The slide-tape installation, Initials, 1993-94, is one of a trilogy of pioneering works by Coleman from the 1990s, acquired by IMMA through funding from the Heritage Committee of the National Cultural Institutions in 2004. Curated by Catherine Marshall.
Initials
Curated by Catherine Marshall
The first showing in Ireland of one of the most important works by the
internationally-acclaimed Irish artist James Coleman opens to the public
at the Irish Museum of Modern Art on Friday 4 August 2006.
The slide-tape
installation, I N I T I A L S, 1993-94, is one of a trilogy of pioneering
works by Coleman from the 1990s, acquired by IMMA through funding from the
Heritage Committee of the National Cultural Institutions in 2004. The work
will be shown in the Great Hall at IMMA, the first time a major
contemporary installation has been exhibited there.
James Coleman is widely regarded as having a uniquely influential role in
a range of media that dominate large areas of current art practice. For
more than 30 years he has used the photograph, the projected film still,
the transparency, the slide show with sound track and the film as powerful
means of conveying his reflections on the meaning of the image, whether
moving or static. The importance of the medium itself, and its role in
shaping our understanding of what we see, is evident from the fact that
the equipment is clearly visible in the space, with no attempt to conceal
how the piece is produced. As in all of his work, communication,
subjectivity and the use of media are central concerns in I N I T I A L S,
and in the other works in the trilogy - Lapsus Exposure, 1992-94, and
Background, 1991-94, which IMMA will show, also in the Great Hall, in 2007
and 2008 respectively.
In I N I T I A L S Coleman uses a slide-tape format (multiple
transparencies projected with synchronised audio tape) in his continuing
investigation of the psychological, social and historic conditioning of
perception. We see an unusual assortment of people in what could be a
hospital setting, but might, with equal relevance, refer to a TV drama
studio, with the attendant preparatory rituals for both settings. As the
piece progresses, the voice of what appears to be a child spells out words
or utters disparate statements, diverging more and more from the sequence
of events depicted visually, calling into question photography's
traditional claim to documentary authenticity.
A further element of uncertainty is introduced through the variety of
different genres in which the artist chooses to present the images, from
popular television soap opera style to the serenity of a 17th-century
Dutch portrait. Cocooned in a darkened and carpeted space, the work
challenges the viewer to move through the space and find their own vantage
point, thereby becoming part of the core experience of deconstruction and
reconstruction. Lynne Cooke in a recent essay on Coleman's work describes
the process whereby "weaving references drawn from film, from drama and
from painting, Coleman situates his trilogy in a hybrid realm, one that
allows him to comment obliquely on these canonical art forms and their
traditions without, however, fully subscribing to any."
Commenting on the forthcoming exhibition of I N I T I A L S and on what
the acquisition of the trilogy means to IMMA, the Museum's Director,
Enrique Juncosa, said, "We are very happy to show these works by James
Coleman, which have never been seen in Ireland before. There is already
great public interest in seeing them, especially as they were acquired
through the Heritage Fund. Their display requires a large space and that
is why we have decided to show them in the Great Hall. The trilogy of
James Coleman is one of the most important works in the IMMA Collection.
His influence can be seen in the work of many artists like Douglas Gordon,
Steve McQueen, Gerard Byrne and Jaki Irvine."
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James Coleman was born in Ballaghaderreen, Co Roscommon, in 1941. By the
mid-60s Coleman had already begun creating works using photography and
video. Since then he has exhibited extensively in international museum and
galleries, including the Dia Center for the Arts, New York ( 1994-95),
Kunstmuseum Luzern, Lucern (1995), Centre Georges Pompidou, Paris (1996),
Fundacio' Antoni Ta'pies, Barcelona (1999), Kunstbau Lenbachhaus, Munich
(2002), Sprengel Museum, Hannover (2002), and Museu do Chiado, Lisbon
(2004-05). In 2003, Coleman developed a unique project at the Louvre in
Paris for the exhibition Le'onard de Vinci: dessins at manuscrits. Coleman
has also participated in many international group exhibitions.
Irish Museum of Modern Art
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