Nan Goldin, Brian and Nan in Kimono (Brian und Nan im Kimono), 1983, Photographie, aus der Serie “The Ballad of Sexual Dependency” © Nan Goldin. Courtesy the artistThe Neue Nationalgalerie presents a six-act slideshow and film exhibition showcasing Nan Goldin’s works, which focus on addiction, identity, loss, and love. Nan Goldin’s work has long been a deeply personal and transformative reflection of life’s raw realities. The exhibition This Will Not End Well sees Goldin revisiting the paradigms of visual expression through slideshow format central to her earlier works. Alongside video installations, it highlights her process’s tactile, mechanical nature—an unpolished, almost confrontational form of storytelling that mirrors the intimacy of her subjects. By blending personal and political topics, she continues to influence contemporary art and provoke reflection on addiction, gender, and mental health.
© Written by Héloïse Leclercq
Nan Goldin, Christmas at The Other Side, Boston, 1972 from the series “The Other Side”© Nan Goldin. Courtesy the artist
The exhibition unfolds across six distinct buildings, each uniquely designed by architect Hala Wardé. These spaces serve as tailored environments for each artwork, collectively creating a village of slideshows that enhance the viewer’s experience. The artist shares a deep connection with Berlin, where the Arsenal cinema showcased her Ballad of Sexual Dependency back in 1982; the retrospective at Neue Nationalgalerie is the first in Germany to offer an extensive look at Goldin’s filmmaking career.
The artworks presented navigate the realities of drug addiction through Memory Lost and family trauma in Sisters, Saints and Sibyls and features her magnum opus, The Ballad of Sexual Dependency, but also a dive into childhood with Fire Leap and a claustrophobic trip into drug ecstasy with Sirens.
Nan Goldin, Elephant mask, Boston, 1985, from the series “Fire Leap”© Nan Goldin. Courtesy the artist
Nan Goldin, Fashion show at Second Tip, Toon, C, So and Yogo, Bangkok (Modenschau im Second Tip, Toon, C, So and Yogo, Bangkok), 1992, Photographie, aus der Serie “The Other Side” © Nan Goldin. Courtesy the artistThe Ballad of Sexual Dependency, 1981–2022
This project serves as a visual diary—first emerging on the New York club scene in the late 1970s—revealing the intimate layers of relationships and the impact of the AIDS crisis on Goldin’s community. It explores emotional and physical dependency, showing how these connections shape identity and the human experience. Through hundreds of spontaneous images, the series pays tribute to those Goldin lost to the AIDS crisis, documenting raw moments of love, friendship, addiction, and loss.
«The diary is my form of control over my life. It allows me to obsessively record every detail.»
Nan Goldin’s photographs capture her relationships, both romantic and platonic, her solitude, and her vulnerability, blending emotion with uncompromising realism. In The Ballad of Sexual Dependency—inspired by a work from Bertolt Brecht—she brings together spontaneous snapshots that tell an ever-evolving story. Goldin reveals parts of American society that are often ignored: drug use, prostitution, violence, AIDS, and death. Yet, at the heart of this intense visual world, love, beauty, and desire remain driving forces. As Goldin wrote, “The Ballad of Sexual Dependency is the diary I let people read. The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”
The work unfolds like a clandestine performance, where the characters—including Goldin herself—navigate moments of ecstasy and suffering, often entangled with sexuality and drugs. Projected in 35mm with a soundtrack ranging from Maria Callas to The Velvet Underground, the piece was first shown through unique live performances. Alongside the slideshow, the exhibition features photographs and archival materials from the early iterations of The Ballad. With nearly 700 images, the project is a deeply personal reflection on Goldin’s lived experiences in Boston, New York, Berlin, and beyond, starting in the late 1970s.
Nan Goldin, Gina at Bruce’s dinner party, NYC, 1991, from the series “The Other Side”© Nan Goldin. Courtesy the artist
Nan Goldin, Greer modeling jewelry, NYC, 1985, from the series “The Other Side”© Nan Goldin. Courtesy the artist
The Other Side, 1992– 2021
The Other Side is a tribute to Nan Goldin’s trans friends and drag queens, celebrating gender euphoria and the potential for transcendence. Her deep connection to the queer community, particularly in New York during the 1970s and 1980s, is evident in this work. The series features intimate portraits taken at home, during preparations for performances, and in everyday life, capturing the fluidity of gender and the complexity of identity.
Named after a Boston bar, The Other Side reflects both the societal marginalization faced by trans and drag communities and the personal transformations they undergo. Goldin’s empathetic lens avoids voyeurism, instead documenting the joy, pain, and resilience of her friends with raw honesty and emotional depth. By challenging conventional notions of gender and beauty, the series highlights the lived experiences and personal expressions of her subjects. Beyond simple documentation, this work honours the communities that deeply shaped her understanding of identity and freedom.
