0:00:02 > 0:00:07The National Museum and Galleries of Wales has the nation's largest
0:00:07 > 0:00:09and most important collection of art -
0:00:09 > 0:00:11a collection that includes Van Gogh,
0:00:11 > 0:00:13Monet, Picasso and Turner.
0:00:13 > 0:00:17But this is only the tip of the iceberg.
0:00:20 > 0:00:24The museum's secure vaults store the rest of the priceless collection.
0:00:24 > 0:00:28Down here lie thousands of works of art
0:00:28 > 0:00:30that the public very rarely get to see,
0:00:30 > 0:00:31until now.
0:00:33 > 0:00:36Five members of the public from all over Wales,
0:00:36 > 0:00:39with no formal art background,
0:00:39 > 0:00:42have the run of the entire national collection.
0:00:42 > 0:00:45Oh, my God! I'm actually in the Museum of Wales,
0:00:45 > 0:00:49at 21 years of age, with the chance of putting an exhibition on.
0:00:49 > 0:00:50Like, who else can say that?
0:00:50 > 0:00:52I don't do art galleries.
0:00:52 > 0:00:56It'd be like putting a professional footballer onto a rugby field,
0:00:56 > 0:00:58or maybe a heavyweight boxer into a tutu.
0:00:58 > 0:01:03They have been given unprecedented access to priceless paintings,
0:01:03 > 0:01:05sculptures and ceramics.
0:01:07 > 0:01:11Who stays and who goes is decided by two mentors,
0:01:11 > 0:01:14artist and critic Osi Rhys Osmond,
0:01:16 > 0:01:18and renowned curator
0:01:18 > 0:01:19Karen MacKinnon.
0:01:22 > 0:01:25The goal for the five - to compete for the chance to put on a show
0:01:25 > 0:01:28in the National Museum of Wales.
0:01:28 > 0:01:32Have they got what it takes to become the exhibitionists?
0:01:39 > 0:01:42At the National Museum in Cardiff,
0:01:42 > 0:01:44The exhibitionists have already faced two tasks
0:01:44 > 0:01:47that saw some buckle under the pressure...
0:01:47 > 0:01:50Sorry, I've clammed up.
0:01:51 > 0:01:55..while others had trouble remembering names...
0:01:55 > 0:01:57I think I've got it down here.
0:01:57 > 0:01:59Monet, sorry.
0:01:59 > 0:02:02Colin was the first to be eliminated,
0:02:02 > 0:02:05leaving four behind to compete for the chance
0:02:05 > 0:02:09to curate a show of national treasures at the museum.
0:02:09 > 0:02:11So who's left in the frame?
0:02:13 > 0:02:17We've upped a gear now. There is a more competitive edge.
0:02:18 > 0:02:22I feel I can really do this. I can really achieve something here.
0:02:22 > 0:02:23I can really do this.
0:02:23 > 0:02:26I used to be really competitive when I was a child.
0:02:26 > 0:02:29I used to want to win everything.
0:02:29 > 0:02:32I hope I can fight through to the end of this now.
0:02:32 > 0:02:36I've got the strength of character and the will to get through.
0:02:42 > 0:02:45Our four are about to face their next challenge,
0:02:45 > 0:02:50and this time they'll have to work with their fellow competitors in their first group task.
0:02:50 > 0:02:54So far, you've learned how to select and how to group paintings together.
0:02:54 > 0:03:00Your next task will truly test your potential as a curator.
0:03:01 > 0:03:05Before the task started, this gallery space was home to
0:03:05 > 0:03:09an exhibition of post-war Welsh paintings,
0:03:09 > 0:03:11on the theme of the politics of industrial Wales.
0:03:11 > 0:03:16The museum's head of contemporary art Nick Thornton chose just
0:03:16 > 0:03:21a small amount of paintings from the museum's extensive collection,
0:03:21 > 0:03:24and decided how and where they should be hung.
0:03:26 > 0:03:29Museum art technicians Lee and Aled
0:03:29 > 0:03:32have removed the paintings from the walls,
0:03:32 > 0:03:34and our exhibitionists must now
0:03:34 > 0:03:38re-hang the exhibition in their own style.
0:03:38 > 0:03:41Hanging an exhibition is one of the most exciting
0:03:41 > 0:03:44and important tasks of the curator.
0:03:44 > 0:03:48Among the works available for your selection are a few red herrings.
0:03:48 > 0:03:50This is a group task,
0:03:50 > 0:03:55so we'll be watching how you communicate with each other.
0:03:55 > 0:03:58It was quite hard getting into the task today because I've started to
0:03:58 > 0:04:01think of just me and what I want to do in this competition.
0:04:01 > 0:04:04Then we were all of a sudden told we had to work as a group
0:04:04 > 0:04:06and I started to think of us all as competitors.
