Soundwalk Collective & Nan Goldin
The Women’s March, 1789
(Signed Art Edition with Print)
The Vinyl Factory
Africa, Pavillon Dufour, Versailles
180g heavyweight vinyl in linen laminated sleeve, together with digital print in colours
titled "Africa, Pavillon Defour, Versailles"
11 4/5 × 11 4/5 in
30 × 30 cm
Edition size 250
Digital print in colours, 2019, signed in gold pen and numbered from the edition of 250 in black ink, on gloss photographic paper, published by the Vinyl Factory, London, housed within the original record sleeve with the LP
– Discovering the history of the Women’s March on Versailles, in 1789, Nan Goldin captures one of the most pivotal moments of the French Revolution through her latest exhibition with a sound installation by Soundwalk Collective and architecture by Hala Wardé at Versailles itself.
– Soundtrack to Nan Goldin’s ‘The Women’s March, 1789’
– Produced and composed by Soundwalk Collective for Nan Goldin
– Concept and artistic direction: Nan Goldin and Stephan Crasneanscki
– Arrangement and mix: Simone Merli at Sakha Studios, Berlin
– Contains a black 180g heavyweight vinyl housed in a linen laminated sleeve
– Includes a fine art print by Nan Goldin titled ‘Africa, Pavillon Dufour, Versailles (2018/2019)’
– Art print signed and numbered by Nan Goldin
– All sleeve photography taken by Nan Goldin
– Includes extracts of the Declaration of the Rights of Woman and the Female Citizen, Olympe de Gouges, a statement by Nan Goldin, a statement by Hala Wardé and an interview with Stephan Crasneanscki
– Limited edition of 250
– Available for pre-order: 17/10/19
– Release date: 28/11/19
A1. The Waterworks
B1. The Declaration
Throughout the installation, designed with Hala Wardé, Nan Goldin and Soundwalk Collective work with underground waterworks, walls and sculptures to highlight the historical moment. The power of the women marching, their memory frozen in the surroundings are evoked in the sound installation using the voices of well-known women (Isabelle Adjani, Élodie Bouchez, Laetitia Casta, Catherine Deneuve, Charlotte Gainsbourg, Nan Goldin, Isabelle Huppert, Isild Le Besco, Anna Mouglalis & Charlotte Rampling), extolling their rights as defended by the French Revolution. The work is presented within the dark corridors of the Petit Trianon, far removed from the salons of Marie-Antoinette.
“Digging up this history that resonates so loudly with our times. This brilliant document could have been written today. Nothing has changed. There are women in the world that still don’t have the rights that are articulated in the Declaration.” – Nan Goldin [Extract of statement]
Exhibited as part of the exhibition ‘Versailles – Visible / Invisible’ organised by the Public Establishment of the Palace, Museum and National Estate of Versailles and Château de Versailles Spectacles.
https://en.wikipedia.org/wiki/Nan_Goldin
Nancy "Nan" Goldin (born September 12, 1953) is an American photographer. Her work often explores LGBT bodies, moments of intimacy, the HIV crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986), which documents the post-Stonewall gay subculture and Goldin's family and friends. She lives and works in New York City, Berlin, and Paris.
Goldin was born in Washington, D.C. in 1953 and grew up in the Boston suburb of Lexington to middle-class Jewish parents. Goldin's father worked in broadcasting and served as the chief economist for the Federal Communications Commission. Goldin had early exposure to tense family relationships, sexuality, and suicide, as her parents often argued about Goldin's older sister Barbara who ultimately committed suicide when Goldin was 11:
This was in 1965, when teenage suicide was a taboo subject. I was very close to my sister and aware of some of the forces that led her to choose suicide. I saw the role that her sexuality and its repression played in her destruction. Because of the times, the early sixties, women who were angry and sexual were frightening, outside the range of acceptable behavior, beyond control. By the time she was eighteen, she saw that her only way to get out was to lie down on the tracks of the commuter train outside of Washington, D.C. It was an act of immense will.
Goldin began to smoke marijuana and date an older man, and by age 13–14, she left home and enrolled at the Satya Community School in Lincoln. A Satya staff member (experimental philosopher Rollo May's daughter) introduced Goldin to the camera in 1968 when she was fifteen years old. Still struggling from her sister's death, Goldin used the camera and photography to cherish her relationships with those she photographed. She also found the camera as a useful political tool, to inform the public about important issues silenced in America. Her early influences included Andy Warhol's early films, Federico Fellini, Jack Smith, French and Italian Vogue, Guy Bourdin and Helmut Newton.
Diane Arbus
Both Goldin and Diane Arbus celebrate those who live marginal lives. Stills from Variety are compared to Arbus' magazine work; the Variety series portray "the rich collision of music, club life, and art production of the Lower East Side pre and post AIDS period". Both artists ask to reexamine artists' intentionality.
Michelangelo Antonioni
One of the reasons Goldin began photographing was Michelangelo Antonioni's Blow Up (1966). The sexuality and glamour of the film exerted a "huge effect" on her. Referring to images shown in Ballad, "the beaten down and beaten up personages, with their gritty, disheveled miens, which populate these early pictures, often photographed in the dark and dank, ramshackle interiors, relate physically and emotionally to the alienated and marginal character types that attracted Antonioni."
Larry Clark
The youths in Larry Clark's Tulsa (1971) presented a striking contrast to any wholesome, down-home stereotype of the heartland that captured the collective American imagination. He turned the camera on himself and his lowlife amphetamine-shooting board of hanger-ons. Goldin would adopt Clark's approach to image-making.
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