{"id":27474,"date":"2026-03-21T12:49:06","date_gmt":"2026-03-21T11:49:06","guid":{"rendered":"https:\/\/finelife.tv\/fr\/?p=27474"},"modified":"2026-03-21T14:29:47","modified_gmt":"2026-03-21T13:29:47","slug":"nan-goldin-au-grand-palais-lintime-en-film","status":"publish","type":"post","link":"https:\/\/finelife.tv\/fr\/2026\/03\/21\/nan-goldin-au-grand-palais-lintime-en-film\/","title":{"rendered":"Nan Goldin au Grand Palais l’intime en film"},"content":{"rendered":"
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\"\"<\/figure>\n<\/div>\n\n\n

Nan Goldin au Grand Palais l’intime en film.<\/strong> Premi\u00e8re r\u00e9trospective fran\u00e7aise de Nan Goldin, \u00ab This Will Not End Well \u00bb transforme le mus\u00e9e en salle de projections immersives d\u2019images fixes comme autant de films priv\u00e9s. T\u00e9moignage visc\u00e9ral des ann\u00e9es queer, du sida et des addictions, l\u2019exposition fait \u00e9cho \u00e0 l\u2019autofiction d\u2019Annie Ernaux : un \u00ab je \u00bb qui devient m\u00e9moire collective.<\/strong><\/p>\n\n\n\n

Nan Goldin n\u2019aime pas qu\u2019on l’\u00e9tiquette \u00ab photographe \u00bb. Trop r\u00e9ducteur. Elle se d\u00e9finit comme raconteuse d\u2019histoires : \u00ab J\u2019ai toujours voulu \u00eatre r\u00e9alisatrice. Mes slideshows sont des films faits d\u2019images fixes. \u00bb Cette vision guide toute l\u2019exposition, qui pr\u00e9sente ses projections comme des exp\u00e9riences cin\u00e9matographiques immersives, avec son, musique et rythme narratif. C\u2019est l\u00e0 que r\u00e9side sa \u00ab\u00a0touch\u00a0\u00bb : transformer des snapshots intimes en r\u00e9cits collectifs, en chroniques vivantes d\u2019une \u00e9poque et d\u2019une communaut\u00e9.<\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Art traumas et r\u00e9silience<\/h2>\n\n\n\n

N\u00e9e en 1953 \u00e0 Washington D.C. dans une famille juive de classe moyenne, Nan Goldin grandit dans un environnement marqu\u00e9 par la r\u00e9pression sexuelle et \u00e9motionnelle. <\/p>\n\n\n\n

\u00c0 11 ans, le suicide de sa s\u0153ur a\u00een\u00e9e Barbara (\u00e0 18 ans) la marque \u00e0 jamais \u2013 un drame que sa famille tente de masquer. Ce choc devient le moteur de son \u0153uvre : elle refuse que les autres racontent sa vie ou celle de ses proches. \u00c0 14 ans, la jeune Nan fugue, passe par des foyers, puis int\u00e8gre une \u00e9cole alternative progressiste o\u00f9 on lui offre un Polaroid. La photographie devient son outil de survie : \u00ab Elle m\u2019a donn\u00e9 une voix \u00bb, dit-elle. <\/p>\n\n\n\n

Obs\u00e9d\u00e9e par l\u2019id\u00e9e de pr\u00e9server les liens et de conjurer la perte, elle documente son entourage \u2013 drag queens de Boston d\u00e8s les ann\u00e9es 70, puis la sc\u00e8ne underground new-yorkaise des ann\u00e9es 80 (post-punk, queer, sida, exc\u00e8s). La cam\u00e9ra sert \u00e0 affirmer une identit\u00e9 marginale face \u00e0 une Am\u00e9rique conservatrice. Influenc\u00e9e par le cin\u00e9ma v\u00e9rit\u00e9, Larry Clark, Diane Arbus, Jack Smith ou Guy Bourdin, Nan Goldin adopte un style snapshot brut, satur\u00e9 de couleurs, sans distance : elle est dedans, participante, amante, amie.<\/p>\n\n\n\n

Nan Goldin : une Annie Ernaux de la photographie?<\/h2>\n\n\n
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\"\"
from Sirens, 2019-2020
\u00a9 Nan Goldin<\/figcaption><\/figure>\n<\/div>\n\n\n

On pourrait comparer Nan Goldin \u00e0 une sorte d’ Annie Ernaux de la r\u00e9alisation \u2013 la \u00ab papesse de l\u2019autofiction \u00bb pass\u00e9e au visuel. Comme Ernaux en litt\u00e9rature, qui transforme le \u00ab je \u00bb le plus intime en miroir social et g\u00e9n\u00e9rationnel (via une \u00e9criture plate, sans fioritures, sur l\u2019avortement, la classe, la mort de la m\u00e8re), Goldin puise exclusivement dans son v\u00e9cu, son corps, ses amours, ses pertes pour raconter une \u00e9poque enti\u00e8re.<\/p>\n\n\n\n

