Shai Baitel redefines museums at MAM Shanghai

As artistic director of the Modern Art Museum (MAM) in Shanghai, Shai Baitel approaches curation with the precision of a legal mind and the instincts of a storyteller. In a conversation with Jing Daily, Baitel explains how his background in law informs a thesis-driven method — one that prioritizes accessibility, emotional resonance, and audience engagement over purely historical or academic displays. Since joining MAM in 2021, Baitel has overseen a range of high-impact exhibitions, from Marina Abramović’s immersive “Transforming Energy” to a retrospective of architectural visionary Zaha Hadid. This year, the museum continues its momentum with shows by Francesco Vezzoli and Kenny Scharf, further pushing the boundaries of what contemporary museum programming can look like. At the intersection of art, culture, and commerce, Baitel is also expanding MAM’s dialogue with the luxury world. The China-based institution is reinforcing its role as a space that unites diverse creative disciplines and communities. For Baitel, curation is ultimately about connection — between ideas, materials, and people. Jing Daily: Does having a legal background help you in your work in the arts? I read that you studied law. Shai Baitel: I do have an unusual background for someone in an executive position that is both creative and involved in programming and the broader creative management of an institution. Legal studies give you great structure, a deep understanding, and strong analytical tools. Everything I do begins with a thesis or an ideation. I like to think of it as writing a text. We’re constantly developing concepts that turn into exhibitions or cultural presentations. That background is certainly helpful. JD: I can imagine how helpful that structure is, like you said. SB: Yes. It’s also about making the right calls. Almost every project has pros and cons. In museum management today, there’s an ongoing debate: Should museums raise questions about society and politics? Should they serve as cultural stages? Or should they return to their roots as cabinets of curiosity, presenting phenomena reflective of culture and society through the artist’s unique visual language? I believe museums should unite us. They should bring goodness, joy, and education — but in a way that allows us to celebrate commonality and consensus, rather than deepen divisions. JD: You mentioned three roles of museums: raising societal questions, serving as a cultural stage, and being a cabinet of curiosity. Which one resonates with you the most? SB: I like the idea of a modern cabinet of curiosity. The term was originally more categoric, but I’d like to reinterpret and expand it. I don’t just look at art from a traditional lens. I believe it’s foundational for many forms — architecture, product and fabric design, fashion. All of these rely on art. The dialogue between design and art fascinates me. Even in daily consumption, we may not be buying art, but the products we use often stem from artistic ideas. Art is ideas, values, concepts — not just materials, colors, or shapes. When we look at what we wear, what we use, it often traces back to an artist’s intention. That’s why the museum I manage also includes exhibitions beyond traditional contemporary art; it embraces broader design and cultural narratives. JD: Do you have thoughts on conspicuous consumption and what luxury means in 2025? SB: Definitely. There’s an ongoing conversation about the role of art today versus in the past. Art doesn’t have the same PR machinery as luxury brands like LV or Kering. These brands push messages through billboards, fashion shows, social media. Artists don’t use those tools in the same way. But luxury brands rely heavily on talented creatives and legacies built over centuries — look at Italy, where church patronage during the Renaissance supported incredible artistry. Today, that legacy translates into high-quality brands and design. Materials have also evolved dramatically — leather, for example, from calf to lamb to mushroom. Some might say it’s too much depth for fashion, which is often dismissed as shallow. But it’s not. It requires imagination and technical skill. Fashion involves function, while art provokes thought. Still, both are interconnected. Design, to me, is where art and science meet — where fixed formulas intersect with boundless creativity. And that intersection shapes our perceptions. We see street art, public installations, gallery windows, and then we walk into stores already primed to consume based on those influences. So, in my view, there’s an intrinsic connection between art and consumption. We see street art, public installations, gallery windows, and then we walk into stores already primed to consume based on those influences. There’s an intrinsic connection between art and consumption. JD: Shall we move on to your work in Shanghai? Could you speak about MAM’s core audience and your approach to engagement in the APAC region? SB: The audience is diverse — young and old alike. Encouragingly, more young people are coming. That’s rare in museums globally. Our audience is educated, engaged. They come prepared and open to the stories we tell. When I curate, I assume the visitor knows nothing about the artist or theme. But I never make it a history lesson — those are boring. I try to offer something cool, digestible, something they’ll talk about and maybe return to see again. That’s the most rewarding. JD: Can you share examples of these rewarding shows? SB: We recently did an exhibition on Zaha Hadid. It was a blockbuster — 280 items, huge turnout. It surprised even us. It wasn’t a Warhol or a Koons; it was Hadid, yet incredibly successful. We also had David Hockney’s works on paper, and just closed Marina Abramović’s “Transforming Energy.” That show invited audience participation — it was immersive. Right now, we’re showing Francesco Vezzoli and Shay Frisch, and we’re preparing for Kenny Scharf’s largest exhibition to date. It’s curated in a very different way. JD: Let’s talk about some practical strategies. What would you say are three key ways to connect with audiences? SB: I would say that first and foremost, there’s this trend of immersive or participatory experiences. And I have to admit, I’m surprised that many museum professionals assume that involving technology will solve everything — like it will transform a flat, passive presentation into something exciting. That’s not always true. So first, I encourage people in the field to think outside the box and start the curation process with the audience — not with the artist, not with the art. Curators are important, but the most important element of every show is the audience. Because if you have a great exhibition and the audience doesn’t show up, what did you do it for? Second, I think it’s essential to find a theme that many people can relate to. Something they feel comfortable engaging with. A personal story, when done well, can become universal. Take Marina Abramović, for example. Yes, she walked the Great Wall of China, but what made it powerful was that she stopped in villages, listened to stories, learned about herbs and minerals. She turned those memories into artworks. That’s what made it relatable. That’s what drew people in. Third, I always tell curators: Don’t just do the obvious. Don’t fall back on chronology. It shouldn’t feel like a history class. Try storytelling through comparison, reference points, and context. Show where an artist sits in the larger arc of art history. And don’t be afraid of entertainment. We’re educators, yes — but people also want to enjoy themselves. Learning through joy is not a bad thing. In fact, it can make the experience far more meaningful. Jing Daily presents Jing Masterminds — a fortnightly, exclusive interview series profiling today’s most iconic names in art, fashion, commerce and culture. Delving deep into their personal journeys, creative processes, business strategies and societal impacts, the series offers readers an intimate look at the lives and minds shaping our industries.

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Shai Baitel redefines museums at MAM Shanghai