Videos

W Paraty B

Walk series, loop video, 1’03”, 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time.
The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.

DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.

DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

Fences & Neighbors

This video is a part of Goldner’s mixed media installation, of the same name, inspired by her research trip to Arizona in 2014.

This video presents seven recent immigrants to the United States who speak individually and movingly about why they came to the U.S. and what they found when they arrived. The “storytellers” are from Mexico, Mali, Columbia, Japan, Morocco, Ecuador and Brazil. Some are in the US legally, some illegally. Offering a human view of migration, their stories are told with insight, humor, self-awareness and analysis of their situation.

In the installation, a woven barbed wire fence divides the gallery. On the far side is a projected video of migrants’ stories that viewers can see through the fence. Photographs and texts about the migrants’ treacherous journey are layered on both sides of the space.

As the fever pitch around migration mounted in 2014, Goldner wanted to go see for herself. Working with the Tucson Arts Brigade and the US Department of Arts and Culture, she spent a week on and around the border. The fence to the sky separating Nogales, Arizona from Nogales, Sonora, made of surplus military steel from the runways in Iraq, was particularly impressive and disturbing.

Migration is a recurring theme for Goldner. Her large-scale public sculpture, Most of Us Are Immigrants was installed in Sara Roosevelt Park in the late 1990’s. It is now in the collection of the Islip Museum on Long Island.