0:04:10 > 0:04:14The exhibitionists have been given a mock-up of the gallery to help them
0:04:14 > 0:04:18select their works, with magnetic replicas of each painting.
0:04:18 > 0:04:22Luckily, Julia has spotted some information about the theme
0:04:22 > 0:04:23of the exhibition.
0:04:23 > 0:04:26"This gallery looks at the ways in which artists have represented
0:04:26 > 0:04:29"the people and industrial landscape of Wales."
0:04:29 > 0:04:31We're looking for pictures of miners...
0:04:31 > 0:04:33Miners? Well, look at that there.
0:04:33 > 0:04:36- He's obviously preaching to the masses.- To the miners.
0:04:36 > 0:04:39- To the miners, yeah.- OK.
0:04:39 > 0:04:43Having found paintings that work within the exhibition brief,
0:04:43 > 0:04:46they next look for red herrings.
0:04:46 > 0:04:49The theme is post-war, but not everyone agrees.
0:04:49 > 0:04:52- That's in the war.- That pre-war, not post-war.- That's in the war.
0:04:52 > 0:04:54- That's pre-war. 1939.- 45.- 39-45.
0:04:54 > 0:04:58- Is it the wrong date?- So it's in the war, it's not post-war.
0:04:58 > 0:05:00Wrong date. That's pre-war.
0:05:00 > 0:05:05Three Hyacinths by Evan Walters, without a person in sight,
0:05:05 > 0:05:09was rightly disregarded by the exhibitionists as a red herring.
0:05:09 > 0:05:12but what about this work The Weaver?
0:05:12 > 0:05:15This looks like something to do with the textile industry.
0:05:15 > 0:05:18Wales didn't have a textile industry as such. That would be cotton.
0:05:18 > 0:05:20Richard's not quite right.
0:05:20 > 0:05:24It's by a Russian artist - Natalya Goncharova - but it is a red herring.
0:05:24 > 0:05:29However, the group is not in unison on another Evan Walters painting, The Communist.
0:05:29 > 0:05:31Well, if you say its pre-war,
0:05:31 > 0:05:35I'll have to go with what you say because I have no knowledge.
0:05:35 > 0:05:37Hang on, what about the faction?
0:05:37 > 0:05:40It reminded me that had you had four curators, working together
0:05:40 > 0:05:43like that, they probably would have killed each other.
0:05:43 > 0:05:46That's after the war, so we've got these pictures now.
0:05:46 > 0:05:50So, artworks chosen, it's time to decide where they will be hung.
0:05:50 > 0:05:52I mean, I'm just putting these anywhere.
0:05:52 > 0:05:54- Yeah, put 'em anywhere. - Don't put them anywhere!
0:05:54 > 0:05:57We'll put them anywhere and then argue about it.
0:05:57 > 0:05:59Well, it's a good start, isn't it?
0:05:59 > 0:06:02- Hey, I've got my art in that! - Well, never mind.
0:06:02 > 0:06:05My first hanging and it's just been...zoom!
0:06:05 > 0:06:06You need hanging!
0:06:06 > 0:06:11We're all exhibitionists and so everybody wants to speak at once.
0:06:11 > 0:06:14I think Richard is notching himself up a gear were two.
0:06:14 > 0:06:18I think he's got the kind of brain that holds information better than any one of us.
0:06:18 > 0:06:21I think he really, really wants to win,
0:06:21 > 0:06:24to the point of we'll have to watch our backs!
0:06:24 > 0:06:27- We're excluding that and that. - Exclude those two.
0:06:27 > 0:06:29Why have we chosen this one?
0:06:29 > 0:06:32We've all got our own different strengths and weaknesses.
0:06:32 > 0:06:35I'm quite good at persuading people to think it's their idea.
0:06:35 > 0:06:38I talk them round. In the end, they think they thought of it.
0:06:38 > 0:06:41- OK, we'll leave it on. I could be completely wrong but I don't think it is.- OK.
0:06:41 > 0:06:48Entering this gallery this way, so if this is hung for my...benefit...
0:06:48 > 0:06:52Last time Julia was criticised by the mentors for her over-confidence,
0:06:52 > 0:06:57but within the group task, she struggles to have her voice heard.
0:06:57 > 0:07:00The last thing that was said to me by the mentors was that
0:07:00 > 0:07:02I'd got to be careful of my confidence.
0:07:02 > 0:07:05So I've got to really, I think, become more professional.
0:07:05 > 0:07:08As Julia tries to be more professional,
0:07:08 > 0:07:11other members of the group play house.
0:07:11 > 0:07:12Where else it will fit?
0:07:12 > 0:07:16I think they enjoyed the idea of using and working with the mock-up.
0:07:16 > 0:07:18It was a bit like a play school.
0:07:18 > 0:07:22RICHARD: That's it. That gives us space for any bumph.
