Gabrielle Goliath

“Goliath’s practice is grounded in that recovery, with works that test how art can create space for trauma to unfold and unfurl – to be worked through relationally, laterally, personally – in the name of restoration through recognition. That is, to hold space for witnessing as much as to bear witness; not through language nor the intellectualisation of the horrors of systemic violence, but through the complex web of emotions and states that define its ever-shifting and far-reaching textures, both within the body and without.”

Stephanie Bailey,
Art Review read

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“Indeed, we need to recognise patriarchal violence as a normative frame, as an everyday order of representation governed by a long-engrained model of white heteronormative privilege. This is what Katherine McKittrick describes as “transparent space” – which is to say, the way in which the differential ordering of spaces and lives in the world is perceived (and constantly reaffirmed) as simply ‘the ways things are’. Rather than seek to reverse this normative narrative (read History), I believe a work like Personal Accounts draws us into a different register of resistance – a different grammar of being in the world: one of punctures and work-arounds, of fugitive practices, gestures of repair, of offerings shared and tenderly received. This is not the meta-masculine agenda of re-organising the world (again), but of performing it differently, in relation, in love, in difference, in-spite-of. Art-Frame, in dialogue with Laura Cocciolillolo

Image credits:

Gabrielle Goliath, Personal Accounts, 2024-ongoing, multi-cycle video & sound installation, installation views, moMA PS1, New York (2025), photo by J Macdonald, courtesy the artist

Gabrielle Goliath, Personal Accounts, 2024-ongoing, multi-cycle video & sound installation, installation views, PinchukArtCentre, Kyiv (2025), photo by Elzbieta Bialkowska OKNO Studio, courtesy the artist and PinchukArtCentre