南 · 戈尔丁 / 《和一只鸟的自拍像》，斯德哥尔摩，2013
IN FOCUS
南 · 戈尔丁
玛丽安 · 古德曼画廊继续推出聚焦艺术家的专题IN FOCUS，每期深入挖掘画廊代理的一位艺术家。我们希望通过一些精选的故事、采访、视频和项目等，呈现艺术家创作的开阔性。
南 · 戈尔丁（1953年出生于华盛顿特区）在她多彩的摄影作品中，捕捉体现普遍人性却又高度个人化的世界。戈尔丁目前在纽约和柏林之间生活和创作，是同代中最重要和最有影响力的艺术家之一。她拍摄人物的风格直白且充满共情，彻底改变了摄影艺术。在过去的45年里，戈尔丁创作的众多20和21世纪的影像，不可磨灭。艺术家通过记录自己和周围朋友的生活，使得她所在的群体能够表达声音，被更多人注意到。2017年，戈尔丁成立活动组织P.A.I.N.（全称为Prescription Addiction Intervention Now， 是戈尔丁和同伴们于2017年发起的抗议萨克勒家族的运动。该家族又被称为“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。戈尔丁加入了数次向曾接受萨克勒家族捐赠的欧美美术馆的抗议活动 ）。
2020年春，在一场由耶鲁大学艺术学院摄影系组织的活动中，南 · 戈尔丁与摄影师格利高里 · 克鲁德森（Gregory Crewdson）进行了对话。戈尔丁谈到了自己早期对艺术和政治的兴趣，影响她的视觉艺术，以及她是如何将这些转化到当前的实践当中。南 · 戈尔丁 / 《新年夜的自拍像，马里布，加尼福尼亚》，2006 / 收藏级打印 / 76.2 x 114.3cm
戈尔丁：我的作品从来就是。但我认为，所有的艺术，所有好的艺术都是自传性的，因为艺术源于创作它的人。所以无论是抽象表现主义、极简主义、电影、摄影，比如我的摄像作品，抽象摄影，以上任何一种形式在某种意义上都是某人的生活故事。所以从这个角度来说，我认为艺术是自传性的。我的作品尤其如此，因为我拍照就是为了铭记。但事实上，我能记住的瞬间并不多。可能是因为在拍照。记忆变成了照片，而不再是自由流淌的记忆。我现在的作品所关注的是精神状态，而这是极其自传性的。戈尔丁：称之为“过程”。我强烈反感这个词。“过程”是关乎理论化和思考的。在实现作品之前先对其进行构建和分析，对我而言，这并不是关于艺术创作。这相对艺术本身而言撤后了一步， 所以“过程”不是我喜欢考虑的角度。
南 · 戈尔丁 / 《草地上的野餐，波士顿》，1973 / 收藏级打印 / 40.6 x 50.8cm
当你回望过去这么多年的作品，在其中是否看到了某些核心主题？对你来说，是否有什么东西将所有作品连接在了一起？
是的，讲述人与人的关系、我对人们之间连结的意义的探索以及冲突和爱。以及之前提到的，精神状态。我想这是一个重要的连接点。而且你知道，我一直在强调，（我的作品）是一种日记。戈尔丁：我过去曾说，是我的朋友们。早年我在地下俱乐部做幻灯片展示时，观众通常就是我的朋友们。那时我很喜欢这种方式。之后他们会告诉我想让我删除哪些照片。所以，这完全是一个群体式的体验。而现在，我额外关注青少年和被剥夺权利的年轻人，譬如青少年自杀问题，尤其是那些被孤立的性少数群体。我希望我的创作能够帮助他们找到一面镜子，让他们对自己感到不那么糟糕。
作品一览
南 · 戈尔丁 / 《另一面》，1994-2019 / 幻灯秀，16分46秒
南 · 戈尔丁 / 《镜子，曼谷/柏林/纽约，1991-2008》，2019 / 收藏级打印 / 114 x 167cm
南 · 戈尔丁 / 《后背》，2011 / 收藏级打印 / 115.6 x 146.1cm
南 · 戈尔丁 / 《爱娃在转圈，纽约》，2007 / 收藏级打印 / 70 x 100cm
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
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 / 《吉米 · 宝莱特在大卫的自行车上，纽约》，1991 / 染料破坏冲印 / 40 x 59.4cm
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
南 · 戈尔丁现在纽约和柏林生活与创作。她的作品曾数次举办大型展览，包括两次重要回顾展：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。艺术家去年受邀为巴黎凡尔赛宫的展览“可见/不可见”（Visible/Invisible）创作了大尺幅场域特定摄影装置作品。艺术家近年的个展包括：“海妖”（Sirens），玛丽安 · 古德曼伦敦画廊，2019年；“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”，纽约现代艺术博物馆，2016年。戈尔丁2004年接受法国秋季艺术节委托，首次在巴黎萨贝提耶教堂（La Chapelle de la Salpêtrière）展出她的大型多媒体装置《姐妹，圣人，女巫》（Sisters，Saints and Sibyls，2004）。戈尔丁曾获得多项大奖，包括最近获汉诺威史普格尔博物馆颁发的Ruth Baumgarte奖（2019），英国百年奖章（The Centenary Medal，2018）。她还获得了2007年的哈苏摄影奖（Hasselblad Award）以及法国政府2006年颁发的艺术与文学荣誉勋章（Commandeur des Arts et des Lettres）。
IN FOCUS
Nan Goldin
Marian Goodman Gallery is pleased to continue our artist-centric newsletter IN FOCUS, where we delve deeply into one artist on the MGG roster at a time. Aiming to show a fuller picture of the breadth of our artists' careers, we feature our favorite stories, podcasts, interviews, artists’ writings, and videos from the archive, as well as new and upcoming projects.
