Keran James

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Keran James

Keran James, changing spaces actual and imagined, his work has nothing to do with him.

Forget your troubles
Come on get happy,
You better chase all your cares away,
Shout hallelujah,
Come on get happy,
Get ready for the Judgement Day

Artist, curator, co-director studio1.1, London and co-founder Supernormal. Born in Cardiff, Wales he lives and works in London.



born Cardiff 1957


Wenn ich es bedenke, so muss ich sagen, dass mir meine Erziehung in mancher Richtung sehr geschadet hat. Dieser Vorwurf trifft eine Menge Leute naemlich meine Eltern, einige Verwandte, einzelne Besucher unseres Hauses, verschiedene Schriftsteller, eine ganz bestimmte Koechin, die mich ein Jahr lang zur Schule fuehrte, einen Haufen Lehrer, (die ich in meiner Erinnerung eng zusammen drucken muss sonst entfaellt mir hie und da einer da ich sie aber zo zusammengedraengt habe, broeckelt wieder das ganze stellenweise ab) ein Schulinspektor langsam gehende Passanten kurz dieser Vorwurf windet sich wie ein Dolch durch die Gesellschaft. Auf diesen Vorwurf will ich keine Widerrede hoeren, da ich schon zuviele gehoert habe and da ich in den meisten Widerreden auch widerlegt worden bin, beziehe ich diese Widerreden mit in meinen Vorwurf and erklaere nun meine Erziehung und diese Widerlegung haben mir in mancherlei Richtung sehr geschadet hat.

When I think about it, I must say that my education has done me great harm in some respects. This reproach applies to a multitude of people – that is to say, my parents, several relatives, individual visitors to our house, various writers, a certain particular cook, who took me to school for a year, a crowd of teachers (whom I must press tightly together in my memory, otherwise one would drop out here and there – but since I have pressed them together so, the whole mass crumbles away bit by bit anyhow), a school inspector, slowly walking passers-by, in short this reproach twists through society like a dagger. I don’t want to hear this reproach contradicted; since I have already heard too many contradictions, and since most of these contradictions, moreover have refuted me, I include these contradictions in my reproach and now declare that my education and this refutation have done me great harm in many respects.


Bien que chaque jour j’attache moins de prix a la critique et meme, s’il faut le dire, a l’intelligence, car de plus en plus je la crois impuissante a cette recreation de la realite qui est tout l’art, c’est a l’intelligence que je me fie aujourd’hui pour ecrire un essai tout critique.

Although each day I attach less and less value to critical practice and even, if truth be told to intelligence, since more and more I believe it to be powerless in effecting that recreation of reality which is the whole of art, nevertheless I must now rely upon that intelligence to write this criticism.

Contre Sainte-Beuve, MARCEL PROUST

GLOUCESTER – When shall I come to the top of that same hill?

EDGAR  – You do climb up it now. Look how we labour.

EDGAR  – Methinks the ground is even.

GLOUCESTER – Horrible steep.

EDGAR  – Hark, do you hear the sea?

GLOUCESTER – No, truly.

EDGAR  – Why then your other senses grow imperfect
By your eyes’ anguish.

GLOUCESTER – So may it be indeed. Methinks thy voice is altered, and thou speak’st
In better phrase and matter than thou didst.

EDGAR  – Y’are much deceived. In nothing am I changed But in my garments.



Keran James July 2002