Centre Pompidou - Marian Goodman Gallery

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Centre PompidouPress kitCommunicationand digital departmentcentrepompidou.frJames Coleman9 June – 23 August 2021

Centre PompidouPress kitDossierdepresseDirection de la departmentDirectionla 04communication75191 Paris decedexetdu numériquecentrepompidou.frDirectorAgnès Benayercentrepompidou.frT. 00 33 (0)1 44 78 12 87agnes.benayer@centrepompidou.frPress officerTimothée NicotT. 00 33 (0)1 44 78 45 r#ExpoColemanJames Coleman9 June – 23 August 2021Gallery 3, Level 1ContentAbout the show p. 3 - 4The exhibition layout p. 5Images in questionSome fundamental principles of James Coleman’s workp. 6 - 9List of works exhibited p. 10Biography p. 11Publication p. 12Practical information p. 13

Centre PompidouJames Coleman9 June – 23 August 2021Gallery 3, Level 1James Coleman Gallery 3 Press kit1From 9 June to 23 August 2021, the Centre Pompidou presentsa retrospective exhibition dedicated to Irish artist James Colemanwhose major work since the early 1960s, operating at the limitsof distinct traditions – those of painting, photography and film– has never ceased to deconstruct how images function.Characterised by an extreme economy of means, certain works withan experimental simplicity test the spectator’s own perceptiveactivity, underscoring the fundamental role of memory and languagein the apprehension of images. Through them, Coleman radicalisesthe heritage of minimalism.The exhibition provides an account of the exemplaryinterdisciplinarity of an artistic practice that many contemporaryartists – among them Douglas Gordon and Tino Sehgal – claim tohave been considerably influenced by. Bringing together anunprecedented number of pieces, the exhibition is organised around"projected images" devices invented by Coleman that have becomehis main artistic tool.He particularly examines how images relate to time: his earlyfilms thus use elementary optical traps to question the deceptiveverisimilitude of simulated movement, while his latest workto date – Still Life – confronts spectators with the ambiguity ofa quasi-stillness.Coleman, who was born in Ireland in 1941, has constructed hisartistic practice in the wake of minimal, then conceptual art, whilestill tapping into the Irish literary tradition of orality and "holes" inlanguage, between John M. Synge and Samuel Beckett. From thevery beginning, Coleman’s practice has operated simultaneouslyin two modes – one strictly centred on the mechanisms of visualperception, the other reconnecting with narration through figurativerepresentation and sound.Coleman’s invention of the "projected images" device enablesColeman to invest the realm of narration. Shown by a visibleprojector, slides synchronised with a soundtrack are sequencedas in a film reduced to a few of its photograms. Prepared withmeticulously elaborated scripts and adopting the clichésof commercial photography, the images present costumed charactersin postures that, like the set, are carefully positioned. 3

Centre PompidouConsisting largely of clichéd expressions or, on the contrary,quotations from poetry, the soundtrack is laconic and fragmentary.The narratives outlined in these sound projections are thus markedby conspicuous lacunae and absences, often with a touch of ironichumour. Mingling several levels of fiction, which themselves evokedifferent temporalities, James Coleman thus produces an implacablecritique of entertainment.CuratorNicolas Liucci-GoutnikovCurator, Head of Department at the Bibliothèque Kandinsky,Musée national d’art moderne, Centre Pompidou, ParisAssisted by Thomas Bertail, coordination and research manager,Bibliothèque Kandinsky, Musée national d’art moderne,Centre Pompidou, ParisRunning counter to the modernist heritage, Coleman also reconnectswith the literary dimension of classical painting. He intermingles thestatic character of paintings and the mobility of theatre in large"tableaux vivants", rendered ghostlike by the use of photography andthe orchestration of the characters that haunt them like so many"living dead".21 previous page: Retake with Evidence, 2007Retake with Evidence was first presented at documenta 12. FeaturingHarvey Keitel, the film examines questions of judgement and socialjustice by reviewing the development of the "western subject" in thethinking and philosophy of ancient Greece.James Coleman Gallery 3 Press kitVideo projection featuring Harvey Keitel, 35mm film in 4:3,digitised in HD videoCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman2 above: Slide Piece, 1972-1973This "projected work" constitutes the first incidence of the soundprojection device invented by James Coleman, which he has largelyutilised ever since. Here the slides change but the image remainsimplacably the same: a grey and lifeless square in early 1970s Milan.Each new slide is accompanied by a new description of the image,spoken by a male voice, based on a particular detail. Written in threedistinct languages by writers at Coleman’s request, thesecommentaries are interpreted and read by their translatorsin accordance with the artist’s instructions. Subjected to thesemultiple readings, the image seems to be renewed by the successiveinterpretations given of it. As stressed by art historian BenjaminBuchloh, Slide Piece highlights how "perceived objects areinconceivable independently of the spectator’s linguistic activationand consciousness". Breaking with the minimalist heritage andattached to the autonomy of the visual as opposed to all formsof interpretation, Coleman integrates language into how the imagesfunction.Projected 35mm slides, in colour, synchronised with audio narrationCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 4

