Live from Tate Britain Turner Prize

Download Subtitles



Live from Tate Britain

The Turner Prize 2016 - one of the best known visual art prizes celebrating British contemporary art. Live from Tate Britain.

Similar Content

Browse content similar to Live from Tate Britain. Check below for episodes and series from the same categories and more!



Hello, and welcome to Tate Britain, on the banks of the River Thames, in


London, where we will shortly here who is the winner of the 2016 Turner


Prize for contemporary art. Hello, and welcome inside this beautiful


gallery, on the banks of the River Thames. It is very loud, and very


upbeat here tonight, as you might expect, the awards dinner itself is


drawing to a close. In the next ten minutes or so, we will hear from the


director of Tate galleries, and we will find out who has won this year


's prize, which goes to an artist under the age of 50 living and


working in Britain. We will hear about the four short listed artists


this year in just the next few minutes. Joining me here, in this


half-hour special programme, artist and sculptor, Cornelia Parker, thank


you very much for being with us. Short listed herself for the Turner


Prize in 1997. We will be asking for her reflections on this year and


what the prize means. First, we must find out a little bit more about the


short listed artist, so we will go to Rebecca Jones, who is in the


gallery is just nearby at Tate Britain, for more on that. The aim


of the Turner Prize is to provoke debate around developments in


contemporary art and there is no doubt which exhibit has been a big


talking point this year, don't adjust your set, it really is a


giant... Bottom, the work of Anthea Hamilton, it was inspired by a


designer 's idea from the 1970s who wanted to create a doorway into a


posh Manhattan apartment that looked like this, I want you to come and


have a look at the surface of the bottom, because Anthea Hamilton


worked with experts in skin tones at Madame Tisolo macro boss to get


exactly the colour that she wanted. What else do we have here, the walls


are covered in wallpaper, made to look like bricks. -- Madame


Tussauds. This is a suit painted in red bricks, definite echoes I think


of the artist may greet. I'm delighted to say that I'm joined by


one of the curators of the exhibition. -- Magrite. Laura Smith,


we have got to talk about this bottom, talk me through the artistic


merits. The bottom, or butt, because it is American, demonstrates


Anthea's in during interest in research, and design architecture,


it was a model by Italian designer Gaetano Pesce, it was never made,


but happily she was able to make it work here. How does it work with the


bricks and pursued? It was originally made for the sculpture


Centre in New York, a huge, tall, big building, this is a restaging of


that exhibition, and she wanted to retrain the brick wall. We are in


New York. Taking you through to see the work of Helen Martin, at the age


of 31, she is the youngest artist short listed for the Turner Prize,


she is riding the crest of a wave, just a few weeks ago, she won the


inaugural Hepworth prize for sculpture. She is also one of the


favourites to win the Turner Prize tonight. What does she do? She makes


installations out of objects that she has found or that she has made,


come and look at this, I want to show you the kind of thing that we


are talking about, here we have cotton buds, nails, fish skins, and


if you look up there, there is a zip and also a bicycle chain. She uses


these objects to create stories, if you like, visual puzzles, which she


is asking us, the people who come to the exhibition, to try to interpret.


I don't know about you, but I think when people see Helen Marten's work


they might initially be a bit baffled. What is a way into it? What


Helen is trying to do is to bring together elements and excerpts from


everyday visual lives, she talks about the vast grey milkshake of


information that we are bombarded with through social media and


advertising, she wants to take tiny samples of the elements and bring


them together in surprise intricate ways, so that we can invest them


with new meaning, emptying them of their original meaning so that we


can give them new stories and narrative. Doesn't matter if you


understand it, it is enough to experience it. Yes, bring your own


meaning to it. Thank you for your thoughts, there you have it, first


two artists short listed, Helen Martin and Anthea Hamilton.


More to come in the next few minutes from those galleries, let's get the


thoughts of Cordelia Parker, I am fascinated to hear, what difference


did it make to you, being short listed? Huge difference. Night and


day. I was 40 years old, went to Wolverhampton Polytechnic, and I was


teaching in art schools, because that is where I made my living.


After that, I got represented, I spent all my time making work. That


made the difference to you, to making some sort of a living, it is


very difficult for an artist. It helped that much for you? To


difficult work to sell. It got a seal of approval. For me that was


fantastic, struggling for many years. Making work I believed in but


I didn't think had a place in the wider world. They began to collect


my work, it meant I could spend all my time doing it. Suddenly all your


work was out there for a much wider audience, one of the purposes of the


Turner Prize, to get people talking about contemporary art, do you think


it succeed? It has been all right the debate, because works are


highlighted, one of them wins, people debate whether they think the


work is up to it. In a way, it gives an airing every year to four artist


who may be on the cutting edge of art. You and I will have more of a


chat in the coming minutes, particularly once we find out who


has one, thank you very much, Cornelia Parker, for now, stay with


us. We will head back into the galleries. Rebecca is in there,


looking at the other two artists on the short list. Rebecca, back to


you. I want to introduce you now to the work of Michael Dean, Michael is


the only male artist to be short listed this year, and his work is


very much inspired by his upbringing on a council estate in Newcastle


upon Tyne. When you walk in his room, it is slightly reminiscent of


a builders yard, slabs of corrugated iron, concrete and steel everywhere.


