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James Coleman

Caught in a trap of interminable narrative ellipse and subject to impressions and tensions, the viewer loses his bearings and finds himself literally captured in the opaque intrigue of Lapsus Exposure by James Coleman (1941). While we are conditioned to seeing meaning emerge from the synchronicity between setting, sound, image and editing, this does not seem to take place here. Each element, whether narrative, visual or linguistic, introduces an additional semantic charge and reinforces the “wheels within wheels” possibilities of the discourse. It is as if the art of James Coleman were a negotiation between the projection and the viewer. Coleman’s approach presents a fragmented world for us to reconstruct by disturbing perception, upsetting the mechanisms of language and putting cracks in a system in which vision is founded on the conventions of representation.

Artworks

  1. James Coleman Background, 1991-1994

    Projected images with synchronised audio narration
    Variable dimensions
    Collection Mudam Luxembourg
    Acquisition 2001
    Courtesy James Coleman

  1. James Coleman Initials, 1993-1994

    Images projetées avec narration synchronisée

    Dimensions variables

    Collection Musée d’Art Moderne Grand-Duc Jean, Mudam Luxembourg

    Acquisition 2001

    photo : James Coleman

    JCO01-01 et JCO01-02

  1. James Coleman Lapsus Exposure, 1992-1994

    Images projetées avec narration synchronisée

    Dimensions variables

    Collection Musée d’Art Moderne Grand-Duc Jean, Mudam Luxembourg

    Acquisition 2001

    ãphoto : James Coleman

    JCO01-03 et JCO01-04

Marina Abramović, "Video Portrait Gallery", 1975-1998 | Collection Mudam Luxembourg | Acquisition 2001
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