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画廊展出 | 南 · 戈尔丁镜头下的她/他们，玛丽安 · 古德曼伦敦画廊个展

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南 · 戈尔丁 / 《格瑞尔展示首饰，纽约》，1985 / 收藏级打印 / 114.3 x 76.2cm

南 · 戈尔丁

海妖

玛丽安 · 古德曼伦敦画廊

2019.11.14 - 2020.01.11

“艺术家20年来在英国的首次个展，令人五味杂陈，是一曲对青春及离我们远去的人们的挽歌……面对这些作品仅仅一次是不够的，观看第二次又让人觉得太过。但就像戈尔丁本人一样，我无法转身而去。”

— 出自阿德里安 · 希尔11月14日在《卫报》发表的艺评文章《南 · 戈尔丁个展——绚丽闪耀又令人五味杂陈，我无法转身而去》

玛丽安 · 古德曼画廊非常荣幸举办南 · 戈尔丁个展。此次重要展览集合了戈尔丁的一系列历史创作并首次展示三件全新的影像作品，是艺术家自2018年9月加入画廊后的首展以及继2002年在白教堂美术馆之后再次回到伦敦举办个展。

南 · 戈尔丁 / “海妖”展览现场 / 玛丽安 · 古德曼伦敦画廊，2019

过去一年中，戈尔丁在创作一件名为《记忆遗失》（Memory Lost）的全新数码幻灯秀（Slideshow）作品，以一种“瘾君子”的视角描述生活体验。这一看似绚丽的旅程通过一组私密而个人化的图像徐徐展开，令人着迷且过目难忘，却对记忆和上瘾的阴暗面进行了直击灵魂的深刻思考。

南 · 戈尔丁 / “海妖”展览现场 / 玛丽安 · 古德曼伦敦画廊，2019

该作品是戈尔丁创作生涯迄今为止最动人、最私密也最叹为观止的叙事之一，作曲家兼演奏家麦卡 · 列维（Mica Levi）受邀为该作品创作了一首情感饱满的配乐。在记录一种熟悉却经过重构的生活时，新的图像档案经过艺术家的挑选与排列，将记忆描绘成亲历和见证过的体验，然而这些记忆也在药效的作用下逐渐变形和消失。

南 · 戈尔丁 / 《纳奥米和妹妹霍妮，另一面，波士顿》，1973 / 收藏级打印 / 50.8 x 40.6cm

南 · 戈尔丁 / 《同屋正在化妆》，1973 / 收藏级打印 / 50.8 x 40.6cm

另一件全新的影像作品《海妖》（Sirens，2019）与《记忆遗失》的主题相关，也在同一空间展出。这是戈尔丁首次完全使用收集来的视频片段制作的影像，并由麦卡 · 列维专门制作配乐。希腊神话中，海妖用魅惑人心的歌声引诱水手，致使他们命丧岩石海岸。这件催眠式作品如同海妖的呼唤，引导观众沉入视觉和听觉的快感。

南 · 戈尔丁 / 《另一面》，1994-2019 / 幻灯秀 / 16分46秒

南 · 戈尔丁 / 《格瑞尔在床上，纽约》，1983 / 收藏级打印 / 76.2 x 114.3cm

最初创作于1994年的幻灯秀作品《另一面》(The Other Side, 1994-2019年）经过重新编辑，与一组同名摄影作品共同展出，其中有几幅此前从未公开展出过。作品所附图书《另一面》（Steidl出版社, 2019年9月）经过内容扩充和升级，也在展览举办期间出版。展出这一重要项目也与今天的时代背景相符：对另类性别身份的表现和容纳终于获得了日益增长的关注。

南 · 戈尔丁 / 《C在夜店，曼谷》，1992 / 收藏级打印 / 76.2 x 114.3cm

南 · 戈尔丁 / 《乔伊就像玛丽莲，圣莫里茨酒店，纽约市》，2006 / 收藏级打印 / 76.2 x 114.3cm

作为为这个多元化族群发声的首批艺术家之一，戈尔丁创作了《另一面》以向自己的跨性别朋友致敬。正如她最近所说，《另一面》“记录了那些推动现状发生改变的人们的勇气，是他们使得跨性别族群获得了今天的自由。自孩提时代起，我就梦想着一个性别和性取向完全自由的世界。所有那些公开自己背离传统性别的人，证实了我的梦想终于成真。他们得以从暗处走到了阳光下。”

