:00:26. > :00:31.Hello, and welcome to Tate Britain, on the banks of the River Thames, in
:00:32. > :00:39.London, where we will shortly here who is the winner of the 2016 Turner
:00:40. > :00:42.Prize for contemporary art. Hello, and welcome inside this beautiful
:00:43. > :00:48.gallery, on the banks of the River Thames. It is very loud, and very
:00:49. > :00:52.upbeat here tonight, as you might expect, the awards dinner itself is
:00:53. > :00:57.drawing to a close. In the next ten minutes or so, we will hear from the
:00:58. > :01:02.director of Tate galleries, and we will find out who has won this year
:01:03. > :01:07.'s prize, which goes to an artist under the age of 50 living and
:01:08. > :01:12.working in Britain. We will hear about the four short listed artists
:01:13. > :01:18.this year in just the next few minutes. Joining me here, in this
:01:19. > :01:22.half-hour special programme, artist and sculptor, Cornelia Parker, thank
:01:23. > :01:26.you very much for being with us. Short listed herself for the Turner
:01:27. > :01:33.Prize in 1997. We will be asking for her reflections on this year and
:01:34. > :01:37.what the prize means. First, we must find out a little bit more about the
:01:38. > :01:41.short listed artist, so we will go to Rebecca Jones, who is in the
:01:42. > :01:49.gallery is just nearby at Tate Britain, for more on that. The aim
:01:50. > :01:52.of the Turner Prize is to provoke debate around developments in
:01:53. > :01:56.contemporary art and there is no doubt which exhibit has been a big
:01:57. > :02:03.talking point this year, don't adjust your set, it really is a
:02:04. > :02:06.giant... Bottom, the work of Anthea Hamilton, it was inspired by a
:02:07. > :02:11.designer 's idea from the 1970s who wanted to create a doorway into a
:02:12. > :02:15.posh Manhattan apartment that looked like this, I want you to come and
:02:16. > :02:20.have a look at the surface of the bottom, because Anthea Hamilton
:02:21. > :02:24.worked with experts in skin tones at Madame Tisolo macro boss to get
:02:25. > :02:29.exactly the colour that she wanted. What else do we have here, the walls
:02:30. > :02:35.are covered in wallpaper, made to look like bricks. -- Madame
:02:36. > :02:40.Tussauds. This is a suit painted in red bricks, definite echoes I think
:02:41. > :02:43.of the artist may greet. I'm delighted to say that I'm joined by
:02:44. > :02:48.one of the curators of the exhibition. -- Magrite. Laura Smith,
:02:49. > :02:54.we have got to talk about this bottom, talk me through the artistic
:02:55. > :03:00.merits. The bottom, or butt, because it is American, demonstrates
:03:01. > :03:05.Anthea's in during interest in research, and design architecture,
:03:06. > :03:13.it was a model by Italian designer Gaetano Pesce, it was never made,
:03:14. > :03:18.but happily she was able to make it work here. How does it work with the
:03:19. > :03:22.bricks and pursued? It was originally made for the sculpture
:03:23. > :03:28.Centre in New York, a huge, tall, big building, this is a restaging of
:03:29. > :03:33.that exhibition, and she wanted to retrain the brick wall. We are in
:03:34. > :03:38.New York. Taking you through to see the work of Helen Martin, at the age
:03:39. > :03:43.of 31, she is the youngest artist short listed for the Turner Prize,
:03:44. > :03:48.she is riding the crest of a wave, just a few weeks ago, she won the
:03:49. > :03:51.inaugural Hepworth prize for sculpture. She is also one of the
:03:52. > :03:57.favourites to win the Turner Prize tonight. What does she do? She makes
:03:58. > :04:02.installations out of objects that she has found or that she has made,
:04:03. > :04:04.come and look at this, I want to show you the kind of thing that we
:04:05. > :04:11.are talking about, here we have cotton buds, nails, fish skins, and
:04:12. > :04:17.if you look up there, there is a zip and also a bicycle chain. She uses
:04:18. > :04:22.these objects to create stories, if you like, visual puzzles, which she
:04:23. > :04:28.is asking us, the people who come to the exhibition, to try to interpret.
