“Don’t mention the war,” warns a character in Nathan Englander’s What We Talk About When We Talk About Anne Frank, as she addresses her husband. But that didn’t stop him – just as it hasn’t stopped many artists worldwide creating work on the war on Gaza. In October, Englander’s play was staged at the intimate Marylebone Theatre in London, England. Through a darkly comic encounter between two Jewish couples – one secular American, the other ultra-Orthodox Israeli – it explores what it means to be Jewish today. Set in a Florida kitchen, it examines themes of identity, faith, the Holocaust, conflict, and genocide, updated to reflect the 7 October 2023 attacks in Israel, and Israeli army bombardment of Gaza. American-Jewish author Englander calls it “a plea for peace,” and notes, “The stage is where we can have the conversations we need to have.”1 When director Patrick Marber, also Jewish, originally proposed the play to a prominent London theatre, however, its board declined, fearing potential backlash and controversy from potential funders and the acting community, despite the play’s neutral stance. The attitude of the “prominent” theatre is not only an example of conflict avoidance – it is also an indication of how fear of controversy can suppress the very conversations and critiques that art is supposed to provoke, especially on politically sensitive topics. But the move also highlights the tense intersection of artistic freedom and the ability to comment on the ongoing tragedy being inflicted on civilians in Gaza.
The crossroads between art and politics has grown increasingly tense following the 7 October 2023 attack by Hamas on Israel, which killed about 1,200 people, and the taking of more than 250 hostages.2 In response, Israel declared war on Hamas, triggering a humanitarian crisis in Gaza. By the end of December 2024, over 44,000 people – primarily women and children – had been killed, according to the United Nations (UN).3 Concern over the escalating violence had already been raised in November 2023, when eight UN special rapporteurs warned that Palestinians faced a “grave risk of genocide”.4 The situation in Gaza is shifting fast, unfolding by the hour, escalating by the day, with the UN and other agencies issuing constant updates.5
Commenting on the Israeli-Palestine conflict has long been a challenging road for artists to navigate. But from the outset of the war on Gaza, artistic freedom has come under particular pressure worldwide, with exhibitions, performances, and installations related to the conflict routinely censored or cancelled – particularly in Germany, which is the focus of this article, and in the U.S. (see the America section of this report for details on cancellations) page 57. The policing of political expression was also a marked phenomenon as artists came under attack for having expressed an opinion, sometimes years before the exhibit or performance in question. The impact extends far beyond the region, restricting artistic expression on a global scale.
Art, dialogue, and the challenge of conflict
Artists, too, find themselves caught in the crossfire, yet they hold the power to shape public conversation. And art, in this way, can give us a shared language – a language to engage more meaningfully with one another. But, of course, in times of conflict, that task becomes ever more challenging. As Irene Khan, UN Special Rapporteur on freedom of opinion and expression, noted, “Cultural and artistic institutions and event sponsors should not discriminate against individuals or deny participation purely based on their political views on Israel or Palestine.”6 She urged the artistic community to reject cancel culture, defend artistic freedom, and promote intercultural understanding.
Freemuse’s data reveals a broad impact on artistic expression, most notably in Germany, the USA, and the UK, with visual arts most affected, followed by literature, music, and film – most involving pro-Palestine commentary. Reports of censorship peaked in early 2024, particularly in January and February. A more recent decline may stem from artists self-censoring, institutions avoiding controversy, or fading media attention. Together, these elements suggest that declines in cancellations, whether of pro-Israel or pro-Palestine content, are complex and multifaceted. The Archive of Silence, a crowd-sourced online project based in Germany, has documented incidents of silencing – mainly based on statements from those affected – over the past year.7 This article covers only a fraction of the events affecting artistic freedom in Germany as regards the Palestine-Israel conflict.