The real star of the show is this huge amount of money. It is a very


specific amount, ?20,436, in 1p pieces. The amount is significant,


because that is the amount the UK Government says a family of four


needs to live on, the minimum amount, in this country. Michael


Dean has removed 1p, thus plunging this family of four affectively


below the poverty line. I'm delighted to say that I am joined by


the lead curator of the Turner prize exhibition, Lindsay young. Thank you


for being with us. This is clearly the most overtly political work in


the exhibition this year, what has been the response to it? A huge


response, we have lots of different platforms, people on Instagram and


Twitter, and I think that people are talking about having a really


profound reaction to this work. -- Linsey Young. It is unusual for an


artist to talk about poverty and class and how that affects people,


it has really been quite profound and emotional. What are the sorts of


things people have said? One that said, Michael Dean for Prime


Minister! That shows the huge amount of support for his work, and for an


artist who is speaking politically. That sort of thing, very positive


statements. Come with me, I want to show you the work of the final


artist short listed for the Turner Prize this year, Josephine Pryde,


Josephine Pryde, at the age of 49, is the oldest artist to be short


listed, born in Northumberland, she lives and works in bowling, she is a


professor of photography. As you enter her space, you can see the


wall is covered with a series of photographs of dutifully manicured


hands. All of them touching various objects, perhaps smartphones,


tablets. Over here, another series, these are kitchen worktops, what


Josephine Pryde did, she put objects on them, when she took them off, the


sun had left a shadow, almost like a photographic negative on those


worktops. Here, down the centre of the room, this, a miniature train.


When Josephine Pryde has shown this train in previous exhibitions, it


has moved, but not here, at the Tate, in London. Why is that? She is


an artist interested in contact, and what happens when you put art into


different places, she wanted to explore the idea of pride. Joining


the Women's Institute and you make jam, you put it on the table for


contemplation and she is offering up a prize here. A prize object. -- she


wanted to explore the idea of prize. How does the train link? When


previously debited, you could sit on the train and you could be carried


past a much longer series of photographs, in bigger rooms, it was


a proper journey that you could go on. This time, she has stopped the


train and put it on a platform that is therefore everyone. A prize


object. No truth in the rumour that it stopped here because of leaves on


the line(!) it is a good line! Too good not to be true, or to be true,


perhaps. Thank you. The work of Josephine Pryde and Michael Dean,


you have now seen the work of all four artists short listed for the


Turner Prize, who is going to win? We will find out the answer very


shortly, because Nicholas Roto will take to the stage very shortly, to


make the introductory speeches, and we will learn from the poet and


novelist, then crew, he has the pleasure of announcing the winner


here, which of those four young short listed artists will it be? --


Nicholas Serota. Here is the chair of Tate Galleries.


Good evening, ladies and gentlemen, it is my pleasure to join Alex


Farquharson, as director of Tate Britain, and chair of the jury, in


welcoming you to Tate Britain is even in for the 2016 Turner Prize. I


want to thank members of the jury, and all the artists for making an


outstanding exhibition here at Tate Britain. Tate Britain, the home of


British art, from the Renaissance, to the present day. And the artists


here this evening, Michael Dean, Anthea Hamilton, Helen Marten,


Josephine Pryde am I want to thank you for the commitment you have


shown in making this really strong exhibition. What is so powerful


about this year 's prize, both for the artists and for their work, is


how diverse it is. These four artists work in different ways, very


different media, taking a range of ideas and issues, from the poetic,


to the political. And this year's nominees are not just the best


emerging talents here in the UK, they are artists, all of them, who


show their work around the world, and who already have international


reputations. The strength of the Turner Prize is that it encourages


us to think about the world in new ways. And at a time when there are


fears that we in the UK may be becoming more insular, and more


inward looking as a nation, the Turner Prize reminds us that art


opens us to new ideas. We need to encourage such openness in a society


that faces many challenges. In recent years, the arts have become


part of our reputation, and even our DNA as a nation. We need to build on


this strength, by insuring that the arts are pushed not to the margin,


but play a central role in our schools, that we should have vital


art schools, that the arts and humanities should be a major element


in universities. And in lifelong learning. APPLAUSE


As everyone in this room is aware, creativity is the key to our future


in every sphere of life. And speaking of creativity, I'm


delighted to introduce poet, novelist, Ben Okri. To present 2016


Turner Prize. Good evening, ladies and gentlemen.


There are those who make art, and there are those who make art


possible. Nicholas Serota has been one of the greatest artistic


catalysts in this country. He has guided not only the Tate but the art


spirit of this nation through astonishing times. I feel this is a


poignant moment in the world of art. It is a moment when Nicholas Serota


steps down from the Tate. When he joined 28 years ago, the art world


was small, and the attitude to modern art was one of this trust.