南 · 戈尔丁 / 《C装扮成麦当娜，曼谷》，1992 / 收藏级打印 / 76.2 x 114.3cm

南 · 戈尔丁 / 《波尔瑞酒店的后宫侍女，纽约》，1992 / 收藏级打印 / 76.2 x 114.3cm

戈尔丁承认自己对当下有关性别身份的语言的理解仍存在空白，但她补充道，虽然“自己无法自由掌握这一领域而完全不出错”，但让这些画面再次进入公众意识非常重要。“对这一群体来说，知道他们并不孤单，知道他们如何到达这里，这很重要。”

南 · 戈尔丁 / 《在酒吧，马尼拉/纽约，1991-1995》，2019 / 收藏级打印 / 120 x 176cm

南 · 戈尔丁 / 《镜子，曼谷/柏林/纽约，1991-2008》，2019 / 收藏级打印 / 114 x 167cm

戈尔丁的另一件最新影像装置作品《莎乐美》（Salome，2019）在三个屏幕上放映。作品基于《圣经》中莎乐美的故事，莎乐美是希律王的继女，在母亲的怂恿下，她提出要得到施洗者约翰的头装在盘中，作为她为国王和宾客跳舞的回馈礼。作品探索的主题包括引诱，诱惑和报复。

南 · 戈尔丁 / 《蓝山，意大利》/ 收藏级打印 / 149.9 x 225.2cm

南 · 戈尔丁 / 《雾中的十字架，布里吉雷班》，2002 / 收藏级打印 / 149.9 x 225.1cm

此外，戈尔丁还在展览中呈现了一系列大尺幅的天空和风景摄影。这组作品是艺术家自2000年起的十年间在巴西、法国、爱尔兰和意大利等地拍摄，属于她近30年来的艺术实践的重要组成部分。这些大尺幅摄影色调丰富，形式微妙，提供了一种高远的视角，传达了一种空灵与近乎抽象的质感，与展览的其他部分形成对比，但仍保持深层的和谐感。与《记忆遗失》两相比照，这些旅行的背景就变得尤为明显，即在戈尔丁自己对生活的美学思考中，将对美、统一和超越空间的追寻连接在一起，形成交织的远景。

《海妖》，配乐：麦卡 · 列维（Mica Levi）

《记忆遗失》，配乐：麦卡 · 列维与CJ · 卡尔德伍德

特别感谢：视频编辑大卫 · 谢尔曼（David Sherman）与音乐设计尼尔 · 贝内兹拉（Neil Benezra）

关于艺术家

南 · 戈尔丁（中间）2019年7月1日在巴黎卢浮宫前发起示威活动，抗议卢浮宫因接受萨克勒家族捐款而将馆内一间展厅以该家族名字命名。萨克勒家族又被称为“止疼片家族”，其旗下的制药公司被指控生产具有高度成瘾性的鸦片类药物，导致数万人死亡。此前戈尔丁已加入数次向曾接受萨克勒家族捐赠的美国美术馆抗议的活动。

南 · 戈尔丁1953年生于美国华盛顿，现在纽约、柏林和巴黎生活和创作。她曾举办两次大型巡回回顾展，分别于1996年由纽约惠特尼美术馆以及2001年由巴黎蓬皮杜艺术中心和伦敦白教堂美术馆举办。艺术家今年受邀为巴黎凡尔赛宫的展览《可见/不可见》（Visible/Invisible）创作全新作品。艺术家近年的个展包括：“性依赖的叙事曲”（The Ballad of Sexual Dependency），伦敦泰特美术馆，2019年；“海市蜃楼”（Fata Morgana），Hardelot城堡，法国孔代特，2018年；“周末计划”（Weekend Plans），都柏林爱尔兰现代艺术博物馆，2017年；“南 · 戈尔丁”（Nan Goldin），美国波特兰美术馆，2017年；“性依赖的叙事曲”（The Ballad of Sexual Dependency），纽约现代艺术博物馆，2016年。戈尔丁曾获得多项大奖，包括最近获得的汉诺威史普格尔博物馆颁发的Ruth Baumgarte奖（2019年），英国百年奖章（The Centenary Medal，2018年）。她还获得了法国政府2006年颁发的艺术与文学荣誉勋章（Commandeur des Arts et des Lettres）以及2007年的哈苏摄影奖（Hasselblad Award）。

南 · 戈尔丁 / 《躺在敞篷车上的法兰奇 · 克里斯，纽约》，1979 / 收藏级打印 / 76.2 x 114.3cm

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玛丽安 · 古德曼画廊正式宣布全球代理南 · 戈尔丁

NAN GOLDIN

Sirens

Marian Goodman Gallery London

14 November 2019 – 11 January 2020

“The artist’s first UK show in 20 years is a knotty elegy to youth and the people we leave behind...Seeing either of these works once is not enough. Seeing them a second time feels like too much. But like Goldin herself, I cannot turn away.”