Germany’s fight against anti-semitism, BDS and its chilling effect
For decades, Germany has grappled with the legacy of its Nazi past — a reckoning known as Vergangenheitsbewältigung, or “coming to terms with the past.” It has shaped the country’s national identity, it has influenced its politics, it has reshaped its laws and culture. Through public admissions of guilt, reparations, and a strict commitment to remembrance, Germany has faced the immense challenge of acknowledging its role in the Holocaust. Few movements have been as polarising in Germany’s cultural and political sphere as the Boycott, Divestment, Sanctions (BDS) campaign. Founded in 2005 by more than 170 Palestinian civil society groups, it aims to exert economic, cultural, and political pressure on Israel.8 BDS, inspired by South Africa’s anti-apartheid struggle, advocates boycotts and sanctions to end Israeli occupation, ensure Arab-Palestinian equality, and secure the right of return for refugees. Its impact has been felt globally, garnering support from various circles but also sparking opposition. Notably, in 2024, 38 U.S. states had enacted laws or executive orders to discourage participation in the movement.9 In Germany, BDS has ignited fierce debate, with cultural and political figures facing backlash for their support of the movement. Critics accuse BDS of anti-semitism for isolating Israeli institutions, a claim reinforced by the Bundestag – Germany’s main legislative body – through its 2019 resolution likening BDS tactics to Nazi-era boycotts.10 Supporters of the campaign, including Palestinian and Jewish activists, argue that BDS targets Israeli policies, not Jewish people, rejecting the conflation of criticism of Israel with anti-semitism.
At the heart of the debate over BDS and anti-semitism lies the International Holocaust Remembrance Alliance (IHRA) definition of anti-semitism. Drafted in 2004 as a working definition, it was primarily created to assist European data collectors tracking anti-semitism across Europe.11 Adopted by the IHRA in 2016 and endorsed by 43 countries, it has since been criticised for conflating criticism of Israel with anti-semitism. Kenneth Stern, who was the lead drafter, has warned that it has become a “hate-speech code” used to suppress pro-Palestinian speech – an outcome he says was never anticipated.12
Germany’s strong commitment to protecting Jewish life
Germany’s growing reliance on the IHRA definition has blurred the line between criticism of Israel and anti-semitism. In November 2024, the Bundestag passed a resolution, “Never Again is Now: Protecting, Preserving and Strengthening Jewish Life in Germany”, tying public funding for cultural and scientific projects to adherence to this definition, barring support for groups deemed anti-semitic or supportive of BDS. While not legally binding, legal expert Ralf Michaels warns that the resolution will likely influence policy and encourage self-censorship, a concern shared by Amnesty International Germany, which supports efforts to combat anti-semitism but warns it could undermine human rights and create legal uncertainty.13 The debate remains deeply polarising.
The Berlin state faced its own turbulence over these topics. The Senate Department for Culture and Social Cohesion in January 2024 introduced an “anti-semitism clause” for arts funding, requiring grants to go only to those who align with the state’s definition of anti-semitism.14 The backlash was swift. Nearly 6,000 artists and cultural workers signed a petition arguing that the clause threatened artistic freedom.15 After facing mounting pressure and legal concerns, Berlin eventually withdrew the requirement.