0:07:22 > 0:07:24Your time is up.
0:07:25 > 0:07:27Step away from the gallery.
0:07:27 > 0:07:31I hope you're happy with your decisions.
0:07:31 > 0:07:35With the mock-up finished, it's time for the real work to commence.
0:07:35 > 0:07:38Lee and Aled return to start the hanging,
0:07:38 > 0:07:42but it's our exhibitionists who are calling the shots.
0:07:42 > 0:07:44They don't want to be the one that is leaving.
0:07:44 > 0:07:47I've heard several of them say, "I want to go through to this."
0:07:47 > 0:07:49This is quite a dog-eat-dog situation
0:07:49 > 0:07:52but it's dressed up in a very polite way.
0:07:52 > 0:07:55Last week, florist Darren was criticised for putting
0:07:55 > 0:07:58too much emphasis on his personal taste.
0:07:58 > 0:08:02In today's task, his professional side comes more into play.
0:08:02 > 0:08:05It's actually quite strange because in my normal role,
0:08:05 > 0:08:07in my normal job, I am the top man.
0:08:07 > 0:08:09I am the one that everybody listens to.
0:08:09 > 0:08:12My opinion is the one that counts because I run the show,
0:08:12 > 0:08:15whereas here there's other people to consider as well.
0:08:15 > 0:08:20I'm trying to make sure that I don't jump into far and overstep the line with everybody.
0:08:22 > 0:08:26The exhibitionists only have five minutes left to come to
0:08:26 > 0:08:30a final decision on their hang before things really start moving.
0:08:30 > 0:08:32THEY TALK OVER EACH OTHER
0:08:32 > 0:08:34Does this look like Wales to you, yeah?
0:08:34 > 0:08:37- It's a miners' cottage, isn't it? - RICHARD: It's a Welsh cottage.
0:08:37 > 0:08:40EFA: I don't know. The frame's ugly. That's all I know.
0:08:40 > 0:08:43This painting is in fact Miner And Dog by Josef Herman,
0:08:43 > 0:08:46one of three paintings by the artist
0:08:46 > 0:08:49depicting the South Wales collieries,
0:08:49 > 0:08:52the others being Miners Singing and Three Miners,
0:08:52 > 0:08:55but the exhibitionists disagree.
0:08:55 > 0:08:57EFA: It could be in Africa.
0:08:57 > 0:08:59I think it could be African. It could be anything.
0:08:59 > 0:09:03Come on, they hadn't got lampposts in Africa in them days!
0:09:03 > 0:09:05Start to place your last work in the gallery.
0:09:05 > 0:09:07And time is not on our side.
0:09:07 > 0:09:09DARREN: Right, so decisions, people.
0:09:09 > 0:09:11Decisions.
0:09:11 > 0:09:14The hanging task must be completed within the hour.
0:09:14 > 0:09:19Once the time is up, the mentors will judge the group on whatever state the gallery is in.
0:09:19 > 0:09:23- Definitely.- Leave more space on either side of the work?- Mm.- OK.
0:09:23 > 0:09:26It was quite exciting when we were given the task,
0:09:26 > 0:09:28especially when we saw him starting to drill holes.
0:09:28 > 0:09:31We were like, "Oh, my God! We told him to make those holes."
0:09:31 > 0:09:34And we're in the National Museum of Wales. It was quite bizarre.
0:09:34 > 0:09:36RICHARD: Are we happy with this one?
0:09:36 > 0:09:38I think it needs to be a little bit higher.
0:09:38 > 0:09:40But you're 6'2". Most Welsh people are short.
0:09:40 > 0:09:44As a nation, we're short. This is the National Museum of Wales.
0:09:44 > 0:09:49Although accuracy in measurements is key to Richard's day job as a box maker,
0:09:49 > 0:09:53how different has today's task been to his everyday work?
0:09:53 > 0:09:56Putting me into this sort of situation,
0:09:56 > 0:09:58it's a million miles from what I do.
0:09:58 > 0:10:02I just assumed people go to art galleries when bored on a Sunday lunchtime, they pop in,
0:10:02 > 0:10:05or the shops are shut, "Let's pop in the art gallery."
0:10:05 > 0:10:08But, to be given the opportunity to do this, it's just amazing.
0:10:11 > 0:10:13HE MUMBLES MEASUREMENTS
0:10:17 > 0:10:20Just check that. Spot on.
0:10:21 > 0:10:27The last picture goes up - Bethesda Quarry by Martin Bloch from 1950,
0:10:27 > 0:10:31but is Julia satisfied with the group compromise?
0:10:31 > 0:10:34Yeah, I think it's the best we could do with the time we had.
0:10:34 > 0:10:37Are you happy with that? You're not, are you?
0:10:37 > 0:10:41- No, there are elements that...- Well, you're too late. You said yes now.
