The AI Interview: Nan Goldin 的访谈
by Robert Ayers
Self-Portrait at My Sister's Graveyard, Virginia, 2004
Nan Goldin
Sunset Like Hair, Sete, France, 2003
Nan Goldin
Self-Portrait at New Year's Eve, Malibu, 2006
Nan Goldin
Fairy Light in Cherry Blossoms, NY, 2004
Nan Goldin
Simon at Twilight, The Boston Gardens, 2005
Nan Goldin
Falling Buildings, Rome, 2004
Nan Goldin
Bridge Down to the Train Tracks, Silver Spring, MD, 2004
Nan Goldin
Nan and Brian in Bed, NYC, 1983
Nan Goldin
Gina at Bruce's Dinner Party, NYC, 1991
Nan Goldin
Misty and Jimmy Paulette in a Taxi, NYC, 1991
Nan Goldin
The Sky on the Twilight of Philippine's Death, Winterthur, 1997
Nan Goldin
Cookie at Tin Pan Alley, NYC, 1983
Nan Goldin
Joan Crawford on Fire, Thanksgiving, NJ, 2005 (a benefit print, in an edition of 100, available for $450)
Nan Goldin
Few artists’ lives have been as intimately interconnected with their art as Nan Goldin’s. Throughout her career, she has used photography as what she once famously called “the diary I let people read.” So we have witnessed the ups and downs of her life in greater detail than has often seemed comfortable.
With her current exhibition at the Matthew Marks Gallery in New York, however, she takes us closer to her own psychological edge than ever before. The show is called Chasing a Ghost, and it includes the unforgettable and frankly distressing three-screen slide and video presentation Sisters, Saints, & Sybils.
This piece premiered in Paris in 2004 and, after a brief prelude telling the story of Saint Barbara, it focuses in excruciating detail on Goldin’s sister Barbara’s suicide—and upon Goldin’s own hospitalization and stays in detox clinics. Goldin spoke to ArtInfo on the eve of her departure for Moscow, where she is showing at the city’s Museum of Modern Art as part of the Photobiennale.
Chasing a Ghost, the first installation by the artist to include moving pictures and a fully narrative score and voiceover, is on view at Matthew Marks' West 24th Street location through April 22.
Nan, people are talking about Sisters, Saints, & Sybils as a real development in your work—a step away from the slide shows and in the direction of cinema.
It has been promoted as if it’s the first time, but I’ve made a couple of movies with collaborators before. I made a movie with the BBC in 1995 called I’ll Be Your Mirror, and I shot my own video in that, and worked on the editing for a couple of weeks, and was very involved in the whole process. And I made another film about AIDS with someone who used to be a friend of mine in Paris.
So is it true to say that you’re moving in the direction of cinema, and that the slide shows are a sort of halfway house?
I do want to make movies. That’s been my desire since I was a child. I’m supposed to be making a longer-version movie of this same piece for Arte TV.
But here it’s in this three-screen version. It rather reminds me of the triptych format that you use in some of your photographs.
The idea came out of the architecture of the Salpêtrière in Paris, which is the oldest mental hospital for women and prostitutes in the city. That’s where it was developed and that was where it was shown in 2004, and that’s really the context of the piece.
It was an incredible piece because it was done on three huge screens, 50 meters across. It’s was a collaboration with Raymonde Couvre—she’s a scenographer—and the idea of using three screens came out of her suggestion of using the three arches in the middle of the chapel. But it also goes with the triptych of Saint Barbara, my sister Barbara and myself. There was constantly the idea of a triptych.
Tell me a bit about Saint Barbara. Because it comes at the very beginning, her story of confinement and martyrdom rather sets the tone for the whole of the rest of the piece, I thought.
The story of Saint Barbara is not very much fleshed out in this version of the film. But at the Salpêtrière Chapel, which is 35 meters high, we had Swiss alpine climbers go up and lower black felt over the windows, leaving three windows uncovered. This is part of the miracle of Saint Barbara—there were only two windows in the place where she was entombed by her father, but supposedly through her faith she created a third window for the holy ghost. So the Salpêtrière Chapel was blackened apart from these three windows. You could see this from all over Paris, because it’s a very high tower.
