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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.

Kunstwerke

  1. James Coleman Background, 1991 – 1994

    Images projetées avec narration synchronisée
    Dimensions variables
    Collection Mudam Luxembourg
    Acquisition 2001
    © James Coleman

  1. James Coleman Initials, 1993 – 1994

    Images projetées avec narration synchronisée
    Dimensions variables
    Collection Mudam Luxembourg
    Acquisition 2001
    © James Coleman

  1. James Coleman Lapsus Exposure, 1992 – 1994

    Images projetées avec narration synchronisée
    Dimensions variables
    Collection Mudam Luxembourg
    Acquisition 2001
    © James Coleman

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