Thunderous applause for the artist, the museum director is silenced: Nan Goldin’s retrospective at the Neue Nationalgalerie began with a real scandal. The Prussian Cultural Heritage Foundation called Goldin’s speech “unbearable” and “dangerously trivializing.”
Accompanied by noisy activists, artist Nan Goldin opened her exhibition in Berlin with a speech in which she sharply criticized Israel’s action in the Gaza war. He also repeatedly condemned Germany’s alleged position in the conflict.
After his speech, dozens of pro-Palestinian activists raised flags and banners in and in front of the National Gallery and chanted, among other things, for the “freedom of Palestine.” Klaus Biesenbach, director of the Neue Nationalgalerie, tried to make a counter-speech but was silenced. When the situation calmed down, he reread the speech.
Deputy Minister for Culture Claudia Roth harshly criticized the protests. “I am horrified by the way the director of the Neue Nationalgalerie was silenced,” the Green politician said. “Such behavior is absolutely unacceptable and is an attack on the museum and cultural work which I condemn in the strongest terms”.
“I decided to use this exhibition as a platform to express my moral outrage at the genocide in Gaza and Lebanon,” the 71-year-old American Goldin said earlier on stage. “Germany is home to the largest Palestinian diaspora in Europe. However, the protests are fought with police dogs.”
Goldin, who is one of the most renowned artists in contemporary photography, began her fourteen-minute speech with a four-minute silence to remember the deaths in the Palestinian territories, in Lebanon and also in Israel, as she said.
What I see in Gaza reminds me of the pogroms my grandparents fled
“Are you afraid to hear it, Germany? This is a war against children.” Goldin, who comes from a Jewish family, also said: “My grandparents fled pogroms in Russia. I grew up knowing about the Nazi Holocaust. What I see in Gaza reminds me of the pogroms my grandparents fled.”
He also said: “The entire infrastructure of Palestine has been destroyed. Hospitals, schools, universities, libraries. It is also a cultural genocide. Why can’t you understand this, Germany?
Concretes Biesenbach Existenzrecht Israëls
Goldin’s speech was accompanied by loud applause from the audience. Biesenbach then responded with a few sentences on stage, but due to the chanting of the activists it was almost impossible to hear him. “As I said in my introduction, I disagree with your opinion,” he said. “However, I defend your right to express yourself freely.”
“Our work is based on core values that cannot be denied,” Biesenbach continued. “For us, Israel’s right to exist is beyond question. The Hamas attack on the Jewish State on 7 October 2023 was a cruel act of terrorism that cannot be justified in any way.” He added: “At the same time, we sympathize with the civilian population of the Gaza Strip and Lebanon, whose suffering cannot be overlooked.”
“Unbearable,” criticizes Parzinger
Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, to which the National Gallery belongs, strongly condemned Goldin’s comments and was horrified that Biesenbach was silenced during his counter-speech. “This is not our understanding of freedom of expression.” He continued: “I find Nan Goldin’s statements at the opening of her retrospective today intolerable and dangerously trivializing because of their one-sidedness.”
After the inauguration Biesenbach declared: “On the occasion of the inauguration of the exhibition “Nan Goldin. This will not end well” tonight at the Neue Nationalgalerie, after a speech by the artist, a protest occurred in which slogans were shouted that do not correspond to the house’s code of conduct. The Neue Nationalgalerie clearly distances itself from the protesters’ statements and makes clear that it is in favor of freedom of expression, respectful dialog and mutual interaction.”
Culture Minister Roth said it was right that the Neue Nationalgalerie and the Prussian Cultural Heritage Foundation contradicted Goldin’s statements. The Green politician stressed that she also “rejects the political activist’s unbearably one-sided views on Israel.” The organizers of the exhibition handled the difficult situation responsibly.
Goldin’s major retrospective entitled “This Will Not End Well” will be on view at the Neue Nationalgalerie in Berlin from November 23 to April 6, 2025. The exhibition showcases Goldin’s life work with slide projections and films, accompanied by music and soundtracks.