:04:29. > :04:33.I don't know about you, but I think when people see Helen Marten's work
:04:34. > :04:40.they might initially be a bit baffled. What is a way into it? What
:04:41. > :04:45.Helen is trying to do is to bring together elements and excerpts from
:04:46. > :04:48.everyday visual lives, she talks about the vast grey milkshake of
:04:49. > :04:53.information that we are bombarded with through social media and
:04:54. > :04:56.advertising, she wants to take tiny samples of the elements and bring
:04:57. > :05:01.them together in surprise intricate ways, so that we can invest them
:05:02. > :05:04.with new meaning, emptying them of their original meaning so that we
:05:05. > :05:07.can give them new stories and narrative. Doesn't matter if you
:05:08. > :05:12.understand it, it is enough to experience it. Yes, bring your own
:05:13. > :05:16.meaning to it. Thank you for your thoughts, there you have it, first
:05:17. > :05:21.two artists short listed, Helen Martin and Anthea Hamilton.
:05:22. > :05:26.More to come in the next few minutes from those galleries, let's get the
:05:27. > :05:34.thoughts of Cordelia Parker, I am fascinated to hear, what difference
:05:35. > :05:42.did it make to you, being short listed? Huge difference. Night and
:05:43. > :05:48.day. I was 40 years old, went to Wolverhampton Polytechnic, and I was
:05:49. > :05:56.teaching in art schools, because that is where I made my living.
:05:57. > :06:01.After that, I got represented, I spent all my time making work. That
:06:02. > :06:07.made the difference to you, to making some sort of a living, it is
:06:08. > :06:12.very difficult for an artist. It helped that much for you? To
:06:13. > :06:17.difficult work to sell. It got a seal of approval. For me that was
:06:18. > :06:24.fantastic, struggling for many years. Making work I believed in but
:06:25. > :06:29.I didn't think had a place in the wider world. They began to collect
:06:30. > :06:33.my work, it meant I could spend all my time doing it. Suddenly all your
:06:34. > :06:38.work was out there for a much wider audience, one of the purposes of the
:06:39. > :06:42.Turner Prize, to get people talking about contemporary art, do you think
:06:43. > :06:50.it succeed? It has been all right the debate, because works are
:06:51. > :06:54.highlighted, one of them wins, people debate whether they think the
:06:55. > :06:59.work is up to it. In a way, it gives an airing every year to four artist
:07:00. > :07:03.who may be on the cutting edge of art. You and I will have more of a
:07:04. > :07:07.chat in the coming minutes, particularly once we find out who
:07:08. > :07:10.has one, thank you very much, Cornelia Parker, for now, stay with
:07:11. > :07:15.us. We will head back into the galleries. Rebecca is in there,
:07:16. > :07:21.looking at the other two artists on the short list. Rebecca, back to
:07:22. > :07:26.you. I want to introduce you now to the work of Michael Dean, Michael is
:07:27. > :07:30.the only male artist to be short listed this year, and his work is
:07:31. > :07:35.very much inspired by his upbringing on a council estate in Newcastle
:07:36. > :07:41.upon Tyne. When you walk in his room, it is slightly reminiscent of
:07:42. > :07:45.a builders yard, slabs of corrugated iron, concrete and steel everywhere.
:07:46. > :07:55.The real star of the show is this huge amount of money. It is a very
:07:56. > :07:59.specific amount, ?20,436, in 1p pieces. The amount is significant,
:08:00. > :08:03.because that is the amount the UK Government says a family of four
:08:04. > :08:11.needs to live on, the minimum amount, in this country. Michael
:08:12. > :08:16.Dean has removed 1p, thus plunging this family of four affectively
:08:17. > :08:20.below the poverty line. I'm delighted to say that I am joined by
:08:21. > :08:26.the lead curator of the Turner prize exhibition, Lindsay young. Thank you
:08:27. > :08:28.for being with us. This is clearly the most overtly political work in
:08:29. > :08:34.the exhibition this year, what has been the response to it? A huge
:08:35. > :08:38.response, we have lots of different platforms, people on Instagram and
:08:39. > :08:42.Twitter, and I think that people are talking about having a really
:08:43. > :08:47.profound reaction to this work. -- Linsey Young. It is unusual for an
:08:48. > :08:52.artist to talk about poverty and class and how that affects people,
:08:53. > :08:56.it has really been quite profound and emotional. What are the sorts of
:08:57. > :08:59.things people have said? One that said, Michael Dean for Prime
:09:00. > :09:05.Minister! That shows the huge amount of support for his work, and for an
:09:06. > :09:11.artist who is speaking politically. That sort of thing, very positive
:09:12. > :09:14.statements. Come with me, I want to show you the work of the final
:09:15. > :09:19.artist short listed for the Turner Prize this year, Josephine Pryde,
:09:20. > :09:24.Josephine Pryde, at the age of 49, is the oldest artist to be short
:09:25. > :09:28.listed, born in Northumberland, she lives and works in bowling, she is a
:09:29. > :09:35.professor of photography. As you enter her space, you can see the
:09:36. > :09:39.wall is covered with a series of photographs of dutifully manicured
:09:40. > :09:45.hands. All of them touching various objects, perhaps smartphones,
:09:46. > :09:49.tablets. Over here, another series, these are kitchen worktops, what
:09:50. > :09:55.Josephine Pryde did, she put objects on them, when she took them off, the
:09:56. > :09:59.sun had left a shadow, almost like a photographic negative on those
:10:00. > :10:05.worktops. Here, down the centre of the room, this, a miniature train.
