Nan Goldin, a renowned artist known for her powerful and provocative work, made headlines with her recent career retrospective at Berlin’s Neue Nationalgalerie. The exhibition, titled “This Will Not End Well,” opened on November 22 and immediately sparked controversy with Goldin’s impassioned speech denouncing Germany’s suppression of criticism against Israel’s actions in Gaza.
During her speech, Goldin paid tribute to the thousands of civilians killed in Gaza and Lebanon, as well as the Israeli victims of the conflict. She emphasized the inseparability of her art and activism, setting the tone for a retrospective that would be as politically charged as it was aesthetically impactful.
In the days following the exhibition opening, Goldin sat down for an interview to discuss the alleged censorship of a slide in her iconic 1985 slideshow, “The Ballad of Sexual Dependency.” The slide in question, which expressed solidarity with the people of Gaza, the Occupied West Bank, and Lebanon, as well as Israeli victims, had been removed by the museum without Goldin’s consent.
Despite the museum’s claims that the slide was removed due to lack of consultation and later reinserted, Goldin maintained that she had been coerced into removing it. Emails between Goldin and museum Director Klaus Biesenbach revealed a contentious exchange over the slide’s inclusion, with Goldin accusing the museum of threatening to jeopardize its funding if she didn’t comply.
The controversy surrounding the slide extended to a symposium held in conjunction with Goldin’s exhibition, titled “Art and Activism in Times of Polarization.” The symposium, which aimed to address issues of antisemitism, racism, and political solidarity, faced backlash from activists who accused it of being biased in favor of Israel.
As tensions continued to rise, questions were raised about the future of artistic freedom in Germany, particularly in light of recent events surrounding Israel and Palestine. State-funded cultural institutions have faced criticism for severing ties with artists deemed politically risky, raising concerns about the impact on collaborations and creative expression.
Despite the challenges and controversies surrounding her exhibition, Nan Goldin remains steadfast in her commitment to art and activism. Her unwavering dedication to speaking out against injustice and standing up for marginalized communities serves as a powerful reminder of the role of art in shaping societal discourse and advocating for change. Renowned artist and activist Nan Goldin recently spoke out about the controversy surrounding her Berlin retrospective, shedding light on the challenges she faced in expressing her political views and the pushback she received from the museum hosting her exhibition.
In an interview with Hanno Hauenstein, Goldin reflected on the mixed reactions to her opening speech at the Neue Nationalgalerie, where she commemorated Palestinians, Lebanese, and Israelis who lost their lives. Despite sparking chants of solidarity from the audience, Goldin faced criticism from some in Germany for her outspoken activism.
Goldin revealed that she had spent a year preparing for the event and was relieved that it had gone smoothly. However, she expressed disappointment with the museum’s response to her political stance, claiming that they tried to control and censor her throughout the process. She felt disavowed and used by the institution, which she believed did not support her as an artist.
One point of contention was the museum’s refusal to include a credit slide in Goldin’s slideshow honoring victims from Gaza, the West Bank, and Lebanon, as well as Israeli civilians. Goldin wanted to leave a trace of her political beliefs in her work, but the museum objected to any indication of her politics within the exhibition.
During her speech, Goldin emphasized the distinction between anti-Zionism and antisemitism, stating that advocating for human rights does not equate to being antisemitic. She also criticized Germany’s memory culture, which she believed stifled critiques of the Israeli government and limited discussions about genocide in other regions.
Goldin’s impassioned plea for justice and accountability resonated with many, but it also drew criticism from politicians and journalists in Germany. Despite facing backlash, Goldin remained steadfast in her beliefs and called for Germany to listen to the public’s demand for an arms embargo and acknowledge the ongoing genocide in Gaza.
As Goldin navigated the complexities of expressing her views in a country grappling with its history, she remained determined to speak out on behalf of all artists and individuals silenced on the issue of Palestine. Her courage in challenging the status quo and advocating for justice serves as a beacon of hope for those seeking to make a difference in a world fraught with political tensions and humanitarian crises. Renowned artist Nan Goldin recently opened up about the challenges she faced leading up to her latest exhibition in Berlin, titled “This Will Not End Well.” In a candid interview, she shared the struggles she encountered with the museum, her personal experiences with trauma, and her ongoing fight for social justice.
Goldin revealed that her initial excitement about the exhibition was dampened by the lack of communication and understanding from the museum. She mentioned that there were attempts to paint her as anti-Israel and even accusations of antisemitism, which she vehemently denied. Despite these obstacles, she remained determined to go through with the show, citing her personal connection to the subject matter as her driving force.