So it was a real public spectacle?
After it opened, it was such a big success. It was commissioned by the Festival d’Automne, which invites an international artist every year, and Sisters, Saints, & Sybils got twice as many visitors as anyone else’s work. Twice as many as Bill Viola, which surprised me. Twenty thousand people saw it during the six-week installation, and 400 people fainted during that time, which I was quite proud of.
Unfortunately, the church will never let the Festival d’Automne use the Salpêtrière space again because the priest was so offended by it. It upset me that they hadn’t let the priest know what it was going to be. But I couldn’t imagine being given access to one of the oldest mental hospitals in the world, especially one that was dedicated to women, and not doing something about mental illness there.
Yes, and it is uncompromisingly about mental illness. In the past, when you’ve dealt with personally upsetting subject matter, you’ve talked about photography as a “healing art.” But when you tackle material as difficult as this, does making the work actually make it less painful for you? Or does it make it worse?
In this case, it has not made it easier. People have said they really hoped it had been an exorcism, or that it had closed a chapter for me, or that it had given me the power to go on. In fact during the nine months we worked on the Salpêtrière project, the nine months we spent in the editing room, I was having a lot of difficulty. It became very emotional for me.
That really doesn’t surprise me, given the material you were editing.
Yes, we’d been shooting three or four times at the hospitals where my sister had been. They gave us unprecedented access—the first time in 150 years—to allow us to go into the locked ward of the hospital in Maryland where my sister had been for several years.
How did you manage that?
In return, I promised to do a benefit auction of artists who’ve used material dealing with mental illness to raise funds for the hospital. And I gave them one of my pieces, a large print.
We also got access to the first place she’d been in Cleveland, Ohio, which had been a sort of an orphanage. It had been very different when my sister was there, but I tried to shoot it so that it was like when my sister was there. Then there was a place that no longer exists that I don’t have many papers on. That was a real borstal—a really hard, tough place, where she’d had to slaughter chickens. Then the last place she’d been was the National Institute of Mental Health in Washington.
And as though these places weren’t b
by Robert Ayers
Self-Portrait at My Sister's Graveyard, Virginia, 2004
Nan Goldin
Sunset Like Hair, Sete, France, 2003
Nan Goldin
Self-Portrait at New Year's Eve, Malibu, 2006
Nan Goldin
Fairy Light in Cherry Blossoms, NY, 2004
Nan Goldin
Simon at Twilight, The Boston Gardens, 2005
Nan Goldin
Falling Buildings, Rome, 2004
Nan Goldin
Bridge Down to the Train Tracks, Silver Spring, MD, 2004
Nan Goldin
Nan and Brian in Bed, NYC, 1983
Nan Goldin
Gina at Bruce's Dinner Party, NYC, 1991
Nan Goldin
Misty and Jimmy Paulette in a Taxi, NYC, 1991
Nan Goldin
The Sky on the Twilight of Philippine's Death, Winterthur, 1997
Nan Goldin
Cookie at Tin Pan Alley, NYC, 1983
Nan Goldin
Joan Crawford on Fire, Thanksgiving, NJ, 2005 (a benefit print, in an edition of 100, available for $450)
Nan Goldin
Few artists’ lives have been as intimately interconnected with their art as Nan Goldin’s. Throughout her career, she has used photography as what she once famously called “the diary I let people read.” So we have witnessed the ups and downs of her life in greater detail than has often seemed comfortable.
With her current exhibition at the Matthew Marks Gallery in New York, however, she takes us closer to her own psychological edge than ever before. The show is called Chasing a Ghost, and it includes the unforgettable and frankly distressing three-screen slide and video presentation Sisters, Saints, & Sybils.
This piece premiered in Paris in 2004 and, after a brief prelude telling the story of Saint Barbara, it focuses in excruciating detail on Goldin’s sister Barbara’s suicide—and upon Goldin’s own hospitalization and stays in detox clinics. Goldin spoke to ArtInfo on the eve of her departure for Moscow, where she is showing at the city’s Museum of Modern Art as part of the Photobiennale.