Centre PompidouThe exhibition layoutGallery 35Charon (MIT Project)1989[Project for documenta11]1998-2002La Tache aveugle1978-19903Slide Piece1972-1973Lapsus Exposure1992-19942I.N.I.T.I.A.L.S1993-199446Still Life2013-2016Playback of a Daydream19741Retake with Evidence2007Fly1970Early Films (1967-1972): Pheasant ; Clock ; La Valle della Morte ; Skull ; Work-ApronJames Coleman Gallery 3 Press kitHighlight on six pieces1 — Retake with Evidence4 — Lapsus Exposure1 — 20071 — 1992-19942 — Slide Piece5 — Charon (MIT Project)1 — 1972-19731 — 19893 — I.N.I.T.I.A.L.S6 — Still Life1 — 1993-19941 — 2013-2016 5

Centre PompidouImages in questionSome fundamental principles of James Coleman’s workJames Coleman abandoned painting in the early 1970s to devote himself to exploring photomechanical mediums – photography, film andvideo – and electroacoustics. Working at the intersection between disciplines, he applies a radical deconstruction of how images function,bringing to bear a methodology that testifies to his interest in minimal and conceptual art. Rigorous and subtle, Coleman confrontsspectators with slides capable of provoking a conscious awareness of the processes specific to cognition, particularly insofar as they relateto time, space and memory.Projected ImagesProjection is the reference medium in most of James Coleman’sworks. Although when he started – in Early Films (about 1970),Fly (1972), Pump (1972) and Playback of a Daydream (1974) –Coleman used film rolls, he quickly distinguished himself with thesound-synchronised "projected images" device that he developedand perfected over the course of different pieces – Slide Piece(1972-1973), Background (1991-1994), Lapsus Exposure (1992-1994),Charon (MIT Project) (1989) and I.N.I.T.I.A.L.S (1994). Applyingextreme simplicity, these installations openly integrate the projectiondevice, which is rendered visible and audible. In Still Life, Colemanadopts digital technologies to bring to life imperceptibly a poppyplant whose biological life is evoked in a presentation incinematographic format. But projection in the psychological sensealso runs through Coleman’s work: many of his pieces draw attentionto the spectators’ propensity to "see" in accordance with their ownhorizon of expectation.3 I.N.I.T.I.A.L.SJames Coleman Gallery 3 Press kit1993-1994I.N.I.T.I.A.L.S is emblematic of James Coleman’s "projectedimage" presentations, depriving spectators of the illusionof the continuity of film and imposing a narration punctuatedby the silence generated by the succession of slides.From image to image, the place and characters are transformedin unison: while the walls of the location are repainted, certaincharacters put on costumes and make-up, as if preparingto stage a play, while others remain in the grip of a primary levelof fiction. The feeling of absence provoked by the piling up of oldhospital beds is replaced by the ghostly presence of charactersin search of substance. From the very beginning, William ButlerYeats’ lines are recited with difficulty in the voiceover – "Drybones that dream are bitter, / They dream and darken our sun."– referring to the impenetrability of the past in the present.The soundtrack then takes on the form of a collage ofreadymade expressions that seem to be borrowed from TVhospital series.Images projected with a synchronised audio narration,35mm slides, colourCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 6

