Intifada chants at the Neue Nationalgalerie: at the opening of the photographer Nan Goldin’s exhibition in Berlin there was a scandal and an announcement. Unfortunately everything fits into the picture. An incompetent director has become intolerable.
It was undoubtedly the saddest, most undignified and shameful moment in the 56-year history of the Neue Nationalgalerie: on Friday evening, the photographer Nan Goldin used the opening speech of her exhibition in Berlin to attack Israel and Germany, supported by supporters of Palestinian activists in… In the corridors, which had until then been relatively sacred, they shouted “Fuck Israel” as if on orders from Goldin, unfurled Palestinian flags and chanted Intifada chants. intoned. Images that we never wanted to see and which quickly went around the world thanks to social media.
The fact that Klaus Biesenbach, the director, tried to distance himself after Nan Goldin’s speech and was silenced by activists should not distract from the fact that Biesenbach himself is responsible for this new low point in German cultural politics. None other than he himself laid the foundation for Nan Goldin.
It had long been foreseeable that the photographer – for whom art and political activism are now inseparable – would use her exhibition in Berlin and the public attention associated with it as a loudspeaker for her calls for a boycott of Israel and her support for “Strike against Germany”. “movement.
But Klaus Biesenbach, in his characteristic mix of naivety and arrogance, seemed to believe that he would keep tabs on his girlfriend Goldin, who he has described as part of his “chosen family” since the 1990s. She promised him to keep a low profile in Berlin, so he reassured the increasingly nervous employees. It was Goldin herself who robbed him of his illusions in the weeks preceding the inauguration of the exhibition and now told anyone who would listen what she intended to do in Berlin and how she did not care about the sensitivity of her old companion, increasingly in the grip of panic.
Biesenbach now seemed to realize that the exhibition’s title “This Won’t End Well” might also be prophetic for him, and so he tried to distance himself from the prophylactic exhibition, secretly identifying himself and his sidekick Lisa Botti as co- curators of the same fired. In this way Biesenbach seemed to hope, with his head in the sand, that the impending storm could weather it better.
Scandal with announcement
If Klaus Biesenbach had been even close to doing his job, Friday night’s scandal would never have happened. Not only because only minimal political sensitivity could have been enough to refuse the offer to make Berlin the stop on an exhibition tour by Goldin, especially after the Documenta debacle. No, even a fairly satisfactory exhibition schedule would have guaranteed – beyond any political question – that an exhibition highlighting the strangeness of Andy Warhol and his fascination with drag queens would not be followed by a Nan Goldin retrospective set on the Velvet Underground soundtrack. the show features photographs of drag queens and transsexuals. This should not be read as a statement of identity politics and a strategy whereby visitors to the National Gallery must now engage with the queer bohemian of downtown New York for two exhibitions and ten months. Rather, it demonstrates the director’s severely limited horizons and his evident lack of practical experience in managing such an important institution.
Biesenbach and the Neue Nationalgalerie: it was a misunderstanding from the beginning. The curator, who had a decisive influence on the 1990s with his works of art in Berlin, became curator of the Museum of Modern Art in New York (MoMA) in 2004 and director of the attached Kunsthalle PS1 in 2010.
No one at MoMA today remembers that he curated important art-historical exhibitions in New York or that he even learned to work with a collection, but rather how talented Biesenbach was at being Kim’s movie and pop star, Cattrall, Lady Gaga and the elderly billionaires of Park Avenue. and use them for fundraising purposes and parties.
Monika Grütters offered him exile
When his star began to decline at MoMA — an exhibition he was responsible for that was hated by critics and colleagues about pop star Björk and her costumes solidified the downward trend — he moved to the Museum of Contemporary Art in Los Angeles in 2018 , where, however, Two years ago Within was demoted from director to artistic director - and was therefore obviously very happy to receive a call from the then Minister of Culture, Monika Grütters, who was still the German curator better known abroad. Exile to the Neue Nationalgalerie is offered.
Biesenbach did not find happiness in Berlin, according to his few confidants in the capital. And how should he do it, in a job whose profile of requirements has almost nothing to do with his? As a 20th century museum director who isn’t interested in painting? As a self-proclaimed “citizen of the world” for whom the history of German art only begins with his former teacher Katharina Sieverding?
You have to let it melt in your mouth: the man who after a few minutes at the opening of Ronald Lauder’s New Gallery in New York declared that he was depressed because of Kirchner and Kokoschka and therefore had to rush to the party of the (now completely forgotten) favorite scene) Terence Koh, is now responsible for one of the most important collections of modern classical painting and new objectivity – without having even the slightest sensitivity to the medium or the broader contemporary historical contexts.