Chasing a Ghost, the first installation by the artist to include moving pictures and a fully narrative score and voiceover, is on view at Matthew Marks' West 24th Street location through April 22.
Nan, people are talking about Sisters, Saints, & Sybils as a real development in your work—a step away from the slide shows and in the direction of cinema.
It has been promoted as if it’s the first time, but I’ve made a couple of movies with collaborators before. I made a movie with the BBC in 1995 called I’ll Be Your Mirror, and I shot my own video in that, and worked on the editing for a couple of weeks, and was very involved in the whole process. And I made another film about AIDS with someone who used to be a friend of mine in Paris.
So is it true to say that you’re moving in the direction of cinema, and that the slide shows are a sort of halfway house?
I do want to make movies. That’s been my desire since I was a child. I’m supposed to be making a longer-version movie of this same piece for Arte TV.
But here it’s in this three-screen version. It rather reminds me of the triptych format that you use in some of your photographs.
The idea came out of the architecture of the Salpêtrière in Paris, which is the oldest mental hospital for women and prostitutes in the city. That’s where it was developed and that was where it was shown in 2004, and that’s really the context of the piece.
It was an incredible piece because it was done on three huge screens, 50 meters across. It’s was a collaboration with Raymonde Couvre—she’s a scenographer—and the idea of using three screens came out of her suggestion of using the three arches in the middle of the chapel. But it also goes with the triptych of Saint Barbara, my sister Barbara and myself. There was constantly the idea of a triptych.
Tell me a bit about Saint Barbara. Because it comes at the very beginning, her story of confinement and martyrdom rather sets the tone for the whole of the rest of the piece, I thought.
The story of Saint Barbara is not very much fleshed out in this version of the film. But at the Salpêtrière Chapel, which is 35 meters high, we had Swiss alpine climbers go up and lower black felt over the windows, leaving three windows uncovered. This is part of the miracle of Saint Barbara—there were only two windows in the place where she was entombed by her father, but supposedly through her faith she created a third window for the holy ghost. So the Salpêtrière Chapel was blackened apart from these three windows. You could see this from all over Paris, because it’s a very high tower.
So it was a real public spectacle?
After it opened, it was such a big success. It was commissioned by the Festival d’Automne, which invites an international artist every year, and Sisters, Saints, & Sybils got twice as many visitors as anyone else’s work. Twice as many as Bill Viola, which surprised me. Twenty thousand people saw it during the six-week installation, and 400 people fainted during that time, which I was quite proud of.
Unfortunately, the church will never let the Festival d’Automne use the Salpêtrière space again because the priest was so offended by it. It upset me that they hadn’t let the priest know what it was going to be. But I couldn’t imagine being given access to one of the oldest mental hospitals in the world, especially one that was dedicated to women, and not doing something about mental illness there.
Yes, and it is uncompromisingly about mental illness. In the past, when you’ve dealt with personally upsetting subject matter, you’ve talked about photography as a “healing art.” But when you tackle material as difficult as this, does making the work actually make it less painful for you? Or does it make it worse?
In this case, it has not made it easier. People have said they really hoped it had been an exorcism, or that it had closed a chapter for me, or that it had given me the power to go on. In fact during the nine months we worked on the Salpêtrière project, the nine months we spent in the editing room, I was having a lot of difficulty. It became very emotional for me.
That really doesn’t surprise me, given the material you were editing.
Yes, we’d been shooting three or four times at the hospitals where my sister had been. They gave us unprecedented access—the first time in 150 years—to allow us to go into the locked ward of the hospital in Maryland where my sister had been for several years.
How did you manage that?
In return, I promised to do a benefit auction of artists who’ve used material dealing with mental illness to raise funds for the hospital. And I gave them one of my pieces, a large print.
We also got access to the first place she’d been in Cleveland, Ohio, which had been a sort of an orphanage. It had been very different when my sister was there, but I tried to shoot it so that it was like when my sister was there. Then there was a place that no longer exists that I don’t have many papers on. That was a real borstal—a really hard, tough place, where she’d had to slaughter chickens. Then the last place she’d been was the National Institute of Mental Health in Washington.
