本文與《尚流Tatler》合作

「我的藝術啟蒙來自父親。雖然他是軍人出身，但在中國美術館展覽部工作了30年。他對我從小管教嚴厲，還逼我學習繪畫。幾年前，他經歷腦梗塞，這萌發了他的危機感，開始向我講述他的收藏。父親生前的願望是可以舉辦一場展覽，將他的收藏展示給世界。可惜的是，他在2020年過世前還無法完成這個心願。」

「不過，展覽只是一個短期的項目，但書本可以留給後代，所以我決定為他出一本書。花了整整三個月翻查資料和編輯，我一方面學習到了知識，也發現到收藏的樂趣。父親留給我的不是物質財富，不是收藏品，而是傳承家族藝術收藏的熱情。」

「我喜歡與世界分享我的藝術收藏。每次收藏新作，我都會在小紅書與朋友分享。我通過收藏認識了不少藝術界的好朋友。例如將黃宇興的《河流 漩渦》（2015）介紹給的（拍賣行專家）田恒，這對我早期的收藏系列非常重要。同樣重要的還有收藏家關東元。在決定開始收藏藝術品之前，我帶著一瓶酒去探訪他，他的藝術收藏理論對我影響頗深。我也經常與朋友聚在一起他談論最近藝術圈的趣聞趣事，很有意思。」

「從藝術家的創作理念到人生經歷，我對自己的收藏品如數家珍。我收藏比較多的中國藝術家包括謝南星等人。他們的年齡與我相仿，經歷過同樣的時代，見識的東西又一致。好的藝術家並不罕見，但我的著重的是作品能否立即與我產生情感共鳴，以及時代敘事如何折射在個體的作品中。」

「我收藏了肖江的七張作人物系列作品，我鍾情於人物，尤其是背影。因為背影更真實，不像面貌可以重塑，表情可以偽裝。我覺得肖江筆下的人物所帶來的聯想，使人與人之間萌生更強烈的互動。」

Goudal is as interested in Copernicus and the deciphering of the sky before the invention of the telescope as she is in Buffon’s 18th-century theory on the history of the Earth. But above all else, she has been obsessed by paleoclimatology – the study of ancient climates – for several years. It is through this discipline that the artist seeks to retrace the evolution of the landscape without humans.

In 2022, she began to transcribe these evolutions through video. During the Rencontres d’Arles photography festival, she unveiled two films in the Église des Trinitaires: one of a jungle consumed by fire, revealing another setting behind it, and another of a forest transforming as its trees are submerged in a stream. For the first time, her sets are brought to life before the camera, while at the same time they surrender to the randomness of the actions she prompted.

Goudal continues to explore new territories through her project for the prix Marcel Duchamp. Now, she is surrounded by a film crew as though on a movie set, printing her landscapes on glass that she explodes with firecrackers, and on polystyrene that flames melt with a striking viscosity.

A few months after the presentation of these films at the Centre Pompidou, Goudal will inaugurate a colossal work at the new Blanc-Mesnil railway station, near Paris. The artist will use immense windows to stage a tropical greenhouse filled with exotic plants – some extinct since the Mesolithic period. Straddling not only the real and the fake, but also the past, present, and future, this permanent installation will remind viewers of one of art’s great powers: transcendence.