Biesenbach was born in 1966,[1] in
Bergisch Gladbach,
West Germany. From 1987, he began studying medicine in Munich. He moved to Berlin in the mid-1990s,[6] where he shared an apartment with artist
Andrea Zittel at one point.[7]
Career
Kunst-Werke Institute for Contemporary Art
Biesenbach founded Kunst-Werke Institute for Contemporary Art (KW)[4] in Berlin in 1991, as well as the
Berlin Biennale in 1996, and remains Founding Director of both entities. Under his artistic and executive directorship, KW and the Berlin Biennale were started as self-inventive initiatives and are now federally and state funded institutions.[8]
MoMA, and MOMA PS1
Biesenbach joined MoMA PS1 as a curator in 1996; the museum's director
Alanna Heiss had hired him part-time while allowing him to maintain his directorship in Berlin.[1] Working with Heiss, he created the "Warm Up" outdoor summer series of live music and helped found the "Greater New York" exhibition series, which showcases emerging talent in the metropolitan area.[9]
In 2004, Biesenbach was appointed as a curator in the
MoMA's "Department of Film and Media". He was named Chief Curator of MoMA's newly formed Department of Media, in 2006; it was the first new curatorial department since photography, in 1940.[1] By 2009, it was subsequently broadened to the Department of Media and Performance Art to reflect the Museum's increased focus on collecting, preserving, and exhibiting performance art.[1] As Chief Curator of the department, Biesenbach led a range of pioneering initiatives, including the launch of a new performance art exhibition series; an ongoing series of workshops for artists and curators; acquisitions of media and performance art; and the Museum's presentation in 2010 of a major retrospective of the work of
Marina Abramović.[10]
In addition to his role at MoMA, Biesenbach served as member of the International Jury at the
Venice Biennale (1997) and as co-curator of the Berlin Biennale (1998) and 2002
Shanghai Biennale (2002).
During his time as director, Biesenbach introduced free admission to the museum with a $10 million gift from
Carolyn Clark Powers,[13][14] founded the first Environmental Council at any American museum[15] and started the Performance Space Wonmi's Warehouse Programs[16] while commissioning
Larry Bell's, Bill and Coo and Untitled by
Barbara Kruger as public art projects.[17]
As part of a 2021 reorganization, Biesenbach was later named artistic director, with a mandate to focus on setting the artistic vision for the museum, overseeing exhibitions and collections. Shortly after,
Johanna Burton was appointed as executive director.[21]
In addition, Biesenbach received the
International Association of Art Critics (AICA) award for the exhibitions Marina Abramović: The Artist Is Present,
Pipilotti Rist: Pour Your Body Out (7354 Cubic Meters), and
Fassbinder: Berlin Alexanderplatz. He also received AICA awards for co-curating the exhibitions
Kenneth Anger, 100 Years (version #2, ps1, nov 2009), and Roth Time: A
Dieter Roth Retrospective and 100 Years (version #2 PS1, Nov 2009) at MoMA PS1 and MoMA QNS, as well as Kenneth Anger (2009) at MoMA PS1 and 100 Years (version #2 PS1, Nov 2009) at MoMA PS1 and MoMA QNS, as well as Kenneth Anger (2009) at MoMA PS1.