The rise of self-imposed censorship
In January, hundreds of artists, including French author, Annie Ernaux, winner of the 2022 Nobel Prize for Literature, and British artist, Jesse Darling, winner of the 2023 Turner Prize, signed a document circulated by Strike Germany, an initiative urging cultural workers to withdraw from institutions restricting solidarity with Palestine. The movement condemns the IHRA anti-semitism definition that, it argues, suppresses dissent, calling instead for artistic freedom and clearer terms.16 This initiative set the stage for a series of controversies throughout the year. In February, the Berlinale, famed for its political edge, found itself in turmoil. After inviting, then disinviting, politicians from the far-right Alternative für Deutschland AfD amid backlash, the controversy deepened. Filmmakers withdrew in protest over perceived censorship of pro-Palestinian voices, while Berlinale Talents alumni denounced the weaponisation of anti-semitism to stifle criticism in Germany’s cultural sphere.17 Berlinale co-directors Mariëtte Rissenbeek and Carlo Chatrian expressed concern about the rising hostility around the world, condemning anti-semitism, anti-Muslim sentiment, and hate speech, but reaffirmed the festival’s commitment to open dialogue.18 For some, the Berlinale’s Documentary Award presented to Israeli filmmaker Yuval Abraham and Palestinian co-director Basel Adra for No Other Land provided a glimmer of hope. Amid death threats in Israel, Abraham issued a sharp critique of German officials for, as he put it, “weaponizing a term designed to protect Jews” to silence dissent from both Palestinians and Israelis critical of the occupation.19
Growing pressure on cultural institutions and policing of political expression
A wave of art show cancellations has highlighted the growing pressure on cultural institutions. For example, in February, Turkish artist Banu Cennetoglu and Finnish artist Pilvi Takala cancelled their exhibitions at Neue Berliner Kunstverein, citing restrictions on expressing views about Israel’s actions in Gaza. Both joined Strike Germany and withdrew in protest against perceived institutional censorship.20 Also in February, American musician, artist Laurie Anderson stepped back from her appointment as Pina Bausch Professor at Folkwang University in Essen, after facing backlash for her support of Palestine.21 This uproar was ignited by her endorsement, three years earlier in 2021, of the “Letter Against Apartheid,” which the university claimed advocated for boycott measures and was linked to the BDS movement.
In March, American artist Johanna Hedva announced the cancellation of their solo exhibition at Kunstverein Braunschweig. The official reason given by the museum was “understaffing” and “capacity issues.”22 But Hedva publicly challenged this rationale, claiming the real issue was their insistence on describing Israel’s actions in Palestine as an “undeniable genocide” in the exhibition’s press release. In April, the Alternatives Kultur Werk Bitterfeld cancelled a performance by Scottish punk band Oi Polloi due to their social media posts criticising Israeli actions in Gaza.23 The incident highlighted how cultural venues were increasingly policing political expression to avoid accusations of anti-semitism.
“For me the question isn’t whether my political opinions have shifted. The real question is this: Why is this question being asked in the first place? … Based on this situation I withdraw from the project.” Musician, Laurie Anderson.
Silencing Palestinian voices in German arts
In September, the Bahnhof Langendreer arts centre in Bochum cancelled Guernica Gaza, an exhibition by Palestinian artist Mohammed Al-Hawajri. The series, which combines 19th- and 20th-century paintings with images from the 2008–09 Gaza War, was cancelled amid political accusations that it equated Israeli military actions with historical atrocities.24 Similarly, in October, Leipzig’s euro-scene festival cancelled the scheduled performance of the play AND HERE I AM by the Freedom Theatre of Jenin in the West Bank. Directed by Ahmed Tobasi, Hassan Abdulrazzak, and Zoe Lafferty, the production faced allegations of promoting anti-semitism and endorsing terrorism.25 This decision followed a 2019 Leipzig City Council resolution requiring cultural institutions to distance themselves from calls to boycott Israel. In the same month, Iranian-German photographer Shirin Abedi faced backlash after publicly advocating for Palestinian rights during an event in Germany, drawing allegations of anti-Israeli rhetoric from certain cultural circles.26
In November, the Schelling Architecture Foundation withdrew a €10,000 award given to British artist James Bridle following his endorsement of a cultural boycott against Israel.27 The foundation explicitly referenced a Bundestag resolution discouraging financial support to individuals supporting anti-Israel boycotts, reinforcing concerns about the politicisation of cultural funding. In December, American photographer Nan Goldin caused a stir during the opening of her exhibition at Berlin’s Neue Nationalgalerie by condemning Israel’s actions in Gaza, explicitly linking them to historical atrocities.28 Additionally, Mexican artist Frieda Toranzo Jaeger said her pro-Palestinian stance led to the cancellation of her Berlin exhibition and the loss of a $19,000 stipend from the Günther Peill Foundation after she signed the Strike Germany letter.29 She denied claims the decision was mutual, insisting she was pressured and felt she had no legal recourse to do anything else.
