Noémie Goudal

Doi: https://doi.org/10.47659/m5.018.rev

Urška Savič (1992) is a critic and journalist active in the fields of visual arts and cultural politics, working also as a photographer and radio artist. She finished her BA in photography at FAMU (Prague, 2014) on the topic of collage and photo-montage and is in the process finalizing her master thesis at the Department of Sculpture at ALUO (Ljubljana), focusing on archiving practices in contemporary art. She was a residency artist at the Centre for Digital Arts in Holon, Israel (2015), and did an internship at the Peggy Guggenheim Museum in Venice, Italy (2015). Since 2017, she is an active participant of the cultural redaction at Radio Študent, one of Europe’s oldest and strongest non-commercial, alternative radio stations. There, she has been a curator of an open radio (art-theory) research platform R A D A R since 2019.

Urška Savič (1992) is a critic and journalist active in the fields of visual arts and cultural politics, working also as a photographer and radio artist. She finished her BA in photography at FAMU (Prague, 2014) on the topic of collage and photo-montage and is in the process finalizing her master thesis at the Department of Sculpture at ALUO (Ljubljana), focusing on archiving practices in contemporary art. She was a residency artist at the Centre for Digital Arts in Holon, Israel (2015), and did an internship at the Peggy Guggenheim Museum in Venice, Italy (2015). Since 2017, she is an active participant of the cultural redaction at Radio Študent, one of Europe’s oldest and strongest non-commercial, alternative radio stations. There, she has been a curator of an open radio (art-theory) research platform R A D A R since 2019.

Noémie Goudal’s photographs are marked by a long production process, which carries great meaning for the author. These markers are not hidden from viewers, in fact, her final works are printed in large formats for precise reason so that we can be immersed in them and find subtle interpretations of what we are actually looking at.

The beginnings of Goudal’s dialectical photography date back to her student years at the Royal College of Art in London where she was working on a project about the inhabitants of the Orkney Islands. She imagined her portraits to be done in natural settings, but found herself against a weather-related obstacle – it was simply to windy. Thus, the recording had to be completed in an innovative way. She photographed the windy landscape, and used it as a studio background for portraits of the inhabitants. The use of photography as backdrop inspired her so much that in various versions it became her authorial expression.

In her series Observatoire, from 2013 to 2014, she collaged the photographs of the details of concrete buildings into a uniform surface, created photo-objects of imaginary architecture from them, which she then placed in selected landscapes and photographed them as part of the latter. These then became subjects of final photographs, while nature took on the role of backdrop.

Noémie Goudal: from the series Observatoires, Observatoire VIII, 2014. Courtesy of the artist.
Noémie Goudal: from the series Observatoires, Observatoire VIII, 2014. Courtesy of the artist.

Through Goudal’s evolving practice, the backdrop is no longer intended as a background, but becomes in itself a subject of portraiture. This also saw the disappearance of people from her photographs. They were replaced with photographic objects within the emptied landscapes, which are becoming increasingly grander and surreal (Towers, 2014). In the series In Search of the First Line, 2014, she reverses her game and focuses on the perception of the perspectives of the architecture of indoor spaces. By using backdrops in abandoned factory halls, she creates a fictitious but logical continuation of the premises.

Noémie Goudal: from the series Towers, Tower II, 2015. Courtesy of the artist.
Noémie Goudal: from the series Towers, Tower II, 2015. Courtesy of the artist.
Noémie Goudal: In Search of the First Line III, 2014. Courtesy of the artist.
Noémie Goudal: In Search of the First Line III, 2014. Courtesy of the artist.

On finished photos printed in large formats, the artist leaves details such as ropes, visibly folded cardboard, fusion points. When the viewer finds “mistakes,” he/she begins to understand the process and starts questioning the reality of what he/she sees. Sometimes “odd-ones-out” are places inside the series – photos that are just photos and do not document any installations and only depict the existing reality. With such examples, the artist uses inverse logic to draw the viewer’s attention to what is real and what is fiction. She does not use Photoshop but manipulates the images analogously. In terms of the number of people involved in production and long-lasting preparations for a single shot (Southern Light Stations, 2015), her projects are becoming grander, almost like film productions.

Noémie Goudal: from the series Southern Light Stations, Station I, 2015. Courtesy of the artist.
Noémie Goudal: from the series Southern Light Stations, Station I, 2015. Courtesy of the artist.

In her most recent practice, she draws attention to the increasingly worrying effects of climate change through the medium of photography. In her Pressure project, she photographed the slopes of the Rhône glacier in Switzerland. The photo was then printed on paper, which melts in water, and placed precisely in front of the photographed landscape, thus documenting the symbolic process of “melting.”

Sometimes “odd-ones-out” are places inside the series – photos that are just photos and do not document any installations and only depict the existing reality.
Reading Time: 4 minutes
Reading Time: 4 minutes
Share on facebook
Share on twitter
Share on linkedin
Share on facebook
Share on twitter
Share on linkedin

Similar subject

Breaking of the convention is an argument for certain kind of authenticity. A grimaced face is not a posed face, therefore it must be an authentic, truly expressive face, the real face.
Historically, snapshots have always been about the everyday, the banal, the repetitive, the cliched events that are part of everyone’s lives. And by using Snapchat, almost any everyday activity can be combined with the production and distribution of an everyday image.
There was a long table, starched purple vestment and after a few hours of testimony, the Archbishop, chair of the commission, laid down his head, and wept. That’s how it began. – Ingrid de Kok
Nature doesn’t need humans, but humans, especially capitalist society, need Nature in order to establish and sustain the order they insist upon, which is based on often incomprehensible strong and inexplicable laws of nature.
When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement – composition, sets, props, actors, costumes and lighting.
Resistance and protest are at the core of being an indigenous person, especially nowadays in Brazil.
The pedagogical practices that can be undertaken through photographs can only be imagined on a mass scale when access to images to images is made easy, and when publishers and editors begin to give them weight. This is where the open archive, the bottom up archive, the archive for all becomes a beginning.
One of the more widespread suppositions about new media is that they override physical boundaries to the extreme that place does not play a role anymore.

Our site uses cookies to improve our services. As an user you need to agree to the usage and accept our conditions. We are currently using only necessary cookies for normal web page functioning. For more information visit our Privacy Policy and Terms of Service. For more information on the cookies that we use please check the list below.  

Cookies that we use

PHPSESSID
This cookie is native to PHP applications. The cookie is used to store and identify a users’ unique session ID for the purpose of managing user session on the website. The cookie is a session cookies and is deleted when all the browser windows are closed.

I consent to the cookie usage, agree with the Terms of Service and Privacy Policy and want to continue using the web-page. 

sign up

and get the latest news and calls for papers & projects