Chez l\u2019une, c\u2019est le texte qui fixe le r\u00e9el ; chez l\u2019autre, ce sont des projections dynamiques, des slideshows musicaux qui font d\u00e9filer la vie comme un film sans fin. Les deux refusent la fiction pure : elles structurent le mat\u00e9riau autobiographique en narration fragment\u00e9e, avec \u00e9chos et r\u00e9p\u00e9titions, pour en faire un t\u00e9moignage transpersonnel. L\u2019intime devient politique : chez Ernaux, la m\u00e9moire d\u2019une g\u00e9n\u00e9ration de femmes ; chez Goldin, une archive visuel des luttes queer, du sida, des addictions. Nan Goldin est par ailleurs accro aux opio\u00efdes (dont l’OxyContin prescrite comme anti-douleur apr\u00e8s une op\u00e9ration en 2014). Mais elle se s\u00e8vre et fonde ensuite P.A.I.N. pour combattre les Sackler (Purdue Pharma). Une famille puissante, \u00e0 la fois m\u00e9c\u00e8ne des grands mus\u00e9es et firme pharmaceutique toxique. Ses actions de protestations dans les mus\u00e9es la rendent encore plus influente.<\/p>\n\n\n\n

Une sc\u00e9nographie en pavillons<\/h2>\n\n\n\n

L\u2019architecte Hala Ward\u00e9<\/strong> a con\u00e7u un \u00ab village \u00bb de pavillons sombres dans le Salon d\u2019honneur du Grand Palais, avec des entr\u00e9es color\u00e9es qui tranchent sur l\u2019obscurit\u00e9. On circule d\u2019un espace \u00e0 l\u2019autre, assis dans la p\u00e9nombre, face \u00e0 des projections. Un d\u00e9tail frappant : les m\u00eames images, les m\u00eames visages reviennent d\u2019un pavillon \u00e0 l\u2019autre \u2013 un effet de redite qui peut d\u00e9router, mais qui renforce le sentiment d\u2019un grand journal fragment\u00e9, interconnect\u00e9. \u00c7a titille la curiosit\u00e9, on recompose mentalement les fils narratifs.<\/p>\n\n\n\n

L\u2019ensemble a ind\u00e9niablement un c\u00f4t\u00e9 vintage : les photos datent surtout des ann\u00e9es 80-90 (quelques pi\u00e8ces plus r\u00e9centes), les d\u00e9cors, v\u00eatements, attitudes sentent les ann\u00e9es sida, la nuit queer, les addictions. Ce n\u2019est pas un d\u00e9faut \u2013 c\u2019est ce qui fait le poids documentaire. On assiste presque \u00e0 un film d\u2019\u00e9poque sur les luttes LGBTQ+, les drag queens, les communaut\u00e9s face au conservatisme r\u00e9pressif. Ces images deviennent un patrimoine visuel des r\u00e9sistances et des vuln\u00e9rabilit\u00e9s queer, mi-document, mi-autofiction.<\/p>\n\n\n\n

Quatre \u0153uvres phares <\/h2>\n\n\n\n
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Christmas at The Other Side, Boston, 1972 \u00a9 Nan Goldin<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

The Ballad of Sexual Dependency<\/strong> propulse Nan Goldin sur le devant de la sc\u00e8ne artistique artistique. Le document na\u00eet de projections de diapositives live dans des clubs et bars (d\u00e8s 1979 au Mudd Club). C\u2019est un slideshow musical (Velvet Underground, Nina Simone, etc.), un journal intime collectif de sa g\u00e9n\u00e9ration. Ce format \u00ab film fait d\u2019images fixes \u00bb r\u00e9volutionne la photographie : elle n\u2019accroche pas des tirages, elle cr\u00e9e une exp\u00e9rience immersive, temporelle, \u00e9motionnelle. L\u2019\u0153uvre documente une communaut\u00e9 queer et boh\u00e8me juste avant\/apr\u00e8s l\u2019\u00e9pid\u00e9mie du sida ; beaucoup de ses sujets deviennent des fant\u00f4mes, et ses photos des m\u00e9moriaux vivants.<\/p>\n\n\n\n

Ce projet forge un genre : la photographie intime, autobiographique, militante, qui influence des g\u00e9n\u00e9rations (Ryan McGinley, Wolfgang Tillmans, etc.). Elle rend visible l\u2019invisible, transforme le marginal en universel, et \u00e9l\u00e8ve la vuln\u00e9rabilit\u00e9 en beaut\u00e9 tragique.<\/p>\n\n\n\n

