Noémie Goudal (B. 1984)
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Noémie Goudal (B. 1984)

Combat (from the series Haven Her Body Was)

細節
Noémie Goudal (B. 1984)
Combat (from the series Haven Her Body Was)
signed twice, titled, numbered and dated ‘Noémie Goudal 'Combat', 2012 168 x 188cm Edition 2/7 NGoudal’ (on a paper label affixed to the reverse)
Lambda print
65 5/8 x 73 3/8in. (166.5 x 186.5cm.)
Executed in 2012, this work is number two from an edition of seven plus two artist's proofs
來源
Edel Assanti, London.
Acquired from the above by the present owner in 2012.
展覽
London, Edel Assanti Gallery, Haven Her Body Was, 2012.
Milan, Project B Gallery, Haven Her Body Was, 2012.
Metz, L’Arsenal, Prix HSBC Pour la Photographie, 2013 – 2014. This exhibition later travelled to Muse´e de la Photographie, Toulon.
Paris, Galerie Les Filles du Calvaire, Haven Her Body Was, 2014.
注意事項
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 20% is payable on hammer price and buyer's premium

拍品專文

French photographer Noémie Goudal graduated from the Royal College of Art, London, in 2010, and was included in the Saatchi Gallery’s exhibition Out of Focus: Photography in 2012. Her works play with the boundary between real and constructed images, inviting the viewer to re-evaluate their understanding of the world. Combat belongs to the series Haven Her Body Was, which seeks to explore humanity’s relationship with secluded, isolated spaces, invoking Michel Foucault’s notion of ‘non-lieux’. Shot on location, using analogue techniques, many of the images in the series are deliberately staged by the artist, installed as prints and re-photographed in different geographic settings. Combat, by contrast, captures a real place: ‘I found it in France in Normandy on the beach’, she explains. ‘It’s a bunker from World War II. The bunkers were supposed to be destroyed, but it was so expensive that they just left them there. It’s funny, because many people thought that this building was fake, especially since many of my photos contain paper backdrops’. This indeterminacy speaks directly to the heart of Goudal’s practice: ‘If you show such an image next to another one that is constructed, the viewer will still look for the construction where there isn’t one’, she asserts. ‘You will start to question and maybe look better at the image.’

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