Exhibitions organized and co-organized by Biesenbach at Neue Nationalgalerie
Our Space to Help: Fundraiser at the Neue Nationalgalerie, initiated by Klaus Biesenbach, in collaboration with
Anne Imhof and
Olafur Eliasson (2022)[73]
Additional solo and group exhibitions organized and co-organized by Biesenbach
Installation by
Kumiko Shimizu, Elisabethkirche, Berlin, co-organized (1991)[82]
Dialog im
Bode Museum mit
Isa Genzken,
Klaus vom Bruch, Svetlana und Igor Kopystiansky, Strawalde, Staatliche Museen Preussischer Kulturbesitz, Bode-Museum Berlin (1992)[83]
Christo vor der Verhüllung, Marstall Berlin with Gabriele Muschter (1993)
Deutschland wird Deutscher, a project throughout Berlin organized in collaboration with
Katharina Sieverding and
UdK (1993)
Klaus Biesenbach, co-editor, 30 Years KW Berlin: A History, Berlin: Kunst-Werke.[89]
2019
Klaus Biesenbach and Bettina Funcke, MoMA PS1: A History. New York: Museum of Modern Art. ISBN 978-1-63345-069-1
2015
Klaus Biesenbach and Christophe Cherix, Yoko Ono: One Woman Show, 1960-1971. New York: Museum of Modern Art. ISBN 9780870709661
Klaus Biesenbach et al., Björk: Mid-Career Retrospective With New Commissioned Pieces for MoMA. New York: Museum of Modern Art. ISBN 9780870709609
2014
Klaus Biesenbach et al., 14 Rooms. Ostfildern: Hatje Cantz. ISBN 978-3-7757-3915-3
2013
Klaus Biesenbach et al., Christoph Schlingensief. London: Koenig Books. ISBN 3863354958
2010
Klaus Biesenbach, Neville Wakefield and Cornelia Butler: Greater New York 2010. New York: MoMA PS1, 2010.
ISBN978-0-9841776-2-2
Klaus Biesenbach, Agustin Perez Rubio,
Beatrix Ruf and Ugo Rondinone: The Night of Lead: Ugo Rondinone. Edited by Beatrix Ruf, Osterlilden:
Hatje Cantz, 2010.
ISBN978-3-7757-9006-2
Klaus Biesenbach and Mark Godfrey (Ed.): A Story of Deception: Francis Alÿs. New York: The Museum of Modern Art, 2009.
ISBN978-0-87070-790-2
2009
Klaus Biesenbach (Ed.): The Artist is Present: Marina Abramović. New York: The Museum of Modern Art, 2009.
ISBN978-0-87070-747-6
Klaus Biesenbach: Henry Darger. München/New York: Prestel, 2009.
ISBN978-3-7913-4210-8
Klaus Biesenbach, Michael Aupingen, Carolyn Christov-Bakargiev, Cornelia H. Butler, Judith B. Hecker and William Kentridge: Five Themes: William Kentridge. Edited by Mark Rosenthal, San Francisco Museum of Modern Art, 2009.
ISBN978-0-300-15048-3
Klaus Biesenbach, Kelly Taylor and Jonathan Horowitz: And/Or. Edited by Lionel Bovier, Zürich: JRP Ringer, 2009.
ISBN978-3-03764-018-0
Klaus Biesennbach (Ed.): Political, Minimal. Nürnberg: Verlag für moderne Kunst, 2009.
ISBN978-3-941185-07-4
2008
Klaus Biesenbach, Marina Abramović, Chrissie Iles and Kristine Stiles: Marina Abramović. New York: Phaidon, 2008.
ISBN978-0-7148-4802-0
Klaus Biesenbach, Daniel Birnbaum, Jenny Dirksen, Philipp Fürnkäs, Kaye Geipel and Ulrike Groos: Julia Stoschek Collection Number One: Destroy, she said. Osterfilden: Hatje Cantz, 2008.
ISBN978-3-7757-2231-5
2007
Klaus Biesenbach, Peter Eleey, Glenn Lowry and Doug Aitken: Sleepwalkers: Doug Aitken. New York: The Museum of Modern Art, 2007.
ISBN978-0-87070-045-3
Klaus Biesenbach: Rainer Werner Fassbinder: Berlin Alexanderplatz. Berlin: KW Institute for Contemporary Art, 2007.
ISBN978-3-8296-0253-2
Klaus Biesenbach, Georges Bataille and Susan Sontag: Into Me / Out of Me. Edited by Klaus Biesenbach, Ostfilden: Hatje Cantz 2007.
ISBN978-3-7757-2041-0
Klaus Biesenbach: In Bildern denken – Kunst, Medien und Ethik: Ist die Kunst den Medien noch gewachsen?. Regensburg: Lindinger + Schmid Kunstprojekte und Verlag, 2007.
ISBN978-3-929970-66-1
2006
Klaus Biesenbach (Ed.): Timeline: Douglas Gordon. New York: The Museum of Modern Art, 2006.