The wave of censorship in 2024 highlights a core tension in German cultural policy: balancing the fight against anti-semitism with the protection of artistic freedom. The cancellations and withdrawals in 2024 exposed growing pressure on German cultural institutions – many found themselves policing artistic expression, raising concerns about self-censorship driven by political sensitivities. The result was less dialogue, more silence – a troubling signal of the challenge in reconciling Germany’s historical responsibilities with its commitment to free expression.
1 C. Allfree, “The Jewish play a big London theatre wouldn’t touch”, Telegraph, 8 October 2024, https://www.telegraph.co.uk/theatre/what-to-see/anne-frank-marylebone-theatre/, (accessed 24 October 2024).
2 “What is Hamas and why is it fighting with Israel in Gaza?”, BBC, 21 October 2024, https://www.bbc.co.uk/news/world-middle-east-67039975, (accessed 23 October 2024).
3 “Middle East crisis: one child killed every hour in Gaza, UN says – as it happened”, The Guardian, 24 December 2024, https://www.theguardian.com/world/live/2024/dec/24/israel-gaza-war-ceasefire-deal-hostages-netanyahu-hamas-syria-lebanon-middle-east-latest-news, (accessed 30 December 2024).
4 P. Wintour, “Palestinian groups accuse UN adviser of failing to warn about potential genocide”, The Guardian, 8 February 2024, https://www.theguardian.com/world/2024/feb/08/palestinian-groups-accuse-un-adviser-of-failing-to-warn-about-potential-genocide, (accessed 20 November 2024).
5 For recent updates visit the UN: https://news.un.org/en/news/region/middle-east
6 I. Khan, “Global threats to freedom of expression arising from the conflict in Gaza”, United Nations, 23 August 2024, https://www.un.org/unispal/document/report-special-rapporteur-23aug24/, (accessed 19 November 2024).
7 Archive of Silence, https://www.instagram.com/archive_of_silence/
8 S. J. Hofmann, “BDS: 6 questions about the movement boycotting Israel”, Deutsche Welle, 1 December 2017, https://www.dw.com/en/bds-6-questions-and-answers-about-the-movement-boycotting-israel/a-41618245, (accessed 20 November 2024).
9 “Anti-Semitism: State Anti-BDS Legislation”, Jewish Virtual Library, https://www.jewishvirtuallibrary.org/anti-bds-legislation, (accessed 30 December 2024).
10 B. Knight, “Lawmakers condemn ‘anti-Semitic’ BDS movement”, Deutsche Welle, 17 May 2019, https://www.dw.com/en/german-parliament-condemns-anti-semitic-bds-movement/a-48779516, (accessed 20 November 2024).
11 K. Stern, “I Drafted the Definition of Antisemitism. Right-wing Jews Are Weaponizing It”, The Guardian, 13 December 2019, https://www.theguardian.com/commentisfree/2019/dec/13/antisemitism-executive-order-trump-chilling-effect, (accessed 19 October 2024).
12 E. Press, “The Problem with Defining Antisemitism”, The New Yorker, 13 March 2024, https://www.newyorker.com/news/persons-of-interest/the-problem-with-defining-antisemitism, (accessed 19 October 2024).
13 H. Whittle, “Germany passes controversial antisemitism resolution”, Deutsche Welle, 6 November 2024, https://www.dw.com/en/germany-passes-controversial-antisemitism-resolution/a-70715643, (accessed 19 October 2024).
14 V. Chow, “ Following Outcry, Berlin’s Culture Ministry Scraps a Controversial ‘Anti-Discrimination’ Requirement for Art Grants”, Artnet, 22 January 2024, https://news.artnet.com/art-world/antisemitism-clause-berlin-2421684, (accessed 19 October 2024).
15 Open Letter Berlin Culture, “Open letter to the Berlin Senate Cultural Administration and to Joe Chialo, State Minister for Culture and Social Cohesion”, Open Letter Berlin Culture, 7 January 2024, https://openletterberlinculture.net/offener-brief-an-die-berliner-senatskulturverwaltung-und-an-joe-chialo-senator-fur-kultur-und-gesellschaftlichen-zusammenhalt#english, (accessed 19 October 2024).