The fact that Klaus Biesenbach, who struggles with Berlin and who obviously finds it difficult to formulate relevant curatorial ideas of his own (even favorite subjects such as Warhol and Goldin are taken up by other museums), instead transforms his National Gallery into a place of events and a place for Instagrammable parties and shows, that’s sad enough.
Biesenbach may be a supporter of the new speech rules, declaring his museum a “safe space for minorities” with a “Code of Conduct” displayed at the entrance. The fact that he has now made the Neue Nationalgalerie an “unsafe space” for our fellow Jews by inviting Nan Goldin and her political power grabs cannot be surpassed in terms of perfidy. Biesenbach cannot delegate this responsibility; he bears it alone. This is how an incompetent director of the National Gallery becomes intolerable.
If Biesenbach does not realize that he is not up to his role, one can only hope that Marion Ackermann, who from 2025 will be his supervisor at the Prussian Cultural Heritage Foundation, will free him from his misfortune.
What role does art play in political activism, according to Dr. Anna Weiss?
Interview: The Implications of a Controversial Exhibition – A Conversation with Dr. Anna Weiss, Art Critic and Cultural Theorist
Time.news Editor: Welcome, Dr. Weiss. Thank you for joining us to discuss the recent scandal surrounding Nan Goldin’s exhibition at the Neue Nationalgalerie in Berlin. The event has evoked significant controversy. What is your initial reaction to how this situation unfolded?
Dr. Anna Weiss: Thank you for having me. My initial reaction is one of disappointment, but unfortunately not surprise. The intersection of art and political activism is becoming more prevalent, and in this case, it appears to have been mishandled significantly by the gallery’s leadership. Events at the exhibition, particularly the aggressive Intifada chants, highlight not only a lack of preparedness from the institution but also the contentious climate surrounding artistic expression today.
Time.news Editor: The exhibition’s opening speech by Goldin, which turned into a politically charged moment against Israel, has drawn criticism towards Klaus Biesenbach, the gallery’s director. His attempts to distance himself from the chaos post-speech seem rather reactive. How do you assess his leadership in this context?
Dr. Anna Weiss: Biesenbach’s leadership, or lack thereof, has been a crucial part of this situation. It seems he underestimated Goldin’s role as both an artist and an activist, assuming he could manage the narrative. Given the history of political sensitivity around art, particularly in Germany post-Documenta, it is baffling that he went ahead without a more thoughtful approach. His attempt to backtrack after the incident demonstrates a failure to engage with the realities of modern artistic discourse.
Time.news Editor: Indeed, there’s an argument that the timing and content of Goldin’s exhibition were ill-suited following the Documenta criticisms. Do you see this as indicative of a broader trend in how institutions are approaching politically charged art?
Dr. Anna Weiss: Absolutely. This incident illustrates a broader trend of institutions entering a minefield without a map. The line between art and activism is increasingly thin, and cultural institutions must navigate their roles in what can be contentious discussions. The backlash from communities and activists often stems from perceived insensitivity or ineptitude, which Biesenbach clearly underestimated. Institutions need to prioritize sensitivity and comprehension of the socio-political landscape when collaborating with artists known for their radical views.
Time.news Editor: You mentioned Goldin’s approach to melding art and political activism. How do you believe art should respond to political issues, especially in a time of heightened tension?
Dr. Anna Weiss: Art has always been a powerful platform for political commentary, and it should continue to engage with pressing issues. However, it requires a nuanced approach. Artists like Goldin have every right to express their perspectives, but it becomes a concern when it eclipses the artistic experience or alienates audiences. Ideally, exhibitions should provoke thought and discussion without devolving into mere protest or chaos, which can overshadow the art itself and ultimately harm the dialogue.
Time.news Editor: Given this situation, what recommendations would you propose for galleries and museums dealing with politically charged art going forward?
Dr. Anna Weiss: Institutions need to cultivate a framework for engagement that includes robust preparation and active dialogue with artists about their intentions and messages. They should also ensure they’re ready for the potential fallout of such exhibitions. Establishing clear communication lines with community stakeholders and being receptive to criticism is essential. Most importantly, they should consider the broader implications of political positions taken in their spaces and the responsibilities that come with presenting such art.
Time.news Editor: Thank you, Dr. Weiss, for sharing your insights on this multifaceted issue. It’s clear that the intersection of art and politics is an area requiring careful navigation. We appreciate your time today.
Dr. Anna Weiss: Thank you for the opportunity to discuss this important topic. It’s crucial for us to reflect on the role of cultural institutions in today’s climate and how they can better serve as platforms for meaningful dialogue.