The American photographer and artist is promoting Coming and Going, his latest book.

Coming and Going contains rich collages of different photographic formats, from Polaroids to 4x5 (Source: MackBooks.Eu)

Jim Goldberg's talk at the Fotografiska Berlin on Wednesday (Nov. 15th) began even before he took the stage. As the audience circulated through the museum store, waiting for the Ballroom to open, I heard a quiet "This is my book." I turned around, and it was him, a quiet and unassuming figure, pointing to the pile of books and taking off his beanie to introduce himself to the receptionists. Then he asked, "How do you want to do this?"

No pomp, no protocol.

With the Ballroom packed (I owe a more scientific count here), some people standing, and some people sitting on the floor, Jim complained about the bright light on his face and proceeded to a humorous chat with the audience and the mediator. The Art Historian Katharina Krawkzyc was enlisted at the last minute to fill in for María Inés Plaza Lazo, who got stuck in Hannover due to the rail strike in Germany.

The focus of the conversation was the book Coming and Going, a massive and heavy brick of 360 pages. A visual autobiography of the American photographer and artist, a laborious undertaking that began in 1999 and was only recently completed as Goldberg turned 70.

Coming and Going covers various phases of the author's life, including expected themes such as love, birth, and the loss of loved ones. It includes the death of the father, the relationship with his daughters, and divorce. "It's not a book you read in bed," said the author, emphasizing that the intention is for the audience to see the book not only as a narrative but also as an object. The book had 18 versions before reaching its final format. (In the video below you can see some behind-the-scenes preparation)

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Coming and Going carries the weight of a life, rich in textures and collages. It is Goldberg's gaze turned inward, unlike his previous works, in which he addressed marginalized communities (Rich and Poor, 1985) and the hopeless youth (Raised by Wolves, 1995).

Jim showed himself grounded and realistic, taking a deep breath and thinking before answering some questions—at other times "correcting" those who asked or digressing, but not before warning, "Hold on, I'll get there." He also told good stories, like when he ruptured his Achilles tendon while photographing a dead hawk stuck in a tree.

When asked for advice he would give to his students, he listed a few things, such as "Don't spend all your time in museums." "Be curious," "Get off of your phone" and "Don't watch too many movies... but do watch good movies."

He expressed concern about the current moment, clearly alluding to wars, but without going into too many details. He emphasized feeling priviledged to be at Magnum Agency, where he has conversations that "cannot be had elsewhere in the art world."

When giving instructions for the book signing session, Jim said he liked to make exclusive dedications for each person, and that's why the process takes longer than the typical book signing. And as he warned the audience of potential long lines, he was inadvertently summarizing to me what seemed to be the essence of his work: "You have to be patient."

Jim Goldberg’s Talk at Fotografiska Berlin