Sisters, Saints and Sibyls, 2004–2022
Sisters, Saints, and Sibyls (2004–2022) delves into the multifaceted experiences of women ensnared in both psychological and mythical narratives. Through this series, Nan Goldin intricately weaves her story with broader themes of identity and trauma, centring on her sister Barbara. Institutionalized at a young age, Barbara’s tragic journey culminated in her suicide, serving as a poignant focal point in the work. Goldin parallels her sister’s story with the biblical tale of Saint Barbara, creating a layered exploration of confinement and the search for liberation.
Nan Goldin’s visual narrative transcends mere documentation, diving into the complexities of mental health, familial bonds, and the weight of societal expectations on women. The series reflects on Barbara’s struggles but also evokes the historical and mythical figures of women who have faced similar fates, inviting viewers to confront the stigmas surrounding mental illness and the narratives that shape our understanding of womanhood. Goldin creates with this piece a powerful commentary on resilience, memory, and the quest for identity amidst profound loss.
Nan Goldin, Picnic on the Esplanade, Boston (Picknick auf der Esplanade, Boston), 1973, Photographie, aus der Serie “The Other Side” © Nan Goldin. Courtesy the artist
Nan Goldin, Self-portrait with eyes turned inward, Boston (Selbstportrait mit nach Innen gedrehten Augen, Boston), 1989, Photographie, aus der Serie “Sisters, Saints and Sybils” © Nan Goldin. Courtesy the artist
Fire Leap, 2010–2022
This digital slideshow presents a collection of photographs featuring Nan Goldin’s godchildren and the children of her friends, captured over nearly four decades, from 1978 to 2014.
“When children arrive, they know everything, and life teaches them to forget.”
Through her lens, Goldin infuses her young subjects with empathy and dignity, highlighting their unique personalities and the unfiltered emotions of childhood. Each image serves as a window into their lives, with moments of innocence and wonder that remain untouched by societal constraints.
Goldin reflects on this transient phase of life with the poignant observation, “When children arrive, they know everything, and life teaches them to forget.” Fire Leap invites viewers to engage in a deeper contemplation of the fleeting nature of childhood, celebrating the raw truth and joy inherent in these early moments. By capturing the transformative journey from innocence to experience, Goldin creates a powerful narrative that resonates with anyone who has witnessed the beauty and complexity of growing up. The work cherishes the simplicity and purity of youth, reminding us of the profound impact these formative years have on shaping personal perspective.
Sirens, 2019–2020
This piece is a mesmerizing single-channel video that echoes the enchanting call of the Sirens from Greek mythology, luring viewers into a world of sensuality and ecstasy reminiscent of a high. This work marks a departure for Nan Goldin, as it’s crafted entirely from found footage, featuring scenes from thirty different films.
Accompanied by a score composed by Mica Levi, Sirens immerses the viewer in its hypnotic allure, exploring the desire and temptation while drawing parallels between myth and the intoxicating experiences of contemporary life.
Nan Goldin, Sunny in my room, Paris, 2009, © Nan Goldin. Courtesy the artistMemory Lost, 2019–2021
In 2017, Nan Goldin founded P.A.I.N. (Prescription Addiction Intervention Now) to hold the Sackler family accountable for their role in the opioid epidemic. Thanks to P.A.I.N.’s efforts, the Sackler name has been removed from several prestigious museums, including the National Portrait Gallery, Tate, Guggenheim, and the MET. Her piece “Memory Lost” is dedicated to P.A.I.N., intertwining her art with her commitment to social justice and inviting reflection on personal experiences and societal issues.
This piece is a deeply personal exploration of life through the lens of drug addiction, representing Nan Goldin’s most introspective work. This project weaves together images from her extensive archive, featuring haunting visuals and incorporating interviews and recordings from her telephone answering machine dating back to the 1980s, creating a poignant tapestry of memories. Accompanying the visuals is a powerful score commissioned by composer Mica Levi, which enhances the emotional weight of the piece. Additional contributions from CJ Calderwood and Soundwalk Collective enrich the auditory experience. Together, these elements evoke a visceral sense of longing and loss, allowing viewers to engage with the complex realities of addiction while reflecting on the fragility of memory and the enduring impact of personal history.
Nan Goldin, The Hug, New York City, 1980,from the series “The Ballad of Sexual Dependency” © Nan Goldin. Courtesy the artist
Powered by TCPDF (www.tcpdf.org)Nan Goldin, Untitled (Ohne Titel), 1982, Photographie, aus der Serie „Memory Lost“ © Nan Goldin. Courtesy the artist
The presentation at Neue Nationalgalerie is curated by Klaus Biesenbach and Lisa Botti. This Will Not End Well is on view until April 6, 2025, in Berlin.