:10:06. > :10:10.When Josephine Pryde has shown this train in previous exhibitions, it
:10:11. > :10:16.has moved, but not here, at the Tate, in London. Why is that? She is
:10:17. > :10:19.an artist interested in contact, and what happens when you put art into
:10:20. > :10:26.different places, she wanted to explore the idea of pride. Joining
:10:27. > :10:30.the Women's Institute and you make jam, you put it on the table for
:10:31. > :10:36.contemplation and she is offering up a prize here. A prize object. -- she
:10:37. > :10:41.wanted to explore the idea of prize. How does the train link? When
:10:42. > :10:46.previously debited, you could sit on the train and you could be carried
:10:47. > :10:49.past a much longer series of photographs, in bigger rooms, it was
:10:50. > :10:54.a proper journey that you could go on. This time, she has stopped the
:10:55. > :10:59.train and put it on a platform that is therefore everyone. A prize
:11:00. > :11:04.object. No truth in the rumour that it stopped here because of leaves on
:11:05. > :11:12.the line(!) it is a good line! Too good not to be true, or to be true,
:11:13. > :11:14.perhaps. Thank you. The work of Josephine Pryde and Michael Dean,
:11:15. > :11:22.you have now seen the work of all four artists short listed for the
:11:23. > :11:27.Turner Prize, who is going to win? We will find out the answer very
:11:28. > :11:33.shortly, because Nicholas Roto will take to the stage very shortly, to
:11:34. > :11:39.make the introductory speeches, and we will learn from the poet and
:11:40. > :11:43.novelist, then crew, he has the pleasure of announcing the winner
:11:44. > :11:50.here, which of those four young short listed artists will it be? --
:11:51. > :12:02.Nicholas Serota. Here is the chair of Tate Galleries.
:12:03. > :12:12.Good evening, ladies and gentlemen, it is my pleasure to join Alex
:12:13. > :12:15.Farquharson, as director of Tate Britain, and chair of the jury, in
:12:16. > :12:24.welcoming you to Tate Britain is even in for the 2016 Turner Prize. I
:12:25. > :12:28.want to thank members of the jury, and all the artists for making an
:12:29. > :12:34.outstanding exhibition here at Tate Britain. Tate Britain, the home of
:12:35. > :12:39.British art, from the Renaissance, to the present day. And the artists
:12:40. > :12:46.here this evening, Michael Dean, Anthea Hamilton, Helen Marten,
:12:47. > :12:49.Josephine Pryde am I want to thank you for the commitment you have
:12:50. > :12:57.shown in making this really strong exhibition. What is so powerful
:12:58. > :13:02.about this year 's prize, both for the artists and for their work, is
:13:03. > :13:08.how diverse it is. These four artists work in different ways, very
:13:09. > :13:16.different media, taking a range of ideas and issues, from the poetic,
:13:17. > :13:21.to the political. And this year's nominees are not just the best
:13:22. > :13:25.emerging talents here in the UK, they are artists, all of them, who
:13:26. > :13:32.show their work around the world, and who already have international
:13:33. > :13:38.reputations. The strength of the Turner Prize is that it encourages
:13:39. > :13:45.us to think about the world in new ways. And at a time when there are
:13:46. > :13:52.fears that we in the UK may be becoming more insular, and more
:13:53. > :14:00.inward looking as a nation, the Turner Prize reminds us that art
:14:01. > :14:04.opens us to new ideas. We need to encourage such openness in a society
:14:05. > :14:12.that faces many challenges. In recent years, the arts have become
:14:13. > :14:19.part of our reputation, and even our DNA as a nation. We need to build on
:14:20. > :14:27.this strength, by insuring that the arts are pushed not to the margin,
:14:28. > :14:34.but play a central role in our schools, that we should have vital
:14:35. > :14:41.art schools, that the arts and humanities should be a major element
:14:42. > :14:56.in universities. And in lifelong learning. APPLAUSE
:14:57. > :15:01.As everyone in this room is aware, creativity is the key to our future
:15:02. > :15:06.in every sphere of life. And speaking of creativity, I'm
:15:07. > :15:12.delighted to introduce poet, novelist, Ben Okri. To present 2016
:15:13. > :15:38.Turner Prize. Good evening, ladies and gentlemen.
