Gabrielle Goliath

“I appreciate your note on the centrality of bodily presence and situated knowledge, which is key to the political, poetic, affective and conceptual impetus of the work, as it calls us into a different, more relational aesthetic encounter. It is, however, important to recall that not all “bodies” are equal, or equally “believable”, and do not enter into political representation on commensurate terms. An (anti-black/brown/poor/femme) index of differentially valued life continues to sustain an inequitable regime of representation, one in which white heteronormativity reads (and reads well) whilst the “affectable others” (to cite Denise Ferreira da Silva) do not.”

Art Frame Interview read

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Personal Accounts (There’s a river of birds in migration)

4-channel video & sound installation
2024

Personal Accounts_Gabrielle Goliath_Jaou Tunis 2024_© Mehdi Ben Temessek (134).jpg

Personal Accounts_Gabrielle Goliath_Jaou Tunis 2024_© Mehdi Ben Temessek (196).jpg

Personal Accounts_Gabrielle Goliath_Jaou Tunis 2024_© Mehdi Ben Temessek (112).jpg

Personal Accounts (There’s a river of birds in migration), 2024, 4-channel video & sound installation, installation views*

*Installation views:
1-3: Stranieri Ovunque – Foreigners Everywhere, La Biennale di Venezia (2024), photos by Luc Meneghel
4-6: Talbot Rice Gallery, Edinburgh (2024/5), photos by Sally Jubb
7-9: B7L9, Tunis (2024), photos by Mehdi Ben Temessek