16 A. Greenberger, “Hundreds of Artists Say They Won’t Show at German Institutions with ‘McCarthyist Policies’ on Palestine”, Art News, 11 January 2024, https://www.artnews.com/art-news/news/strike-germany-call-artists-sign-protest-palestine-1234692733/, (accessed 19 October 2024).
17 S. Pan, “Berlinale 2024: Memories of War”, International Documentary Association, 13 May 2024, https://www.documentary.org/feature/berlinale-2024-memories-war, (accessed 25 October 2024).
18 S. Roxborough, “Berlin Film Fest Braces for Protests Over Israel-Hamas War”, The Hollywood Reporter, 8 February 2024, https://www.hollywoodreporter.com/movies/movie-features/berlin-film-fest-protests-israel-hamas-war-1235817282/, (accessed 25 October 2024).
19 E. Grenier, “When Germany targets Jewish artists as antisemitic”, Deutsche Welle, 12 September 2024, https://www.dw.com/en/when-germany-targets-jewish-artists-as-antisemitic/a-70180570, (accessed 20 October 2024).
20 A. Greenberger, “Two Star Artists Pull Shows in Berlin, Claiming Museum Would Not Exhibit Pro-Palestine Gesture”, Art News, 13 February 2024, https://www.artnews.com/art-news/news/banu-cennetoglu-pilvi-takala-pull-shows-neue-berliner-kunstverein-palestine-gesture-1234695467/, (accessed 19 October 2024).
21 A. Kassam, “Laurie Anderson ends German professorship after criticism of Palestine support”, The Guardian, 1 February 2024, https://www.theguardian.com/music/2024/feb/01/laurie-anderson-ends-german-professorship-pro-palestine-letter, (accessed 19 October 2024).
22 A. Greenberger, “Artist Says Comments on Palestine Cost Them a German Museum Show”, Art News, 15 March 2024, https://www.artnews.com/art-news/news/johanna-hedva-kunstverein-braunschweig-suspended-show-palestine-comments-1234700028/, (accessed 25 October 2024).
23 Oi Polloi, Facebook, 12 April 2024, https://www.facebook.com/photo.php?fbid=971051981052244&id=100044423529917&set=a.243035637187219, (accessed 25 October 2024).
24 R. Casey, “Questions of Funding”, London Review of Books, 7 November 2024, https://www.lrb.co.uk/blog/2024/november/questions-of-funding, (accessed 25 October 2024).
25 euro-scene Leipzig, “Press Release”, 15 October 2024, https://euro-scene.de/media/pages/files/8253a8c608-1728993002/24-10-15-pm-absage-and-here-i-am_en.pdf, (accessed 25 October 2024).
26 M. Pontone, “Iranian-German Photographer Asked to Apologize for Saying ‘Free Palestine’”, Hyperallergic, 23 October 2024, https://hyperallergic.com/960502/iranian-german-shirin-abedi-photographer-asked-to-apologize-for-saying-free-palestine/, (accessed 20 October 2024).
27 P. Oltermann, “German architecture award rescinded over British artist’s Israel boycott vow”, The Guardian, 18 November 2024, https://www.theguardian.com/world/2024/nov/18/german-architecture-award-rescinded-british-artist-israel-boycott-vow-james-bridle, (accessed 20 December 2024).
28 K. Brown, “A Speech Heard Around the World: How Nan Goldin’s Retrospective Became a Stress Test for a Fraught German Art Scene”, Artnet, 25 November 2024, https://news.artnet.com/art-world/nan-goldin-neue-nationalgalerie-2-2574980, (accessed 15 October 2024).
29 A. Greenberger, “Artist Frieda Toranzo Jaeger Says Her Views on Palestine Caused Her to Lose Funding and a Show in Germany”, Art News, 2 December 2024, https://www.artnews.com/art-news/news/frieda-toranzo-jaeger-strike-germany-loses-exhibition-funding-1234725180/, (accessed 20 December 2024).
*Written by Musa Igrek and Sara Whyatt, published in Freemuse’s State of Artistic Freedom 2025 report.