Eva Respini, interim co-director of the Vancouver Art Gallery (VAG), emphasizes a focused dedication to art in her leadership approach, advocating that museums prioritize supporting artists and providing a platform for their work. Her stance comes amid increasing pressure on art institutions to engage with broader political and social issues, including calls for activism around conflicts such as the war in Gaza.
Respini, who shares leadership responsibilities with co-director Sirish Rao, has maintained a curatorial-centered vision as the gallery navigates a period of recovery and renewal. Following the postponement of plans to construct a new building in 2024 and the departure of former executive director Anthony Kiendl, the VAG was compelled to reduce its staff by nearly one-third to stabilize its finances. Now entering her second year, Respini has overseen efforts to restore the gallery’s budget while launching a newly installed permanent collection on the third floor of the historic former courthouse building the gallery has occupied since 1983.
The installation offers visitors a chronological exploration of 20th-century and contemporary Canadian and international art, with particular attention to British Columbia artists. The exhibitions include a traditional salon-style hang of West Coast landscapes by artists such as Jock Macdonald, Arthur Lismer, Edwin Holgate, and Anne Savage, reflecting early 20th-century gallery presentation styles. Other displays are arranged to evoke postwar modernism with paintings paired with mid-century furniture, alongside sections dedicated to American pop art and Vancouver’s conceptual photography movement.
Respini noted that it has been two decades since the VAG devoted an entire floor to its permanent collection, choosing instead to emphasize rotating temporary exhibits. She believes the renewed focus on the collection is vital, describing it as the institution’s cultural “DNA” and a reflection of its local heritage. At the same time, she recognizes the challenge of balancing the interests of tourists and school groups who seek familiar works, such as pieces by Emily Carr, with the desire of local audiences for dynamic temporary exhibitions that encourage repeat visits.
Space constraints remain a significant issue for the gallery, which currently cannot accommodate both major temporary shows and extensive permanent collection displays. To address this, the VAG is preparing to reveal new architectural plans by Vancouver firm Formline and Toronto’s KPMB later this year. These firms took over after the gallery abandoned earlier, increasingly costly designs by Swiss architect Herzog & de Meuron in 2024. The gallery aims to open a new building by 2031.
Respini frames current activities within the existing building as a rehearsal for the move, highlighting the importance of remaining relevant to the community by providing spaces for gathering, inspiration, education, and solace amid uncertain times.
Regarding leadership, the gallery continues to operate under the co-directorship of Respini and Rao, a model uncommon in art museums but borrowed from the performing arts sector. Respini focuses on artistic direction and the expansion project, while Rao manages daily operations, educational initiatives, and government relations. The board supports this structure and has no plans to search for a single executive director at present. VAG board chair Jon Stovell described the co-directors as effective and autonomous stewards of the institution’s future.
Looking ahead, Respini declined to speculate about her long-term plans. Born to an Italian father and Norwegian mother, she spent her youth moving across Europe before settling in the United States for her academic and professional career, including positions at the Museum of Modern Art in New York and the Institute of Contemporary Art in Boston. As she leads the VAG through this transitional period, Respini remains focused on sustaining the gallery’s artistic mission and community relevance.