The Other Side<\/strong> (1992\u20132021)<\/h3>\n\n\n\n
\"\"
Greer modeling jewelry, NYC, 1985 \u00a9 Nan Goldin<\/figcaption><\/figure>\n\n\n
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\"\"
Christmas at The Other Side, Boston, 1972 \u00a9 Nan Goldin<\/figcaption><\/figure>\n<\/div>\n\n\n

Un hommage vibrant \u00e0 ses ami\u00b7e\u00b7s transgenres, photographi\u00e9\u00b7e\u00b7s d\u00e8s 1972. \u00ab Un livre sur la beaut\u00e9 et l\u2019amour pour mes amis \u00bb, dit-elle. Une c\u00e9l\u00e9bration de la fluidit\u00e9 queer.<\/p>\n\n\n\n

Sisters, Saints, Sibyls<\/strong> (2004\u20132022)<\/h3>\n\n\n\n
\"\"
Stills from Sisters, Saints, Sibyls 2004-2022 \u00a9 Nan Goldin<\/figcaption><\/figure>\n\n\n\n

Pr\u00e9sent\u00e9e \u00e0 la Chapelle Saint-Louis de la Salp\u00eatri\u00e8re, cette pi\u00e8ce triptyque part du suicide de sa s\u0153ur pour explorer le trauma f\u00e9minin, la r\u00e9pression, les figures de saintes. Intime et universel.<\/p>\n\n\n\n

Stendhal Syndrome<\/strong> (2024)<\/h3>\n\n\n
\n
\"\"
Young Love, 2024
\u00a9 Nan Goldin<\/figcaption><\/figure>\n<\/div>\n\n\n

Nan Goldin revisite six mythes des M\u00e9tamorphoses<\/em> d\u2019Ovide en y ins\u00e9rant ses ami\u00b7e\u00b7s, m\u00ealant portraits intimes, chefs-d\u2019\u0153uvre classiques et une bande-son envo\u00fbtante. Un moment o\u00f9 l\u2019exposition transcende son ancrage vintage.<\/p>\n\n\n\n

<\/p>\n\n\n\n

L\u2019exposition est puissante par son contenu \u2013 r\u00e9silience, amiti\u00e9, amour au milieu des ruines \u2013. Le vintage renforce son r\u00f4le de t\u00e9moignage historique et \u00e9motionnel. On en sort secou\u00e9\u00b7e, avec des questions : ces images dat\u00e9es sont-elles devenues des archives militantes ? Une m\u00e9moire collective ? Une autofiction visuelle ?<\/p>\n\n\n\n

Un rendez-vous majeur pour qui s\u2019int\u00e9resse \u00e0 la photographie contemporaine, \u00e0 l\u2019histoire queer ou aux r\u00e9cits de survie.<\/p>\n\n\n\n

Photo d’ouverture : Self portrait at New-Eve’s, Malibu California, 2006 \u00a9<\/strong> Nan Goldin<\/p>\n\n\n\n

INFOS<\/h2>\n\n\n\n

Nan Goldin, This Will Not End Well <\/strong><\/p>\n\n\n\n

Du 18 mars au 21 juin 2026<\/p>\n\n\n\n

Grand Palais site : https:\/\/www.grandpalais.fr\/en\/program\/nan-goldin-will-not-end-well<\/a><\/p>\n\n\n\n

Article li\u00e9 Nan Goldin au Grand Palais l’intime en film<\/strong><\/p>\n\n\n\n

Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass<\/a><\/strong><\/p>\n\n\n\n

Art Nouveau Printemps Toulouse Capitole queer<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Nan Goldin au Grand Palais, l’intime en film. Premi\u00e8re r\u00e9trospective fran\u00e7aise de Nan Goldin, \u00ab This Will Not End Well \u00bb transforme le mus\u00e9e en salle de projections. T\u00e9moignage des ann\u00e9es queer, sida et addictions, l\u2019exposition fait \u00e9cho \u00e0 l\u2019autofiction d\u2019Annie Ernaux<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[5997,22,4420,68,5993,5990,5991,85,5995,5996,5992,168,5994],"class_list":["post-27474","post","type-post","status-publish","format-standard","hentry","category-blog","tag-addictions","tag-art","tag-art-queer","tag-exposition","tag-exposition-art-queer","tag-films","tag-films-quer","tag-grand-palais","tag-lgbt","tag-luttes-des-minorites-sexuelles","tag-nan-goldin","tag-photographie","tag-sida"],"yoast_head":"\nNan Goldin au Grand Palais l'intime en film - FineLife.tv<\/title>\n<meta name=\"description\" content=\"Nan Goldin au Grand Palais l'intime en film : \u00ab This Will Not End Well \u00bb, t\u00e9moignage du monde queer, sida, addictions \u2013 un \u00ab je \u00bb devenu m\u00e9moire collective, comme chez Annie Ernaux\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/finelife.tv\/fr\/2026\/03\/21\/nan-goldin-au-grand-palais-lintime-en-film\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nan Goldin au Grand Palais l'intime en film - 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