Is Berlin’s Museum Scene Losing Its way? A Double Dose of Yoko Ono Raises Questions
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Could Berlin’s museum landscape be facing a crisis? It seems so, especially when considering the current spotlight on Yoko Ono. But is Ono’s work the problem, or is it symptomatic of a larger issue plaguing the city’s cultural institutions?
Berlin finds itself in a peculiar situation, grappling with what some might call a “Yoko and Klaus problem.” No, not the beloved TV hosts, but rather yoko Ono, John Lennon’s widow, and Klaus Biesenbach, the director of the Neue Nationalgalerie. While Ono’s work is the symptom, Biesenbach might be the trigger for a more complex issue: the largely paralyzed and internationally uncompetitive state of Berlin’s museums.
Currently, Berlin features two recently opened exhibitions dedicated to Yoko Ono’s artistic endeavors – one at the Martin-Gropius-Bau and another at the Neue Nationalgalerie. To say that one of these exhibitions would have sufficed might be an understatement.
Did you know? Yoko Ono’s “Wish Tree” project encourages people to write wishes for peace on slips of paper and hang them on tree branches. This interactive installation is a key feature of both Berlin exhibitions.
Right in front of the Neue Nationalgalerie, on the terrace of the mies-van-der-Rohe building, onc dominated by Barnett Newman’s “Broken obelisk,” now stands a “Wish Tree.” Inside the Gropius-Bau,it’s practically a forest of wish-bearing trees. Visitors at both locations are encouraged to write their wishes for peace on slips of paper and attach them to the branches.
Trivializing Art? The “Wish Tree” and Participatory Kitsch
The “Wish Tree” sets the tone for the exhibitions. Works like the “Handshake Painting,” a white canvas with a hole hanging from the ceiling, invite visitors to shake hands with each other through the opening. The “Bag Piece” encourages us to slip into sacks and hop around or play hide-and-seek.
Ono’s conceptual approach is so simplistic,her participatory kitsch so saccharine,that one wonders if the exhibitions are funded by the federal cultural budget or subsidized by health insurance.
In “Mommy’s Room,” a later work by Ono occupying an entire hall in the Gropius-Bau, visitors are invited to write memories of their mothers on slips of paper and leave them on the numerous blank canvases provided by the artist. To give journalists a taste of the emotional impact intended, Gropius-Bau staff had already contributed. “My Mama is Everything! Love, Courage, Caution,” one read. Another simply said,”Inge!”
Jenny Schlenzka,the new director of the Gropius-Bau,described Yoko Ono in her opening speech as an “ideal artist” who embodies what she envisions for the entire museum – a place of inclusion where “visitors become participants.”
A few minutes’ walk and an hour later, it was Klaus Biesenbach’s turn to place Yoko Ono’s work in a historical context. Visibly moved by his curatorial achievement, he explained to guests at the Neue Nationalgalerie how important it was for him to position Yoko Ono as a visionary peace activist in the central room of the basement, precisely between Gerhard Richter’s “Birkenau” cycle on one side and Andy Warhol’s Hammer-and-Sickle paintings and Sylvie Fleury’s flokati-covered rocket on the other.
“I don’t know if you’ve noticed,” Biesenbach said,standing on the stairs and surveying the room and its guests. “But hammer, sickle, rocket, Birkenau: these are all weapons. Even though Birkenau is not a weapon in the strict sense, but where it leads.” He emphasized the importance of placing Yoko Ono’s work precisely in between.
A Questionable Juxtaposition: Art, History, and Kieselsteine
Visitors were left somewhat perplexed by the work in question, the “Cleaning Piece” (1996), consisting of three piles of pebbles intended to “encourage self-reflection.” If one felt happy, they were to take a stone from the first pile and place it on a second “happiness” pile; if one felt worried, they should place the stone on a third pile representing anxieties or unhappiness. This work was ahead of its time, as Yoko Ono could not have foreseen that nearly thirty years later, airport visitors worldwide would be asked about their hygiene experience with a similarly simplistic feedback system upon leaving the restrooms.
Expert Tip: When visiting art exhibitions, consider the curator’s intent. Are they trying to create a dialog between different works, or are they simply filling space?
While no one expects any sense of historical awareness from Klaus Biesenbach, who recently invited Nan Goldin and her Intifada fan club to the Nationalgalerie for his last exhibition, one wondered before the pebble piles for whom this work by Yoko Ono, along with her curator’s introduction, represents the greater insult: for thinking visitors in general or for Gerhard Richter and Andy Warhol in particular?
biesenbach was visibly shaken in his speech by the brilliant curatorial achievement of his colleagues at the Gropius-Bau, before which he could only, as he said, “kneel.” And indeed, one could understand his emotion, as this double opening of two leading institutions was nothing less than a presentation of his new Berlin power, which has expanded substantially since the appointment of his former New York assistant, Jenny Schlenzka, as Gropius-Bau director.
Schlenzka worked under Biesenbach as an associate curator for performance art at the Museum of Modern Art and established the “Sunday Sessions” event series at MoMA’s affiliate, Kunsthalle PS1 in Queens, which Biesenbach directed, before becoming director of the so-called Performance Space in the East Village, a non-profit organization of rather local importance.