And as though these places weren’t b
这个艺术家的作品我喜欢,请发贴的同志翻译一下,可以吗
。。。。忙
[quote]下面是引用嘿乐乐于2006-03-30 13:39发表的:
。。。。忙[/quote]
大哥,我本想坐你的沙发,结果看不懂,很郁闷啊
。。。。忙[/quote]
大哥,我本想坐你的沙发,结果看不懂,很郁闷啊
少数艺术家的生命已经同样地亲切地被以如 Nan Goldin's 的他们艺术互相连接。 在她的事业各处，她已经当做一次出名地叫做什么她用摄影 " 日记我让人读。"因此我们比时常已经似乎舒服已经目击较棒的细节她生活的起起落落。
藉由她的现在展览在纽约的马太马克回廊，然而，她轮流我们比较靠近的到她自己的心理学的边缘以前比平常。 表演被叫做追一个鬼，而且它包括忘不了的和坦白痛苦三个荧屏的滑和电视的发表姊妹，圣徒,&Sybils。
这块在 2004 年在巴黎总理和,在一个说圣徒芭芭拉的故事简短的前奏曲之后，它在关于 Goldin's 的姊妹芭芭拉自杀的极度细节中集中- 和在 Goldin's 的自己住院治疗和在 detox 临床讲义的停留之后。 Goldin 为莫斯科跟在前夕的她离开上的 ArtInfo 说话, 在她正在城市的现代艺术的博物馆表现如 Photobiennale 的部份地方。
追一个鬼, 艺术家的第一个安装包括感人的照片和一个完全叙述的得分和解说者的声音,整四月 22 日是在马太马克 24 街位置西部的视野上.
Nan,人正在谈论姊妹，圣徒,&如你的工作真正的发展 Sybils- 一个步骤远离滑表演和在电影院的方向中。
好像资讯科技是第一次，但是我以前已经用串谋者来制造一些电影，资讯科技已经被促进。 我在 1995 年用英国广播公司来制造一场电影叫做我将是你的镜子，而且我射击那里的我自己的录象机, 而且处理编辑一些数个星期以来, 而且是非常有关的在整个的程序中。 而且我使关于和过去一直的某人爱滋病的另外一个电影在巴黎当我的朋友。
如此的是它真实的说以致于你正在搬进电影院的方向，而且哪一滑表演是一种辅导所?
我确实想要制造电影。 因为我是孩子，那被是我的欲望。 我应该为 Arte 电视制造一场相同的块比较长- 版本电影。
但是这里资讯科技是在这个三个荧屏的版本中。 资讯科技宁可使我想起你在一些你的相片中使用的三张相联格式。
主意从 Salp ê 三体帆船 è 的建筑学出来关于在巴黎, 是城市的女人和男娼的最古老的精神病院。 那是它被发展的地方，而且那是它在 2004 年被显示的地方，而且那真的是块上下文。
因为横过 50 公尺处它在三个极大的荧屏上被做，所以资讯科技是难以置信的块。 资讯科技是由于 Raymonde Couvre 合作-她是 scenographer-而且使用三个荧屏的主意从她使用小礼拜堂的中央三个拱门的提议出来。 但是它也和圣徒芭芭拉的三张相联，我的姊妹芭芭拉去和我自己。 不变地有三张相联的主意。
告诉我关于圣徒芭芭拉的一点点。 因为它受到在非常初期者的影响,她的限制和殉教的故事宁可为块的其它部分的全部设定明暗,我想。
圣徒芭芭拉的故事不非常被在电影的这一个版本中的外肉。但是在 Salp ê 三体帆船 è 关于小礼拜堂，是 35 公尺高度,我们有瑞士的高山登杆器上升而且降低在窗户上的黑色毛毡,让三扇窗户无遮盖的。 这是圣徒芭芭拉的奇迹部份-在她被她的父亲埋葬了的地方中只有二扇窗户,但是据称透过她的信心她为神圣的鬼产生了一扇第三扇窗户。 如此 Salp ê 三体帆船 è 关于小礼拜堂被变黑除了这三扇窗户之外。 因为资讯科技是一个非常高的塔，所以你从遍及巴黎可以见到这。
因此它是真正的公众值得看的东西?
