Review: Noémie Goudal at Edel Assanti’s new London gallery


Spliced ​​climate and decomposed images: Noémie Goudal in Edel Assanti’s new London gallery

French artist Noémie Goudal’s new show “Post Atlantica” pioneers Edel Asanti’s new Fitzlovia gallery, a deep exploration of climate, philosophy and natural history.

There is no certainty in Noemi Gudal’s work. Landscapes are blended and perspectives are built. The depth is fantastic and elastic in time. The image is corrupted, another image is running.

Like the realm she travels, Gudal practice flows and erupts with both ancient and modern knowledge. The theory emerges from the dusty leaves of natural history and through the rest of the geological survey. Prehistoric territories are calculated in primitive and technical ways, from paper crafts to optical engineering. It’s the realm of theater and magic tricks. Not only of philosophy and discovery.

For the past decade, Goudal’s work has scrutinized the notions of time and geography, but her current corpus is Post Trantica, Especially paleoclimatology-adjusted for the study of past climates. Investigate the deep expanse of the past to get a glimpse of the future. “It’s the exact melting point that stirs your imagination,” she says.

Noemi Gudal, installation view of “Post Atlantica” at Edel Asanti in 2022 © Will Amlot, courtesy of Edel Assanti

The latest iteration of this work, produced over the last nine months, is at Edel Astanti’s new Fitzlovia Gallery on the grounds of the former Ames House, the first YWCA (Young Women’s Christian Association) hostel since 1904. Form the first show of. London-based architect Sanchez Benton pays homage to the historic role in the liberation of women in the late 19th century, retaining the essence of the original Arts & Crafts style while being full of natural light and connection. I have a generous proportion for the whole family. The room, as the Sanchez Benton team explains. ”

Center stage, 4m high jitter equipment, PhoenixAscend to the rafters. The tropical palm glitch matrix, which is actually a anamorphosis of photographs formed from already “decomposed” images. “Everyone says the image is flat. I don’t think so at all,” says Goudal. Phoenix About image depletion and the limits of trust. The pace at which our planet is changing is beyond understanding, and in fact it was within our own anthropocentric time frame that we believed that the world was flat.

left: Phoenix IV2021; Correct: Phoenix VBy Noemi Gudal

As you approach the gallery from the two entrances of Little Tichfield Street and Mortimer Street, the triptych turns into a triptych in the picture (in sculptures and movies). There are three snow-covered Pyrenean cliffs (Plongée), Inspired by the study of water droplets 300 million years ago by naturalist Camille Duseau. Only by scrutiny, they reveal Gudal’s characteristic step-by-step intervention: cardboard and paper consciously mimic Duseau’s geological “splicing,” as the artist explains. “Literally cut through the mountains”. The wall projections represent the three jagged coasts from Collioure on the coast of southern France. Untitled (wave) – Black volcanic rocks are being hit by a storm. “They are very expressive, those rocks,” Gudal recalls. It is a landscape that artists have cherished since childhood.

In both series, Goudal’s three-act structure (investigation, expedition, and chance encounter) brings a strong layer. Later she learned more about how to “go along the flow” to find inspiration. From the serendipity of the spring melting waters of the Great Circle of Gavarni (as Gudal says “as if the mountains were crying”) to confronting the full power of coastal storms. She is ready to adapt.

“Post-Atlantica” reveals the increased vitality of performance in Gudal practice. Her structure may be enacted “in Photoshop in 2 seconds”, but physical travel and transplantation is a process she needs, an “experience of living something with people”. Photos, on the other hand, are far from just documents. She says it’s a canvas for talking about environmental issues and a trace of a “beautiful moment.”

Noemi Gudal, installation view of “Post Atlantica” at Edel Asanti in 2022 © Will Amlot, courtesy of Edel Assanti

The final work of Gudal’s London exhibition, Exhale and inhaleIs a literal figurative bridge across this struggle between ideas and actions. The subject of the film is the Bering Strait, which freezes during the Last Glacial Period, suggesting that humans can cross the Arctic Circle to reach the Americas, and is pervaded by the political and meteorological drama of this geography. However, it is a completely alternative, equatorial landscape. After the movie inhales and then exhales, a 3m high background moves up and down from the swamp, a homage to the sails from the ancient sea, and a nod to “the land of travel.” We may temporarily change our point of view, but we cannot escape the spectacular movement of the planet. Exhale and inhale The question is, “What belongs to the land and how do we change the world?”

Kitsch, chimera, and appearance are all central to Gudal’s probing gestures. “Illusion helps to question this image,” she claims. Like each of us, works are devised, created, executed, and extinguished. The past is slippery and the future is even more vague. But it is this constant change in the ground that Noemi Gudal reminds us of the crystal, the clarity of hallucinations. §

Noemi Gudal, installation view of “Post Atlantica” at Edel Asanti in 2022 © Will Amlot, courtesy of Edel Assanti

Noemi Gudal, installation view of “Post Atlantica” at Edel Asanti in 2022 © Will Amlot, courtesy of Edel Assanti



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