This article was originally published on the Bad at Sports blog on August, 21st, 2012.
British Artist, Marcus Coates published The Trip (Serpentine Gallery, 2011) last year — a book documenting Coates’ project with terminal patients at St John’s Hospice in London. Coates interviewed patients, asking a a single, preliminary question: “What can I do for you?” Embedded in that question is an acknowledgement of mortality. Death is on the horizon and Coates offers to accomplish a task this patient can no longer see too, a task this patient regrets never having done. In particular, the book focuses on Alex H.’s request; H. asks Coates to go to the Amazon on his behalf. The first part of the book is dedicated to the proposal, wherein this request is made. The second half is written like a play, where Coates describes the experience of his travels. In one sense The Trip is a travel book. Coates is articulate about his experience with the Huaorani tribe, relaying answers that H. had prescribed. In another, the project raises questions of identity, location of self and self-lessness. It’s an incredibly altruistic project, and yet of course its couched as an art project, a gesture that seems to muddy the waters a little bit. Then too, if you take this work in the context of Coates’ earlier works, it fits into his ouevre as a public shaman. As a reader, participating in the nuances of this dynamic relationship is interesting, particularly when the presence of the Amazon is mediated entirely through a the guise of a written play. In other words, it’s possible Coates might never have gone to the Amazon at all. (The Trip has also been presented as a 35 mm film).
Coates has interested me for a while now; most of his work operates in a liminal space between somber and slapstick. Often the result is a little suspicious, and maybe even for that suspicion, the more compelling. His tongue-in-cheek approach to shamanic mimicry seems to illustrate the desire to step outside reality, to connect to non-human (and perhaps more primitive) modes of being, while admitting the impossibility of that desire. The fact that shaman classes are offered so casually (I imagine a sign up sheet tacked to the bulletin board of one’s local book store) is just another reflection of cultural desire. ”Coates was inducted into the ancient techniques of shamanism on a weekend course in Notting Hill, London. The workshop trained participants to access a ‘non-ordinary’ psychic dimension with the aid of chanting, ‘ethnic’ drumming and dream-catchers.Coates has explained the process as essentially being a form of imaginative visualization. Historically the shaman would have been employed to solve the daily problems of the community; since these usually involved the finding and killing of animals, shamans were valued for their ability to communicate with other species in the spirit world,” (Jonathan Griffin, Frieze, 2007). Coates has made a series of performances where he claims to communicate with animal spirits in the underworld, and after returning from their realm, delivers messages of truth. Or common sense? It’s hard to say. “I think firstly I should say that I am deeply skeptical myself, particularly about new age culture,” Coates said in an interview with Mark Sheerin. “Usually I kind of expect people to walk out,” he says of his rituals, “and I’m quite open to people calling me a charlatan and laughing. I quite like people not to be so reverential.” (read more)