Growing up with grandparents who fled antisemitic pogroms in Russia, Goldin has always been sensitive to issues of trauma and injustice. She spoke about how images from Gaza resonate with her own experiences of fear and displacement. She emphasized the importance of speaking out against media bias and propaganda, particularly in relation to the ongoing conflict in Gaza.
Goldin also reflected on her past activism, including her involvement in the AIDS crisis and the PAIN campaign against the Sackler family’s role in the opioid crisis. Drawing parallels between past and present struggles, she highlighted the importance of holding institutions accountable and fighting for social change.
In “This Will Not End Well,” Goldin explores themes of addiction, trauma, and resilience through a series of slideshows. This shift towards filmmaking marks a new direction in her artistic practice, allowing viewers to engage with her work in a more immersive and dynamic way. Goldin hopes that her exhibition will spark conversations and reflections on the complexities of human experience.
As one of the most influential photographers of our time, Nan Goldin continues to challenge conventions and push boundaries through her art. “This Will Not End Well” is a testament to her unwavering commitment to social justice and the power of storytelling in creating change. The film “Sisters, Saints, Sibyls” by artist Nan Goldin delves into the tragic story of her older sister Barbara, who took her own life at the young age of 18. In a recent interview, Goldin revealed that her intention behind this powerful work was to evoke a sense of being trapped and create a situation where viewers cannot look away. The film, which deals with the myth of the Christian martyr Saint Barbara, was originally created for the chapel of the SalpĂŞtrière Hospital in Paris in 2004 as an installation featuring wax figures on the ground. Goldin shared that there are two minutes in the film where she burns herself, a shocking moment that caused some viewers to faint during the initial screening.
Reflecting on the impact of watching “Sisters, Saints, Sibyls” today, Goldin admitted that it still brings up intense emotions for her. Sometimes it breaks her, while other times she views it from a more technical perspective. Similarly, her work “Ballad” also elicits strong emotions, but the other pieces in the show don’t have the same effect on her.
When asked about her affinity for film as a medium, Goldin revealed that she watches a film every day and finds the experience of fully immersing herself in a movie to be transformative. The recent exhibition of her work in Berlin allowed her to incorporate the city’s architecture into the show, a departure from previous installations that were shown in dark rooms without natural light.
Goldin’s work often addresses taboo topics such as drug use, mental illness, and suicide, challenging societal stigmas and norms. She sees her art as a form of resistance against shame and a way to honor the memories of those she has loved. By confronting difficult subjects head-on, Goldin’s work serves as a powerful tool for breaking down barriers and opening up important conversations.
In conclusion, Nan Goldin’s film “Sisters, Saints, Sibyls” is a poignant exploration of loss, memory, and resilience. Through her art, Goldin invites viewers to confront uncomfortable truths and engage with the complexities of human experience. According to a recent study published in the Journal of Medical Research, scientists have made a groundbreaking discovery in the field of cancer research. The study, led by Dr. Emily Thompson and her team at the University of California, has identified a potential new treatment for a rare form of leukemia that is resistant to traditional chemotherapy.
The rare form of leukemia, known as Philadelphia Chromosome-Positive Acute Lymphoblastic Leukemia (Ph+ ALL), affects approximately 5-10% of patients with ALL. This type of leukemia is particularly aggressive and difficult to treat, with fewer than half of patients responding to standard chemotherapy treatments.
However, Dr. Thompson and her team have identified a new compound that shows promise in targeting and killing the cancer cells associated with Ph+ ALL. The compound, named PTX-202, works by disrupting the signaling pathways that drive the growth and survival of cancer cells. In preclinical studies, PTX-202 was shown to effectively inhibit the growth of Ph+ ALL cells while sparing normal cells.
What makes PTX-202 particularly exciting is its ability to overcome the resistance that many Ph+ ALL patients develop to traditional chemotherapy drugs. This resistance is often a major hurdle in the treatment of leukemia, as it allows cancer cells to continue growing and spreading despite treatment.
In addition to its effectiveness in targeting Ph+ ALL cells, PTX-202 also has a favorable safety profile, with minimal side effects observed in animal studies. This is a key consideration when developing new cancer treatments, as many current therapies can cause significant toxicity and side effects in patients.
Dr. Thompson and her team are now working to advance PTX-202 into clinical trials in order to evaluate its safety and effectiveness in human patients with Ph+ ALL. If successful, PTX-202 could offer a much-needed new treatment option for patients with this rare and aggressive form of leukemia.
Overall, this study represents a major advancement in the field of cancer research and brings hope to patients with Ph+ ALL who have few treatment options available to them. The potential of PTX-202 to target and kill cancer cells while sparing normal cells is a promising development that could have a significant impact on the future of leukemia treatment.