Centre PompidouNarration and theatricalityColeman uses the "projected images" device to present workswhere narrativity plays an essential role, breaking with the modernistrejection of the subject. Playing with arrested movement anda soundtrack that never correspond strictly to the images,he maintains a semantic complexity that forces spectators to refocustheir attention. In many of his meticulously scripted installations –Background, Lapsus Exposure and I.N.I.T.I.A.L.S – the artist adoptstheatrical representation processes, reminiscent in many respectsof photographic novels, where the staging and lighting areattentively composed and the carefully costumed characters arefrozen in elaborate but enigmatic poses. The soundtrack itselfis designed in accordance with a meticulously establisheddramaturgy, with multiple silences, sighs, hesitations and stuttering.Transparent and cold, blending together several levels of fiction,these photographic compositions might remind us of 17th centuryEnglish "conversation pieces", as Bernard Blistène, Director of theMusée national d’art moderne, stresses in the catalogueaccompanying the exhibition.4 Lapsus Exposure1992-1994At first sight Lapsus Exposure, which was exhibited at documenta 9in 1992, presents a musical group gathered together to record a newalbum and to have their photographs taken in a recording and/orphotographic studio, which immediately establishes itself as themain "subject" of the piece. The recording conditions and, moreprecisely, the disputed use of a voice in playback, lie at the heart ofthe discussions between the members of the group. The oppositionbetween analog and digital is embodied in the intermittentappearance of a 1950s rock-and-roll band in the present of arepresentation where the characters have names derived fromaudio-visual terms (e.g. Vox, Midi, Seiko). As demonstrated by arthistorian Kaja Silverman, this ambiguous coexistence of disjointedtemporalities seems to signal the ineluctable participation of thepast in the present, precisely in the manner of a playback i.e. a copy.James Coleman Gallery 3 Press kitProjected images accompanied by a synchronised audio narration,35mm slides, colourCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 7

Centre PompidouWhere disciplines intersectPlaying with the porosities between film and photography, fixedimages and moving images, James Coleman’s works aredistinguished by their unique pacing of time. His Early Films,particularly Clock and Pheasant, underscore the instability of theanalog signifier while highlighting the paradoxes of moving images.The discontinuity of the projection in "projected images"presentations substitutes the "ghostlike" past of photographyfor the present of film. Photography lies at the heart of Coleman’spreoccupations, as in Charon (MIT Project) which, over the courseof several chapters, poses different enigmas concerning the roleof the photographer as author and subject in the image.5Charon (MIT Project)1989Charon (MIT Project) is a synthetic work produced during a residencyat the MIT List Visual Arts Center in Boston. It consists of fourteenshort narratives in the course of which different voices interrogate,in the manner of an enigma or a paradox, the role of photographicimages. Each episode begins with a description of an image and thecircumstances surrounding its production. In the course of thechapters, various pertinent uses of photography are dealt with –reportage, investigation, fashion and advertising – with a preciseand methodological appropriation of the clichés of the genre. For arthistorian Rosalind Krauss, Charon constitutes James Coleman’smost "reflexive" work: it presents an "allegory of the paradoxicalcondition of the photographer’s/author’s simultaneous alienationfrom and absorption in their [own] medium".James Coleman Gallery 3 Press kitProjected image accompanied by a synchronised audio narration,35mm slides, colourCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 8

Centre PompidouThe mechanisms of cognitionJames Coleman’s works put spectators’ own cognitive activity to thetest. Connemara Landscape tests their propensity to recognise formsin an abstract image that is nevertheless provided with an evocativetitle, while Playback of a Daydream replays the famous image ofthe rabbit-duck through the moving image. Slide Piece reveals howcognitive activity is linked to language by replaying the same imageaccompanied by different descriptions. Finally, Still Life leaves usin doubt concerning the motion that brings its only subject to life:a monumental and hypnotic poppy flower.6 Still Life2013-2016Attentive to the effects of translation, here James Coleman exploresthe discrepancy between "still life" and "nature morte" (dead nature),its French equivalent. A far cry from the domestic format specificto this, one of the most traditional forms of western painting,he presents in dimensions worthy of an historical painting, a verticalpoppy plant with almost-imperceptible movements representedin the manner of a botanical illustration. Coleman thus gives the lieto the expression "still life", or "nature morte". Photographed in thebotanical gardens after the poppy was temporarily removed from thesoil, the image was animated in post-production in the manner ofan ultra-thin, leading spectators to wonder about the nature – realor imaginary – of the movements they think they discern. Still Lifeis Coleman’s latest work in the exhibition. Nearly forty years afterthe "duck-rabbit" of Playback of a Daydream, it stands as a testimonyto the ongoing nature of his exploration of the mechanismsof cognition.James Coleman Gallery 3 Press kitDigital projection; colour, silentCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 9