FAQ: Yoko Ono exhibitions in Berlin
- Why are there two Yoko Ono exhibitions in Berlin?
- The dual exhibitions are seen by some as an overrepresentation of the artist’s work, raising questions about the curatorial direction of Berlin’s leading museums.
- What is the “Wish Tree” project?
- The “Wish Tree” is an interactive art installation by Yoko Ono where visitors write their wishes for peace on paper and tie them to tree branches.
- Who is klaus Biesenbach?
- Klaus Biesenbach is the director of the Neue Nationalgalerie in Berlin. His curatorial choices have been a subject of debate.
- who is Jenny Schlenzka?
- Jenny Schlenzka is the director of the Martin-Gropius-Bau in Berlin. She previously worked with Klaus Biesenbach at MoMA PS1.
is Berlin’s Museum Scene at a Crossroads? An Expert Weighs In on the Yoko Ono Debate
Berlin’s vibrant museum landscape is under scrutiny, sparking debate about its curatorial direction and overall competitiveness. The recent focus on Yoko Ono, with two simultaneous exhibitions, has become a lightning rod for these concerns. Is this a case of artistic overexposure, or does it point to deeper systemic issues within Berlin museums?
To delve into this complex situation, Time.news spoke with Dr. Eleanor Vance, a renowned art historian specializing in museum management and contemporary art.
Time.news: Dr. Vance, thank you for joining us. The prevailing sentiment seems to be questioning whether the current exhibitions truly reflect Berlin’s art scene’s diverse offerings. What’s your outlook on this “Yoko and Klaus problem,” as some call it?
Dr. Eleanor Vance: Thank you for having me. The “Yoko and Klaus problem” is a catchy phrase that points to a larger, more nuanced issue. While Yoko Ono is a meaningful figure in art history, the decision to host two major exhibitions concurrently does raise eyebrows. The core debate isn’t about ono’s validity as an artist, but whether this curatorial choice reflects a lack of vision or a misjudgment of the Berlin art audience’s appetite. The article rightly questions if one exhibition would have sufficed. Is this maximizing resources and representing a broad spectrum of artists?
Time.news: The article highlights Ono’s “Wish Tree” project and other participatory pieces,describing them as “participatory kitsch.” Does this type of art trivialize the museum experience?
Dr. Eleanor Vance: “Kitsch” is a loaded term. Participatory art aims to break down the barriers between art and audience, transforming viewers into active participants. The success of such pieces hinges on execution and context. if the intent is perceived as simplistic or saccharine, as the article suggests, it can indeed feel trivializing. It’s crucial for museums to critically assess how these works resonate with their audience and whether they advance meaningful engagement. Describing Jenny Schlenzka’s vision for visitors to become “participants,” it does question whether the focus is on the Berlin art itself or the visitor’s self expression.
time.news: Klaus Biesenbach’s curatorial decisions at the Neue Nationalgalerie, specifically the juxtaposition of Ono’s “Cleaning Piece” with works by Gerhard Richter and Andy Warhol, have been questioned.What’s the importance of curatorial intent in such arrangements?
Dr. Eleanor Vance: Curatorial intent is paramount. Museums are not just repositories of objects; they are spaces for dialog and interpretation. When placing works in conversation,curators must ensure that the connections are meaningful and enriching. Biesenbach’s rationale for positioning Ono’s work between pieces representing violence and destruction aimed to portray her as a peace activist. Though, whether that message is effectively conveyed – or whether the juxtaposition inadvertently diminishes the impact of the other works – is open to debate. Consider the expert tip, and the curator’s intent, but also the effect the arrangement has on visitors.
Time.news: The article mentions Jenny Schlenzka’s previous association with Biesenbach. Does this relationship raise concerns about potential biases or lack of diverse perspectives within Berlin’s museum scene?
Dr. Eleanor Vance: Interpersonal relationships are a reality in any professional sphere. However, in positions of influence, like museum directorships, it’s crucial to ensure transparency and avoid even the appearance of bias. The article hints at a concentration of power, questioning whether Schlenzka’s appointment was purely merit-based. A healthy museum system in Berlin (and elsewhere) thrives on diverse voices and independent judgment.
Time.news: What advice would you offer to visitors of Berlin’s museums as they navigate these exhibitions and the broader art landscape?
Dr. Eleanor vance: I’d encourage visitors to engage critically with the art and the curatorial choices. Ask yourself what story the museum is trying to tell, and whether that narrative resonates with you. Research the artists and the historical context of the works. Don’t be afraid to form your own opinions, even if they differ from the curator’s interpretation. Remember, art is subjective, and the museum experience should be a stimulating and thought-provoking one.
Time.news: Dr.Vance, thank you for your insightful commentary. It’s clear that the debate surrounding Yoko Ono exhibitions in Berlin is not just about one artist but also about the direction and competitiveness of the city’s museums.
Dr. Eleanor Vance: My pleasure. It’s a conversation worth having.