ISBN978-0-87070-390-4
2005
Klaus Biesenbach and Alanna Heiss (Ed.): Close-Ups: Katharina Sieverding. Berlin: KW Institute for Contemporary Art, 2005.
ISBN978-3-9804265-5-8
Klaus Biesenbach, Alanna Heiss and Anthony Huberman (Ed.): Animations. New York: P.S.1 Contemporary Art Center, 2003.
ISBN978-3-9804265-0-3
Klaus Biesenbach, Mary Lea Bandy and Laurence Kardish (Ed.): Motion Pictures: Andy Warhol. Berlin: KW Institute for Contemporary Art, 2005.
ISBN978-3-9804265-4-1
Klaus Biesenbach (Ed.): Greater New York 2005. New York: P.S.1 Contemporary Art Center 2005.
ISBN978-0-87070-987-6
Klaus Biesenbach and Matthew Monahan: Fragile Kingdom: Lara Schniger. Amsterdam: Artimo, 2005.
ISBN978-90-8546-001-5
Klaus Biesenbach, Vanessa Adler, Ellen Blumenstein and Felix Ensslin (Ed.): Zur Vorstellung des Terror: RAF. Göttingen: Steidl, 2005.
ISBN978-3-86521-102-6
2004
Klaus Biesenbach (Ed.): Disasters of War: Henry Darger. Berlin: KW Institute for Contemporary Art, 2004.
ISBN978-3-9804265-3-4
Klaus Biesenbach (Ed.): Die Zehn Gebote. Osterfilden: Hatje Cantz, 2004.
ISBN978-3-7757-1453-2
2003
Klaus Biesenbach and Alanna Heiss (Ed.): Video Acts. New York: P.S.1 Contemporary Art Center, 2003.
ISBN978-0-9704428-5-7
Klaus Biesenbach, Alanna Heiss and Anthony Huber (Ed.): Mexico City. New York: P.S.1 Contemporary Art Center, 2003.
ISBN978-0-9704428-4-0
2001
Klaus Biesenbach (Ed.): Loop - Alles auf Anfang. New York: Klaus Biesenbach for P.S. 1 / MoMA, 2001.
Klaus Biesenbach (Ed.): KW Magazine #02/01 Special Issue Mediarealities. Berlin: KW Institute for Contemporary Art, 2001.
Klaus Biesenbach (Ed.): KW Magazine #01/01. Berlin: KW Institute for Contemporary Art, 2001.
1997
Klaus Biesenbach and Emma Dexter: Chapmanworld. London: ICA London, Berlin: KW Institute for Contemporary Art, 1997.
Klaus Biesenbach and Ulrike Grossarth: Reste vom Mehrwert: Ulrike Grossarth. Berlin: KW Institute for Contemporary Art, 1997.
1996
Klaus Biesenbach and Nicolas Schafhausen (Ed.): Nach Weimar. Osterfilden: Hatje Cantz, 1996.
1994
Klaus Biesenbach, Christine Hill and Barbara Steiner: Christine Hill. Berlin: Eigen+Art/ KW Institute for Contemporary Art, 1995.
Klaus Biesenbach and Harald Fricke (Ed.): Joseph Kosuth. Berlin Chronicle – A Temporary Media Monument for Walter Benjamin. Berlin: KW Institute for Contemporary Art, 1994.
1992
Klaus Biesenbach (Ed.): Berlin 37 Räume. Berlin: KW Institute for Contemporary Art, 1992.
Selected recent contributions
2018
Klaus Biesenbach, "We Had to Create Something New': Klaus Biesenbach on Inventing the Berlin Biennale," ARTNews, June 7, 2018[90]
Klaus Biesenbach, "In Puerto Rico, Artists Rebuild and Reach Out," The New York Times, January 25, 2018[91]
2016
"Klaus Biesenbach Recalls the Founding of KW in Berlin 25 Years Ago, a Moment of 'Radical Change and Freedom'," ARTNews, Nov. 25, 2016[92]
Klaus Biesenbach has also contributed texts to exhibition catalogs as well as edited volumes, and he has published articles in art journals, including Art & Australia,
Artforum International, and Flash Art International. He wrote the monthly column "Erdkunde" for the German art magazine Monopol.