在它之后打开,它是一个如此大的成功。 资讯科技被节日的 d'Automne 委任了,每年邀请一个国际的艺术家, 和姊妹，圣徒,&当其他任何人工作的时候， Sybils 有两次和访客一样多的。 两次像比尔中提琴一样的许多, 使我使～吃惊。 二万个人在六个星期的安装期间见到它，而且 400个人在那期间昏倒, 我相当为傲。
因为牧师被它如此犯罪，所以不幸地，教堂将会无法再一次关于空间让节日的 d'Automne 使用 Salp ê 三体帆船 è 。 资讯科技颠复我他们没有让牧师知道它将会是为何。 但是我无法想像被把通路给全球的最古老的精神病院之一, 尤其对女人被呈现的一个, 和不在那里对心智的疾病采取行动。
是的，而且它不让步地是有关心智的疾病事。 过去，当你已经处理亲自令人生气主题物质的时候, 你已经谈论摄影当做一 "痊愈艺术。" 但是当你像这一样的困难抓住材料的时候, 做制造工作实际上使你的它比较不痛苦? 或它使它变成更坏吗?
在这情况，它没有使它更容易。 人们已经真的说他们希望它已经是一个驱邪,或它已经为我关闭章,或它已经给我力量继续。 在九个月期间事实上我们关于计画在 Salp ê 三体帆船 è 上工作, 九个月我们在编辑房间中花费,我正在有许多困难。 资讯科技对我变成非常情绪。
真的不使我吃惊,给你正在编辑的材料。
是的，我们已经在医院射击三或四次哪里我的姊妹是。他们给予了我们空前的通路-第一在 150 年中计时- 允许我们进入在马里兰的医院被锁的守卫哪里我的姊妹是好几年。
你如何处理那?
作为回报，我答应做被用处理心智的疾病为医院升起基金的材料艺术家 who've 的利益拍卖。 而且我给予了他们我的块之一,一个大的版。
我们也得到第一个地方她已经在克里夫兰,俄亥俄州是一种一所孤儿院。当我的姊妹在那里的时候，资讯科技已经非常不同的，但是我试着射击它，以便当我的姊妹在在那里的时候，它是同类。 然后有一个地方不再存在我没有许多文件在之上。 那是真正的 borstal-非常难, 恶棍她有必须残杀小鸡的地方。 然后那最后安置她有是在华盛顿的心理健康的国立学会。
而且好像这些地方不是够坏的,你拍摄了她有实际上杀了她自己的地方。
因为我坚持，所以我们去火车轨道两次，我们试而且去她杀了她自己的最日子-四月 12 日是哪一-以便我们会有相同的天气和花和那全部。 而且我们去她的墓地。
我必须说我发现非常努力地经过轮流的火车注射。 只是她的主意在那些轨道…上放置她自己下来
对我，资讯科技是那的勇气 , 和那的强烈, 和资讯科技是如此稀罕的事实让一个女人那样做它。 甚至现在，但是在 1960 年代中它几乎听不到的。 喜欢零。 而且人不拿它,它的严重。 他们没有对它的反应, 到全部什么意谓。 资讯科技不只是低劣的自杀。 资讯科技是如此的一极端的和暴力的自己-歼灭。 我觉得自杀, 但是我已经从不我自己准备好遥远地去那。 但是我了解它。
被帮助你见到你将要如何向前地以你的工作去的如此有以致于理解?
资讯科技没有帮助我。 在安装之后在 Salp ê 三体帆船 è 关于,我们继续为 Arte 电视 [版本] 射击, 但是实际上整个的计画如此的用尽我而且有了在我上的一个如此极深的情绪效果以致于资讯科技是非常难的让我回到材料中。 如此的不，我不真的从它拿驱邪。
你期待拿驱邪吗?
号码我没有知道该期待什么。 人们有时不了解如何我可能对某人是如此接近比我年长的七年。 但是我比平常觉得较多起来像我的姊妹一样，而且我学习了对我是真的容易受惊的事物, 而且对她使我感觉非常靠近。
注意:在一个 100 的版本中纪念她的姊妹， Nan Goldin 已经生产一个特别的版 , 在火，感恩节，新泽西州 (2005) Cibachrome ， 14 寸 11 x 上的琼 Crawford 。 资讯科技对 Kaufman 中心/ 芭芭拉冬青属植物 Goldin 纪念物奖学金基金和 Giorno 诗系统有益。 从马太马克资讯科技是可得的在 $450.