Nan Goldin (b. 1953, Washington, D.C.) captures a world that is universally human, yet highly personal, in her richly colored photographs. Now living and working between New York City and Berlin, Goldin remains one of the most important and influential artists of her generation, having revolutionized the art of photography through her frank and deeply empathetic portraiture. Over the last 45 years, Goldin has created indelible images of the 20th and 21st centuries. By documenting her life and the lives of the friends who have surrounded her, Goldin gives a voice and visibility to her communities. In 2017, Goldin formed the activist group P.A.I.N. (Prescription Addiction Intervention Now).
To Nan Goldin in conversation with Gregory Crewdson, hosted by the Yale MFA Photography program in Spring 2020. Goldin discusses her early interest in art and politics, her visual influences, and how she's managed to translate this into her current practice. We've chosen for you several of her answers.
In what way do you feel your artwork is autobiographical?
Well, that's all it ever was. But I think, all art, all good art. Well, all art is autobiographical because it's coming from the person who's making it. So whether it's abstract expressionism, minimalism, film, photography, photography, like mine, abstract photography, any of it is in some sense the story of someone's life. So in that way, I think it's autobiographical.Mine was distinctly so 'cause I was trying to take pictures in order to remember, but in fact, I think I don't remember much. And it might be because I took pictures. As the memory became the photograph instead of the free float of memory. Now my work I think is about states of mind, which is extremely autobiographical. The newest work is about the darkness of addiction and the euphoria of drugs, those are my two new pieces. So what could be more autobiographical than that?What is the least favorite part of the artistic process for you? Calling it process. I don't like that word intensely. Process is about, you know, theorizing and thinking about, you know, constructing work before and analyzing it in a way that is not, to me, really about the making of art. It's one step removed and so it's not the terms I like to think in.Do you see any like central themes in your work as you look back retrospectively of all the different bodies of work? Is there something that connects it all together for you?Yeah, the story of relationships and my search for the meaning of connection between people and the conflict and the love. And like I said, states of mind. That's, I think, one of the big connecting. And you know, as I've always said, it's a diary.Who's your imagined audience? Do you think about that?I used to say it was my friends. In the early years when I did the slideshow at underground clubs, the audience would be made up, just of my friends. And I loved it. And then afterwards they would tell me which pictures they want me to take out. So, it was a completely collective experience. Now, I'm very much concerned with teenagers and young people who are disenfranchised and for instance, teenage suicide. Especially with the LGBTQI people who are isolated and I hope that my work can help them find a mirror and feel okay about themselves. So that's an upset-- yeah.
Nan Goldin lives and works between New York and Berlin. Her work has been the subject of numerous major exhibitions, and in particular of two 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. Last year she was commissioned for the Château de Versailles exhibition Visible/Invisible a large site-specific photographic installation. Recent solo exhibitions include Sirens, Marian Goodman Gallery London, UK, 2019; 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. In 2004, following a commission from the Festival d'Automne, Goldin presented for the first time, her major multimedia installation, Sisters, Saints and Sibyls (2004), at La Chapelle de la Salpêtrière, Paris. 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 awarded the Hasselblad Foundation International Award in 2007 and received into the French Legion of Honour in 2006.
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