Now, 28 years later, we are a nation of art lovers and argue is about


art. -- arguers. The UK is the prime destination for art tourism.


Nicholas Serota has helped us recognise the importance of art and


helped us realise that art can be for everybody. That was a tribute.


We find ourselves... INAUDIBLE LAUGHTER


We are artists, we break the script! LAUGHTER


We find ourselves in an increasingly dangerous world. Similars Asians


never grow great on fear, and a shotgun of the heart. They only grow


great on confident visions that expand the possibilities of man and


woman. That is why I feel the arts are so special. They speak to the


genius in each person, and to the rich, imaginative future that we can


create together. Art dreams of possibilities that become real. It


seems to me that we are losing the power of dreaming. But nations are


renewed by the richness of their dreams, the greatness of their


hopes, and the mastery of their practice. It is the art of nations


that renew the greatness of nations. I feel art is the biggest country in


the world. It is a country of the heart and the imagination. A


continent of dreams. It keeps no one out, and excludes nobody. It is


governed by generosity and genius. Openness and wonder. Now that the


boundaries are narrowing and hearts are hardening and humanity is


becoming more constricted, I feel we need art more than ever to remind us


that the world, too, is our collective work of art and that we


should dream it with greatness of heart and bigness of spirit. Now, we


come to the best part of the evening. I'm very proud to announce


the winner of the Turner Prize for 2016 is... Helen Marten. APPLAUSE


Well. I was not expecting to be here! I guess it is hard to retain a


sense of articular in these situations but I will give it a go.


Thank you for a brilliant speech, -- thank you for bringing speeches.


I was lucky enough to grow up with a liberal outlook and a pleural


outlook and that degree of support and fostering of a very creative and


emotional upbringing was deeply important to me. -- sense of


articulacy. But this is not so much the case today that our global


outlook is becoming ever more precarious. As Ben and Nic have


thought about. From the stripping of arts and writing in school


syllabuses, to far right groups gaining visible and frightening


political platforms for xenophobic, homophobic and racist outlooks, on


the world, I think as artists today, and as people in this environment,


we are deeply, deeply privileged to be sitting here, with a community


whose lifeblood is a sort of diversity and exuberant. In light of


that, I would like to say that I cannot think of a more brilliant and


exciting short list of artists to be part of. Thank you for that. --


exuberance. Thank you, Tate, for your tolerance and easy as for all


of us. All of my friends and who cannot be here today, we could not


do any of this without you, so thank you. Yes, thank you. APPLAUSE


30 years old, from Macclesfield, Helen Marten, any congratulations,


do you mind saying a few words for BBC News. You said you did not think


you would be very articulate but you blew us all away with your very


passionate speech, what a year for you, after winning the Hepworth


prize, as well. It has been quite a year, I am very happy to usher in


2017. Can you even begin to think about what it means, winning the


inaugural Hepworth prize for sculpture, and now the 2016 Turner


Prize, what will it mean for you and your work in the future? It is an


absolute honour to be here, with a group of friends whose work I admire


so deeply. -- friends and peers. I hope this has no affect on me


whatsoever and I can continue in my work in a hermetic bubble! Winger


Turner Prize will inevitably push you out onto a national stage, if


not wider than that. -- winning the Turner Prize. Is that something you


welcome? Whenever there is a fiscal value, there will be about verbally


attached, and I hope I can stay outside of that to a certain extent.


And continue with what you love doing? With the kind of friends and


other artists, critics, curators, galleries, who support me, I hope to


continue that. I was interested that you picked up some of the themes in


the words of Nicholas Serota. -- gallerists. There has been talk in


the room about the state of Britain and the world in 2016, I got the


sense that is something about which you feel ashen elite. The world


rolls from one crisis to another, the very least that we can do is not


the passive bystanders and be responsible for daily outlook. Acts


of tolerance and empathy in our daily lives, that is something for


me. Many congratulations, great to see you, thank you very much. Helen


Marten, as I reflected, what then is the ordinarily year for her, winning


that inaugural Hepworth prize. And now, at the age of 30, winning the


Turner Prize. Let's reflect on this years award, what Cornelia Parker,


previous short lister, thinks of it all, and what Cornelia things of


that, you were smiling and clapping and cheering. Almost like an


anti-populist vote. There is something about the inner workings


of an artist, that still has a place in the world. I'm very happy, worthy


winner. Director of the Whitechapel Gallery, very interesting speech.


She has really stated the position of us all, which is that we want to


be open, we want to be embracing different cultures, we want to


embrace a culture and a language of openness. There are hundreds of


narratives that she sets of, you can see this molecular idea of art and


life. And then standing back from it. The openness, that is the key to


her work and our future. Very good to have your thoughts.


Helen Marten is the winner of the Turner Prize. For her work in New


York and at the Venice be a With evening, cold out there for


many of you, the frosty nights and frosty mornings will soon be


numbered, the temperature trend for Oxford, each subsequent day and