藉由她的现在展览在纽约的马太马克回廊，然而，她轮流我们比较靠近的到她自己的心理学的边缘以前比平常。 表演被叫做追一个鬼，而且它包括忘不了的和坦白痛苦三个荧屏的滑和电视的发表姊妹，圣徒,&Sybils。
这块在 2004 年在巴黎总理和,在一个说圣徒芭芭拉的故事简短的前奏曲之后，它在关于 Goldin's 的姊妹芭芭拉自杀的极度细节中集中- 和在 Goldin's 的自己住院治疗和在 detox 临床讲义的停留之后。 Goldin 为莫斯科跟在前夕的她离开上的 ArtInfo 说话, 在她正在城市的现代艺术的博物馆表现如 Photobiennale 的部份地方。
追一个鬼, 艺术家的第一个安装包括感人的照片和一个完全叙述的得分和解说者的声音,整四月 22 日是在马太马克 24 街位置西部的视野上.
Nan,人正在谈论姊妹，圣徒,&如你的工作真正的发展 Sybils- 一个步骤远离滑表演和在电影院的方向中。
好像资讯科技是第一次，但是我以前已经用串谋者来制造一些电影，资讯科技已经被促进。 我在 1995 年用英国广播公司来制造一场电影叫做我将是你的镜子，而且我射击那里的我自己的录象机, 而且处理编辑一些数个星期以来, 而且是非常有关的在整个的程序中。 而且我使关于和过去一直的某人爱滋病的另外一个电影在巴黎当我的朋友。
如此的是它真实的说以致于你正在搬进电影院的方向，而且哪一滑表演是一种辅导所?
我确实想要制造电影。 因为我是孩子，那被是我的欲望。 我应该为 Arte 电视制造一场相同的块比较长- 版本电影。
但是这里资讯科技是在这个三个荧屏的版本中。 资讯科技宁可使我想起你在一些你的相片中使用的三张相联格式。
主意从 Salp ê 三体帆船 è 的建筑学出来关于在巴黎, 是城市的女人和男娼的最古老的精神病院。 那是它被发展的地方，而且那是它在 2004 年被显示的地方，而且那真的是块上下文。
因为横过 50 公尺处它在三个极大的荧屏上被做，所以资讯科技是难以置信的块。 资讯科技是由于 Raymonde Couvre 合作-她是 scenographer-而且使用三个荧屏的主意从她使用小礼拜堂的中央三个拱门的提议出来。 但是它也和圣徒芭芭拉的三张相联，我的姊妹芭芭拉去和我自己。 不变地有三张相联的主意。
告诉我关于圣徒芭芭拉的一点点。 因为它受到在非常初期者的影响,她的限制和殉教的故事宁可为块的其它部分的全部设定明暗,我想。
圣徒芭芭拉的故事不非常被在电影的这一个版本中的外肉。但是在 Salp ê 三体帆船 è 关于小礼拜堂，是 35 公尺高度,我们有瑞士的高山登杆器上升而且降低在窗户上的黑色毛毡,让三扇窗户无遮盖的。 这是圣徒芭芭拉的奇迹部份-在她被她的父亲埋葬了的地方中只有二扇窗户,但是据称透过她的信心她为神圣的鬼产生了一扇第三扇窗户。 如此 Salp ê 三体帆船 è 关于小礼拜堂被变黑除了这三扇窗户之外。 因为资讯科技是一个非常高的塔，所以你从遍及巴黎可以见到这。
因此它是真正的公众值得看的东西?