Centre PompidouList of works exhibitedEarly films (1967-1972)Transitional piecesPheasant, 1960Super 8 film transferred to 16mm, colour, silentClock, 1970Super 8 film transferred to 16mm, colour, silentSlide Piece, 1972-197335mm slides projected in colour, synchronised withaudio narrationLa Valle della Morte, about 1970Super 8 film transferred to 16mm, black and white,silentCharon (MIT Project), 1989Projected image accompanied by a synchronised audionarration, 35mm slides, colourSkull, around 1970Super 8 film transferred to 16mm, colour, silentLapsus Exposure, 1992-1994Projected images accompanied by a synchronised audionarration, 35mm slides, colourWork-Apron, around 1970Super 8 film transferred to 16mm, colour, silentI.N.I.T.I.A.L.S, 1993-1994Projected images accompanied by a synchronised audionarration, 35mm slides, colourFly, 197016mm silent film, 46’25», in black and white, projectionloopRetake with Evidence, 2007Video projection featuring: Harvey Keitel Film 35mmin 4:3, digitised in HD videoPlayback of a Daydream, 1974Super 8 film transferred to 16mm, black and white,silentSo Different. and Yet, 1978-1980Video installation, featuring: Olwen Fouéré and RogerDoyleConnemara Landscape, 1980Projected image, 35mm slide, black and white[Projet for documenta11], 1998-2002Continuous video installation, black and white, silentLa Tache aveugle, 1978-1990Digital projection, colour, silentJames Coleman Gallery 3 Press kitStill Life, 2013-2016Projection numérique, couleur, silencieuseSo Different. and Yet1978-1980Donated by James Coleman,Exhibited on level 4 of the Musée national d’art moderne,chiming with the exhibition, room 31Video installation, featuring: Olwen Fouéré and Roger DoyleCourtesy Marian Goodman Gallery James Coleman / Photo James Coleman 10

Centre PompidouBiography1941Born in IrelandJames Coleman Gallery 3 Press kitLives and works in Dublin and Paris.Vit et travaille entre Dublin et ParisSelected solo exhibitionsS2019"James Coleman: Lapsus Exposure",MUMOK Vienna19892017Marian Goodman Gallery, New YorkList Visual Arts Center, Massachusetts Institute ofTechnology, Cambridge, Massachusetts ;ARC / Musée d’Art Moderne de la Ville de Paris2016Marian Goodman Gallery, London1986Institute of Contemporary Art, London,2012"James Coleman", Museo Reina Sofia, Madrid19852011"James Coleman", Royal Hibernian Academy, DublinRenaissance Society, University of Chicago, Chicago ;Dunguaire Castle, Kinvara, Irlande2009"James Coleman", Irish Museum of Modern Art(IMMA), Dublin ; Project Arts Center, Dublin,1983Auditorio da Arquitectura, Esbal, Lisbon ;Teatro Estudio Citac, Coimbra, Portugal2008"James Coleman", Compton Verney House Trust,Compton Verney, Warwickshire, United-Kingdom ;"James Coleman: Background", 1991-94,Irish Museum of Modern Art, Dublin1982Ulster Museum, Belfast, Northern Ireland"Ignotium per Ignotius, (a work for theater)",De Lantaren, Rotterdam ; Théâtre Shaffy, Amsterdam ;Théâtre Concordia, Enschede ; De Toneelschuur,Haarlem ; Théâtre Witte, Ijmuiden, The Netherlands2007"James Coleman", Irish Museum of Modern Art(IMMA), Dublin1981Franklin Furnace, New YorkProject Arts Center, Dublin2006Galerie Marian Goodman, Paris ;"James Coleman", Irish Museum of Modern Art(IMMA), Dublin2004-05"James Coleman", Museu do Chiado, Lisbon2003"James Coleman: Project for pour Léonard de Vinci :dessins et manuscrit", Musée du Louvre, Paris2002"James Coleman", Kunstbau Lenbachhaus, Munich,"James Coleman. Drei Filmarbeiten", SprengelMuseum, Hanovre2001Neues Kunstmuseum Luzern, Lucerne2000Galerie Marian Goodman, Paris ;Marian Goodman Gallery, New York1999Fundació Antoni Tapies, Barcelona ;Palais des Beaux-Arts, Brussels1997Wiener Secession, Vienna1996Centre Pompidou, Paris1995Kunstmuseum Luzern, Lucerne1994-95Dia Center for the Arts, New York1991Marian Goodman Gallery, New York1990Musée d’Art Contemporain, Lyon ;The Art Gallery of York University, Toronto1989-90Stedelijk Van Abbemuseum, Eindhoven 11