:15:39. > :15:44.There are those who make art, and there are those who make art
:15:45. > :15:49.possible. Nicholas Serota has been one of the greatest artistic
:15:50. > :15:54.catalysts in this country. He has guided not only the Tate but the art
:15:55. > :16:01.spirit of this nation through astonishing times. I feel this is a
:16:02. > :16:06.poignant moment in the world of art. It is a moment when Nicholas Serota
:16:07. > :16:13.steps down from the Tate. When he joined 28 years ago, the art world
:16:14. > :16:20.was small, and the attitude to modern art was one of this trust.
:16:21. > :16:35.Now, 28 years later, we are a nation of art lovers and argue is about
:16:36. > :16:37.art. -- arguers. The UK is the prime destination for art tourism.
:16:38. > :16:41.Nicholas Serota has helped us recognise the importance of art and
:16:42. > :16:47.helped us realise that art can be for everybody. That was a tribute.
:16:48. > :17:11.We find ourselves... INAUDIBLE LAUGHTER
:17:12. > :17:15.We are artists, we break the script! LAUGHTER
:17:16. > :17:21.We find ourselves in an increasingly dangerous world. Similars Asians
:17:22. > :17:26.never grow great on fear, and a shotgun of the heart. They only grow
:17:27. > :17:32.great on confident visions that expand the possibilities of man and
:17:33. > :17:39.woman. That is why I feel the arts are so special. They speak to the
:17:40. > :17:45.genius in each person, and to the rich, imaginative future that we can
:17:46. > :17:49.create together. Art dreams of possibilities that become real. It
:17:50. > :17:55.seems to me that we are losing the power of dreaming. But nations are
:17:56. > :17:59.renewed by the richness of their dreams, the greatness of their
:18:00. > :18:07.hopes, and the mastery of their practice. It is the art of nations
:18:08. > :18:11.that renew the greatness of nations. I feel art is the biggest country in
:18:12. > :18:17.the world. It is a country of the heart and the imagination. A
:18:18. > :18:23.continent of dreams. It keeps no one out, and excludes nobody. It is
:18:24. > :18:30.governed by generosity and genius. Openness and wonder. Now that the
:18:31. > :18:34.boundaries are narrowing and hearts are hardening and humanity is
:18:35. > :18:41.becoming more constricted, I feel we need art more than ever to remind us
:18:42. > :18:45.that the world, too, is our collective work of art and that we
:18:46. > :18:50.should dream it with greatness of heart and bigness of spirit. Now, we
:18:51. > :19:01.come to the best part of the evening. I'm very proud to announce
:19:02. > :19:12.the winner of the Turner Prize for 2016 is... Helen Marten. APPLAUSE
:19:13. > :19:50.Well. I was not expecting to be here! I guess it is hard to retain a
:19:51. > :19:53.sense of articular in these situations but I will give it a go.
:19:54. > :20:07.Thank you for a brilliant speech, -- thank you for bringing speeches.
