of saying thank you to Munich and inviting everyone to join in.
Looking back, are there moments that best capture the spirit of the Gasteig?
Two come to mind. One was a typical day in the old Gasteig – a book fair, theatre, music and readings – all halls and foyers were full of people, a perfect mix of different audiences. The entire building was alive, and I remember thinking: this is exactly what it’s meant to be – a vibrant, open space for everyone.
The other was 8 October 2021, when we opened Gasteig HP8 during the pandemic. For the first time in nearly two years, we could celebrate together – two thousand people, live music, no restrictions. You could feel what we had missed: the physical, shared experience of art. It reminded us how essential culture is to human life.
And finally – what makes the Gasteig special?
Its openness. It’s not just a place for culture – it’s a cool place, an inviting one. That’s why people come: because it’s relaxed, welcoming and inspiring. That’s the Gasteig spirit.
