, a three-screen projection made exactly 20 years ago, now installed in a deconsecrated Welsh chapel in central London. “It is important that it is shown in a church,” Goldin tells me, as we sit together in her apartment in Brooklyn on a spring afternoon.
Behind us, in a red box on her mantelpiece, sits the Golden Lion from the 2022 Venice film festival, which she and film director, in which both Goldin’s work and her activism – especially in her demolition of the Sackler family, owners of the pharmaceutical company responsible for much of America’s opioid drug epidemic – is portrayed alongside a wide-ranging commentary on the artist’s work and life. The personal and the political are inextricable in Goldin’s necessary, uncompromising art.
“If you can make somebody faint from your work, it doesn’t get better, right?” Goldin says, talking about a sequence of still images of the artist burning her arm with a lit cigarette. More burns run up her flesh, her arm loosely bandaged from an earlier bout of compulsive self-harming. The scene is brief, but since Sisters, Saints, Sibyls was first shown in Paris in 2004 – where people did faint and clamoured to leave at this point – she’s edited it down.
Goldin grew up in a Jewish neighbourhood. Forty-four families had got together and built houses at the same time. While making Sisters, Saints, Sibyls, she went back to photograph the house. She said she wanted to breathe the air, but the people who lived there then wouldn’t let her in. The first place her parents had sent her sister was an orphanage. There was also a reform school. Goldin went to them all.
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