在它之后打开,它是一个如此大的成功。 资讯科技被节日的 d'Automne 委任了,每年邀请一个国际的艺术家, 和姊妹，圣徒,&当其他任何人工作的时候， Sybils 有两次和访客一样多的。 两次像比尔中提琴一样的许多, 使我使～吃惊。 二万个人在六个星期的安装期间见到它，而且 400个人在那期间昏倒, 我相当为傲。
因为牧师被它如此犯罪，所以不幸地，教堂将会无法再一次关于空间让节日的 d'Automne 使用 Salp ê 三体帆船 è 。 资讯科技颠复我他们没有让牧师知道它将会是为何。 但是我无法想像被把通路给全球的最古老的精神病院之一, 尤其对女人被呈现的一个, 和不在那里对心智的疾病采取行动。
是的，而且它不让步地是有关心智的疾病事。 过去，当你已经处理亲自令人生气主题物质的时候, 你已经谈论摄影当做一 "痊愈艺术。" 但是当你像这一样的困难抓住材料的时候, 做制造工作实际上使你的它比较不痛苦? 或它使它变成更坏吗?
在这情况，它没有使它更容易。 人们已经真的说他们希望它已经是一个驱邪,或它已经为我关闭章,或它已经给我力量继续。 在九个月期间事实上我们关于计画在 Salp ê 三体帆船 è 上工作, 九个月我们在编辑房间中花费,我正在有许多困难。 资讯科技对我变成非常情绪。
真的不使我吃惊,给你正在编辑的材料。
是的，我们已经在医院射击三或四次哪里我的姊妹是。他们给予了我们空前的通路-第一在 150 年中计时- 允许我们进入在马里兰的医院被锁的守卫哪里我的姊妹是好几年。
你如何处理那?
作为回报，我答应做被用处理心智的疾病为医院升起基金的材料艺术家 who've 的利益拍卖。 而且我给予了他们我的块之一,一个大的版。
我们也得到第一个地方她已经在克里夫兰,俄亥俄州是一种一所孤儿院。当我的姊妹在那里的时候，资讯科技已经非常不同的，但是我试着射击它，以便当我的姊妹在在那里的时候，它是同类。 然后有一个地方不再存在我没有许多文件在之上。 那是真正的 borstal-非常难, 恶棍她有必须残杀小鸡的地方。 然后那最后安置她有是在华盛顿的心理健康的国立学会。
而且好像这些地方不是够坏的,你拍摄了她有实际上杀了她自己的地方。
因为我坚持，所以我们去火车轨道两次，我们试而且去她杀了她自己的最日子-四月 12 日是哪一-以便我们会有相同的天气和花和那全部。 而且我们去她的墓地。
我必须说我发现非常努力地经过轮流的火车注射。 只是她的主意在那些轨道…上放置她自己下来
对我，资讯科技是那的勇气 , 和那的强烈, 和资讯科技是如此稀罕的事实让一个女人那样做它。 甚至现在，但是在 1960 年代中它几乎听不到的。 喜欢零。 而且人不拿它,它的严重。 他们没有对它的反应, 到全部什么意谓。 资讯科技不只是低劣的自杀。 资讯科技是如此的一极端的和暴力的自己-歼灭。 我觉得自杀, 但是我已经从不我自己准备好遥远地去那。 但是我了解它。
被帮助你见到你将要如何向前地以你的工作去的如此有以致于理解?
资讯科技没有帮助我。 在安装之后在 Salp ê 三体帆船 è 关于,我们继续为 Arte 电视 [版本] 射击, 但是实际上整个的计画如此的用尽我而且有了在我上的一个如此极深的情绪效果以致于资讯科技是非常难的让我回到材料中。 如此的不，我不真的从它拿驱邪。
你期待拿驱邪吗?
号码我没有知道该期待什么。 人们有时不了解如何我可能对某人是如此接近比我年长的七年。 但是我比平常觉得较多起来像我的姊妹一样，而且我学习了对我是真的容易受惊的事物, 而且对她使我感觉非常靠近。
注意:在一个 100 的版本中纪念她的姊妹， Nan Goldin 已经生产一个特别的版 , 在火，感恩节，新泽西州 (2005) Cibachrome ， 14 寸 11 x 上的琼 Crawford 。 资讯科技对 Kaufman 中心/ 芭芭拉冬青属植物 Goldin 纪念物奖学金基金和 Giorno 诗系统有益。 从马太马克资讯科技是可得的在 $450.
金山糍粑真可爱啊
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