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 how 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.
“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?”
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.”
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.
What impact does contemporary art have on political activism and social movements?
Interview between Time.news Editor and Expert on Contemporary Art and Political Activism
Time.news Editor: Good morning, everyone! Welcome to this edition of our in-depth interview series where we discuss the intersection of art, politics, and social movements. With us today is Dr. Anna Weiss, an expert in contemporary art and political activism. Anna, thank you for joining us!
Dr. Anna Weiss: Thank you for having me! It’s a pleasure to be here.
Editor: Let’s dive right into the heart of the matter. Nan Goldin’s recent exhibition in Berlin has sparked considerable debate, especially with her bold statements about the Gaza war. What are your thoughts on her choice to use this exhibition as a platform for political expression?
Weiss: Nan Goldin has always used her art to challenge societal norms and draw attention to pressing issues. By leveraging her exhibition to voice moral outrage over the crisis in Gaza, she not only highlights the devastation faced by Palestinians but also engages the audience in a critical dialog about the responsibilities of the global community. It’s quite powerful.
Editor: Yes, it was striking to see her begin her speech with a moment of silence for those affected in Gaza, Israel, and Lebanon. How important are such gestures in artistic and activist contexts?
Weiss: Moments of silence can be profoundly moving. They serve as a reminder of the human cost of conflict and allow audiences to reflect on the tragedy before delving into the more contentious aspects of political discourse. Goldin’s choice connects her audience emotionally to the impact of war and genocide, reminding us that behind statistics are real lives.
Editor: And what did you make of the reaction from pro-Palestinian activists and the subsequent silencing of Klaus Biesenbach, the director of the Neue Nationalgalerie?
Weiss: The protests underscore a significant and often contentious dimension of artistic expression—public space and the right to protest. While Biesenbach attempted to present a counter-argument, the activists’ actions reflect a frustration with the status quo. It raises questions about where the line is drawn between free expression and disruption. Interestingly, Goldin’s expressions of dissent were met with both applause and protests, which highlights the polarizing nature of this issue.
Editor: Claudia Roth, Germany’s Deputy Minister for Culture, condemned the silencing of Biesenbach. Is there a conflict between artistic freedom and political disagreements in these scenarios?
Weiss: Absolutely. Artistic spaces are often battlegrounds for political expression, but this can lead to conflict. On one hand, artists and activists should have the freedom to express their views and respond to one another. On the other hand, venues must be able to maintain a sense of order. Roth’s condemnation reflects a frustration that, in the heat of activism, we might overshadow the very cultural dialogues we seek to promote. It’s crucial that we find ways to navigate these debates without compromising either artistic integrity or the right to protest.
Editor: Goldin made a powerful statement regarding the destruction of Palestinian infrastructure, equating it with cultural genocide. How does this relationship between art, culture, and political conflict play out in contemporary discourse?
Weiss: Goldin’s framing evokes an urgent conversation about the broader ramifications of war on culture, beyond just the physical destruction of buildings. When historical centers, schools, and museums are destroyed, we lose the narratives and identities that shape communities. By articulating this notion of cultural genocide, Goldin challenges us to consider that the fight for justice isn’t just about territory or politics but also about preserving human culture and history.
Editor: how do you envisage the future of art in contexts of political activism, considering recent events?
Weiss: I believe we’ll continue to see a merging of art and activism, especially as artists increasingly feel compelled to respond to the socio-political climates in which they operate. The rise of social media has also democratized how activism is portrayed and perceived—the lines between artist and activist are becoming increasingly blurred. This could lead to more inclusive dialogues, but it also poses challenges, as we’ve seen with the reactions to Goldin’s statements. Ultimately, we must remain engaged and critical of how we navigate these spaces together.
Editor: Thank you, Dr. Weiss, for your insightful analysis. It’s clear that the relationship between art and activism is more essential than ever in our current global climate.
Weiss: Thank you for having me! It’s important that we continue to engage in these conversations.
Editor: And thank you to our viewers for joining us today. Stay tuned for more discussions that explore the pivotal intersections of culture, politics, and art.