Centre PompidouPublicationExhibition CatalogueThe exhibition is accompanied by a catalogue in Frenchconsisting of original essays by Bernard Blistène,Benjamin Buchloch and Nicolas Liucci-Goutnikov, along withan anthology of texts by Raymond Bellour, Benjamin Buchloch,Lynn Cooke, Georges Didi-Huberman, Jean Fisher,Rosalind Krauss, Jacques Rancière and Kaja Silverman.James ColemanJames Coleman Gallery 3 Press kitUnder the supervision of Nicolas Liucci-GoutnikovLes Éditions du Centre PompidouFrench23 x 27 cm224 pagesHardback 35Publication date: 9 June 2021Printed in 1500 copies 12

Centre PompidouPractical informationThe exhibitionJames Coleman9 June – 23 August 2021Gallery 3, Level 1CuratorNicolas Liucci-GoutnikovCurator, Head of Department at the Bibliothèque Kandinsky,Musée national d’art moderne, Centre Pompidou, ParisAssisted by Thomas Bertail, coordination and research manager,Bibliothèque Kandinsky, Musée national d’art moderne,Centre Pompidou, ParisPress ImagesThe images displayed in this press kit are a selection available for pressuse. None should be reframed nor retouched. Each should be clearlydisplaying its caption and credit. Additional image request must be sendto the Centre Pompidou’s press office.The Centre Pompidou75191 Paris cedex 04 / T. 00 33 (0)1 44 78 12 33Metro: Hôtel de Ville, Rambuteau / RER: Châtelet-Les-HallesOpening hours and ticketingDuring the renovation works, the entrance is on rue Beaubourg,Saint-Merri street side.Open daily from 11 a.m. to 9 p.m., Thursday until 11 p.m.,except Tuesday and May 1st.The government’s health recommendations (wearing a mask compulsory from11 years old, physical distancing) apply in all areas of the Centre Pompidou.They are subject to change.The Centre Pompidou does everything in its power to ensure the safetyof both its audiences and its staff.Reservations and ticket printable at home on:www.billetterie.centrepompidou.frThe reservation of a time slot applies to all visitors except those benefitingfrom free admission.Press openingDate to be confirmedIn the presence of the artist (to be confirmed)Guided visit led by the curatorPress contactFollow us!Timothée NicotT. 00 33 (0)1 44 78 45 79timothee.nicot@centrepompidou.frThe Centre Pompidou is on Facebook, Twitter, Instagram,YouTube and Soundcloud: @CentrePompidou #CentrePompidouJames Coleman Gallery 3 Press kit#ExpoColeman 13

Centre Pompidou

centrepompidou.fr Centre Pompidou Press kit Direction de la communication et du numérique centrepompidou.fr James Coleman 9 June - 23 August 2021 Gallery 3, Level 1 . From 9 June to 23 August 2021, the Centre Pompidou presents a retrospective exhibition dedicated to Irish artist James Coleman whose major work since the early 1960s .

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