- Adrian Searle, in Nan Goldin review - Gut-wrenching, brillant and beautiful. I cannot turn away, published on 14 November for The Guardian

Marian Goodman Gallery is delighted to announce its first exhibition with Nan Goldin, who joined the gallery in September 2018.

This major exhibition – the first solo presentation by the artist in London since the Whitechapel Art Gallery in 2002 – will present an important range of historical works together with three new video works exhibited for the first time.

Over the past year Goldin has been working on a significant new digital slideshow titled Memory Lost (2019), recounting a life lived through a lens of drug addiction. This captivating, beautiful and haunting journey unfolds through an assemblage of intimate and personal imagery to offer a poignant reflection on memory and the darkness of addiction.

It is one of the most moving, personal and visually arresting narratives of Goldin’s career to date, and is accompanied by an emotionally charged new score commissioned from composer and instrumentalist Mica Levi. Documenting a life at once familiar and reframed, new archival imagery is cast to portray memory as lived and witnessed experience, yet altered and lost through the effects of drugs.

Bearing thematic connections to Memory Lost, another new video work, Sirens (2019), will be presented in the same space. This is the first work by Goldin exclusively made from found video footage and it will also be accompanied by a new score by Mica Levi. Echoing the enchanting call of the Sirens from Greek mythology, who lured sailors to their untimely deaths on rocky shores, this hypnotic work visually and acoustically entrances the viewer into the experience of being high.

A newly edited version of The Other Side (1994-2019), a slideshow originally made in 1994, will be presented alongside a number of photographs from the series of the same name. Several of these images have never before been exhibited publicly. Coinciding with the publication of the expanded and updated version of the accompanying book, The Other Side (Steidl, September 2019), the exhibition of this important project comes at a time when increasing attention is deservedly focused on the representation and inclusion of alternative gender identities.

The Other Side was produced as a tribute to the artist’s transgender friends and Goldin was one of the first artists to celebrate and bring increased visibility to this diverse community. As she recently stated, The Other Side ‘is a record of the courage of the people who transformed that landscape to allow trans people the freedom of now. My dream since I was a kid was of a world with completely fluid gender and sexuality, which has come true as manifested by all those living publicly as gender nonconforming. The invisible has become visible.’

While acknowledging the gaps in her own understanding of the current language around gender identity, Goldin adds that, although ‘she can’t freely navigate the terrain without stumbling’, she recognises the importance of bringing these images into the public consciousness again. ‘It’s important for them to know they’re not alone, and to know how they got here.’

Another new video installation by Goldin, Salome (2019), will be presented on three screens. Premised on the Biblical story of Salome – the stepdaughter of King Herod who asked on behalf of her mother for the head of John the Baptist on a plate as a gift for her dancing to the King and his guests – the work explores themes of seduction, temptation and revenge.

In addition, Goldin will present a series of large sky and landscape photographs taken during the 2000s in locations such as Brazil, France, Ireland and Italy. These subjects have been an important part of the artist’s practice over the last 30 years. The rich tonalityand subtlety of form of these large images which look afar and aboveconvey an ethereal, almost abstract quality that sits in counterpoint yet intimate unison to the rest of the exhibition. The context for these journeys is made more apparent in correspondence with Memory Lost, connecting the search for beauty, union and spaces of transcendence as entwined vistas within Goldin’s own aesthetic reflections on life.

About the artist

Nan Goldin was born in Washington, D.C. in 1953 and lives and works in New York, Berlin and Paris. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris and Whitechapel Art Gallery, London. A new commission for the Palace of Versailles exhibition Visible/Invisible is on view in Versailles, France until 20 October 2019. Recent solo exhibitions include The Ballad of Sexual Dependency, Tate Modern, London, UK, 2019; Fata Morgana, Château d’Hardelot, Condette, France, 2018; Weekend Plans, Irish Museum of Modern Art, Dublin, Republic of Ireland, 2017; Nan Goldin, Portland Museum of Art, Portland, ME, USA, 2017; The Ballad of Sexual Dependency, Museum of Modern Art, New York, USA, 2016. Nan Goldin has been the recipient of numerous awards including most recently the Ruth Baumgarte Award, Sprengel Museum, Hannover, 2019 and The Centenary Medal, London, 2018. Goldin was received into the French Legion of Honour in 2006 and awarded the Hasselblad Foundation International Award in 2007.

Sirens, music by Mica Levi.

Memory Lost, music by Mica Levi and CJ Calderwood.

Special thanks to David Sherman, video editor and Neil Benezra, sound designer.

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JANETTE LAVERRIERE

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NOVEMBER 07 – DECEMBER 20, 2019

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