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How can art institutions balance freedom of expression with the necessity of political neutrality in their exhibitions?
Interview between the Time.news Editor and Cultural Expert Dr. Maria Klein
Time.news Editor: Good day, Dr. Klein, and thank you for joining us. Nan Goldin’s recent retrospective at the Neue Nationalgalerie has stirred quite a controversy, especially given her outspoken comments about the Gaza conflict. How do you see her decision to use her art exhibition as a political platform?
Dr. Maria Klein: Thank you for having me. Goldin’s choice is certainly bold and reflects a long-standing tradition among artists who feel that their work should comment on societal issues. Art is often a medium for both introspection and action. Goldin’s statements, particularly about the situation in Gaza and the historical context of her own family, seem to come from a deep place of personal connection to these events.
Time.news Editor: Indeed, she specifically mentioned the pogroms her grandparents fled, drawing a parallel to the current situation in Gaza. How do you think this historical narrative impacts her message?
Dr. Maria Klein: It adds a significant layer of emotional weight. By tying her personal history to current events, she grounds her political stance in lived experience, making it a powerful critique against what she perceives as cultural genocide. This allows her audience to connect with her message on a more human level, which is compelling in the realm of art. However, it also polarizes the audience, as seen by the reactions at the exhibition opening.
Time.news Editor: The response from Klaus Biesenbach and the Prussian Cultural Heritage Foundation was quite severe, labeling her comments ”unbearable.” What implications do you think this has for the relationship between art institutions and political discourse?
Dr. Maria Klein: These remarks highlight the tension that exists when art intersects with politics, especially in a charged environment like the current one surrounding the Israel-Palestine conflict. Institutions often toe the line between supporting creative freedom and managing public perception. Biesenbach’s acknowledgment of Goldin’s right to speak, while simultaneously asserting a contrasting political view, illustrates the complexity of these relationships—one that raises questions about freedom of expression versus institutional responsibility.
Time.news Editor: Claudia Roth, Germany’s Deputy Minister for Culture, voiced strong disapproval of how the director was silenced during the event. How do you interpret this statement in the context of cultural governance?
Dr. Maria Klein: Roth’s condemnation signals a recognition of the vital role that cultural institutions play in fostering dialogue. Her perspective suggests that it’s critical for art spaces to remain platforms for diverse voices, even those that provoke discomfort. The silencing of any speaker, particularly in a cultural setting, can certainly undermine the very principles of free expression and debate that such institutions are meant to uphold.
Time.news Editor: Goldin’s exhibition ignited pro-Palestinian protests, with activists loudly supporting her message. What does this indicate about the role of activism in contemporary art?
Dr. Maria Klein: Activism and art are increasingly intertwined, especially with artists like Goldin leading the charge. When art serves as a catalyst for social change or awareness, it can inspire collective action and dialogue, drawing audiences in beyond just the aesthetic experience. The protests at the event exemplify how art can mobilize people, creating a space for discourse that extends far beyond the gallery walls.
Time.news Editor: It seems that Goldin’s retrospective may not just be about her artistry but rather become a case study for current social movements. What lasting effects might this have on the future of art exhibitions?
Dr. Maria Klein: This could potentially set a precedent for future exhibitions where artistic expression is not just about aesthetics but also societal engagement. Other artists might feel encouraged to use their platforms for advocacy. It may also lead institutions to reevaluate how they curate exhibitions and the types of discussions they wish to foster. Ultimately, we could see a shift toward galleries being seen not just as places of consumption, but essential forums for critical societal conversations.
Time.news Editor: Thank you, Dr. Klein, for sharing your insights on this evolving situation in the art world. It certainly adds a profound layer to our understanding of art as a means of not just reflection, but also action.
Dr. Maria Klein: Thank you for the thoughtful discussion. It will be intriguing to see how this narrative develops in the future.