AAfter studying philosophy at the École Normale Supérieure in Paris and the City College of New York, Laurent Goldring turned to a personal blend of the fine arts, video, photography and cinema. His work immediately caught the eye of the critics; a solo exhibition curated by Christine Van Assche at the Centre Pompidou in 2002, and in Artpress, a feature by Jacqueline Caux, articles by Laurence Louppe and Laurent Goumarre, an interview with Cyril Beghin and Stéphane Delorme, and a text by Françoise Parfait, brought rapid recognition. Since then there has been a succession of appearances in prestigious venues: the Musée National d’Art Moderne (Expo No. 26, 2002), the Gulbenkian Foundation (Sculpture mobile #4, 2002), MOMA PS1 (La Rencontre, 2014), the Musée du Jeu de Paume (Broken Loops, 2014), Le Bal (Cesser d’être un, 2016), Garage, Moscow (Collective Jumps, 2016) and the Venice Biennale (Der Bau and Collective Jumps, 2016). His work is also to be found in such major public institutions as the Musée National d’Art Moderne in Paris.
Often evocative of the world of dance, his images of the body have been an influence for a number of choreographers. He made a direct contribution to Xavier Le Roy's Blut et Boredom, Ectoderme and Self-Unfinished (1996–1998), and Maria-Donata d’Urso's Pezzo 0 (uno and due) (2002). Then came works co-written with Benoit Lachambre, Saskia Holbling and Louise Lecavalier: rrr… (reading readings reading) (2001), Is you me (2008) and Squatting Project (2012–2016); with Germana Civera: Figures (2008); with Isabelle Schad: Unturtled (2009/2012), Der Bau (2013) and Collective Jumps (2014); and with Eva Klimackova: Ouvrir le temps (2014). In 2017, after Le Bal (Paris) and Garage (Moscow), the Palais de Tokyo in Paris showed a monumental installation of his body-loop videos.