The power of Noemie Goudal’s work (Paris, 1984)  lies in her ability to recreate a narrative where an infinite number of stories, all of which equally plausible, can unfold themselves. Her photographs condense the time narrative, which is typical of the story, into stratified visual representations constructed on different levels, both temporal and spatial.

As her first Italian exhibition, ‘Les Amants’ refers to the traces that are left on the ground after the passage of overwhelming, passional, and at times destructive forces. Thus the images offer, or rather reconstruct, ‘the aftermath’, ...

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