:20:08. > :20:10.I was lucky enough to grow up with a liberal outlook and a pleural
:20:11. > :20:17.outlook and that degree of support and fostering of a very creative and
:20:18. > :20:26.emotional upbringing was deeply important to me. -- sense of
:20:27. > :20:29.articulacy. But this is not so much the case today that our global
:20:30. > :20:37.outlook is becoming ever more precarious. As Ben and Nic have
:20:38. > :20:45.thought about. From the stripping of arts and writing in school
:20:46. > :20:51.syllabuses, to far right groups gaining visible and frightening
:20:52. > :20:56.political platforms for xenophobic, homophobic and racist outlooks, on
:20:57. > :21:01.the world, I think as artists today, and as people in this environment,
:21:02. > :21:06.we are deeply, deeply privileged to be sitting here, with a community
:21:07. > :21:14.whose lifeblood is a sort of diversity and exuberant. In light of
:21:15. > :21:19.that, I would like to say that I cannot think of a more brilliant and
:21:20. > :21:29.exciting short list of artists to be part of. Thank you for that. --
:21:30. > :21:35.exuberance. Thank you, Tate, for your tolerance and easy as for all
:21:36. > :21:39.of us. All of my friends and who cannot be here today, we could not
:21:40. > :21:50.do any of this without you, so thank you. Yes, thank you. APPLAUSE
:21:51. > :22:07.30 years old, from Macclesfield, Helen Marten, any congratulations,
:22:08. > :22:12.do you mind saying a few words for BBC News. You said you did not think
:22:13. > :22:16.you would be very articulate but you blew us all away with your very
:22:17. > :22:24.passionate speech, what a year for you, after winning the Hepworth
:22:25. > :22:28.prize, as well. It has been quite a year, I am very happy to usher in
:22:29. > :22:32.2017. Can you even begin to think about what it means, winning the
:22:33. > :22:36.inaugural Hepworth prize for sculpture, and now the 2016 Turner
:22:37. > :22:41.Prize, what will it mean for you and your work in the future? It is an
:22:42. > :22:47.absolute honour to be here, with a group of friends whose work I admire
:22:48. > :22:51.so deeply. -- friends and peers. I hope this has no affect on me
:22:52. > :22:56.whatsoever and I can continue in my work in a hermetic bubble! Winger
:22:57. > :23:03.Turner Prize will inevitably push you out onto a national stage, if
:23:04. > :23:08.not wider than that. -- winning the Turner Prize. Is that something you
:23:09. > :23:14.welcome? Whenever there is a fiscal value, there will be about verbally
:23:15. > :23:17.attached, and I hope I can stay outside of that to a certain extent.
:23:18. > :23:25.And continue with what you love doing? With the kind of friends and
:23:26. > :23:31.other artists, critics, curators, galleries, who support me, I hope to
:23:32. > :23:35.continue that. I was interested that you picked up some of the themes in
:23:36. > :23:39.the words of Nicholas Serota. -- gallerists. There has been talk in
:23:40. > :23:42.the room about the state of Britain and the world in 2016, I got the
:23:43. > :23:46.sense that is something about which you feel ashen elite. The world
:23:47. > :23:51.rolls from one crisis to another, the very least that we can do is not
:23:52. > :23:58.the passive bystanders and be responsible for daily outlook. Acts
:23:59. > :24:04.of tolerance and empathy in our daily lives, that is something for
:24:05. > :24:09.me. Many congratulations, great to see you, thank you very much. Helen
:24:10. > :24:14.Marten, as I reflected, what then is the ordinarily year for her, winning
:24:15. > :24:23.that inaugural Hepworth prize. And now, at the age of 30, winning the
:24:24. > :24:32.Turner Prize. Let's reflect on this years award, what Cornelia Parker,
:24:33. > :24:38.previous short lister, thinks of it all, and what Cornelia things of
:24:39. > :24:45.that, you were smiling and clapping and cheering. Almost like an
:24:46. > :24:49.anti-populist vote. There is something about the inner workings
:24:50. > :24:56.of an artist, that still has a place in the world. I'm very happy, worthy
:24:57. > :25:03.winner. Director of the Whitechapel Gallery, very interesting speech.
:25:04. > :25:09.She has really stated the position of us all, which is that we want to
:25:10. > :25:14.be open, we want to be embracing different cultures, we want to
:25:15. > :25:21.embrace a culture and a language of openness. There are hundreds of
:25:22. > :25:28.narratives that she sets of, you can see this molecular idea of art and
:25:29. > :25:36.life. And then standing back from it. The openness, that is the key to
:25:37. > :25:41.her work and our future. Very good to have your thoughts.
:25:42. > :25:49.Helen Marten is the winner of the Turner Prize. For her work in New
:25:50. > :26:13.York and at the Venice be a With evening, cold out there for
:26:14. > :26:20.many of you, the frosty nights and frosty mornings will soon be
:26:21. > :26:21.numbered, the temperature trend for Oxford, each subsequent day and