0:10:41 > 0:10:43There are elements of the task today that,
0:10:43 > 0:10:46if it was my own task on my own, I would have done differently,
0:10:46 > 0:10:48but I'm happy that we made two decisions
0:10:48 > 0:10:51and we've got to stick with that. That's the nature of it.
0:11:00 > 0:11:05The hang is over and now the mentors will pass their judgement.
0:11:08 > 0:11:12Taking their places on the left wall are Bethesda Quarry
0:11:12 > 0:11:14and Heinz Koppel's Merthyr Blues.
0:11:16 > 0:11:19This work depicts Merthyr in the 1950s,
0:11:19 > 0:11:22including a mother with a pram, dogs and the local tram.
0:11:25 > 0:11:28On the opposite wall are three paintings which were together,
0:11:28 > 0:11:32but in a different order, in the original exhibition.
0:11:32 > 0:11:36This work, Chapel And Tip is by a living artist, Denys Short,
0:11:36 > 0:11:40and this painting of Ystrad Rhondda is by another painter
0:11:40 > 0:11:43who found inspiration in the South Wales valleys of the '50s and '60s,
0:11:43 > 0:11:45Ernest Zobole.
0:11:46 > 0:11:49Walking into the exhibition after it had been hung,
0:11:49 > 0:11:51I was surprised, in a way,
0:11:51 > 0:11:55how faithfully, almost, it echoed the original exhibition.
0:11:55 > 0:11:58What was interesting was these very unusual spacings,
0:11:58 > 0:12:01like the Heinz Koppel very close to the door.
0:12:01 > 0:12:07On the opposite wall was a very cool bluey-blacky-white
0:12:07 > 0:12:09and, at opposite ends of that,
0:12:09 > 0:12:12were these two hot, pulsating Josef Hermans.
0:12:12 > 0:12:17Like any skill, you learn the form first and you learn what works first
0:12:17 > 0:12:20and then you can become more and more playful.
0:12:20 > 0:12:25You wouldn't really expect them to be hanging it all around the walls
0:12:25 > 0:12:29or up the walls, especially the number of works that they've got.
0:12:29 > 0:12:34Overall, I think the original hang was much more interesting
0:12:34 > 0:12:40but their attempt at curating, I think, has been very successful.
0:12:44 > 0:12:48The group task is over but how each exhibitionist fared is
0:12:48 > 0:12:51left hanging until their next challenge is completed.
0:12:57 > 0:13:02Your next task will test your knowledge and understanding
0:13:02 > 0:13:03of the history of art.
0:13:03 > 0:13:08Consider the five very different works of art behind us.
0:13:10 > 0:13:15The museum share a selection of artwork from the secure stores.
0:13:15 > 0:13:18Some of them are extremely valuable
0:13:18 > 0:13:21and by world-famous artists, but which ones?
0:13:23 > 0:13:27They are presented to the exhibitionists without giving away
0:13:27 > 0:13:30any information about the artist, period or value.
0:13:32 > 0:13:36One of these works is worth several million pounds.
0:13:39 > 0:13:44The task the exhibitionists face today is a really difficult one.
0:13:44 > 0:13:48This is an individual task. They have nowhere to hide.
0:13:48 > 0:13:51I know people in the art world who would find this difficult.
0:13:51 > 0:13:54Please select your envelopes.
0:13:54 > 0:13:57'It's rather spooky, a black envelope.
0:13:57 > 0:13:59'It's not something you get very often.'
0:13:59 > 0:14:02You just get a white envelope with your name on the front,
0:14:02 > 0:14:05signifies a birthday card, there's probably 20 quid in it.
0:14:05 > 0:14:07But a black envelope?
0:14:07 > 0:14:08Der-der-der!
0:14:11 > 0:14:14Contained in each black envelope are five questions
0:14:14 > 0:14:16relating to each of the five artworks.
0:14:16 > 0:14:19The exhibitionists have to work out which one
0:14:19 > 0:14:22is connected to which question.
0:14:22 > 0:14:27The group cannot confer or seek information from other sources.
0:14:27 > 0:14:30They will have rely on their own knowledge and insight.
0:14:30 > 0:14:34Well, my initial thoughts when I opened the envelope was,
0:14:34 > 0:14:38"Oops!" I am dyslexic so this is going to be a bit tricky, but it's fine.
0:14:38 > 0:14:41I'm not very good with the history of art at all.
0:14:41 > 0:14:47So far, I think I've been quite good at just expressing myself and guessing things,
0:14:47 > 0:14:52but to actually have to answer questions with the right answer - scary!
0:14:52 > 0:14:56When I first looked at it, I thought, "Oh my... What the...?!"
0:14:56 > 0:15:01But then when you look around the five pieces of art, you can sort of work out in what order they go.
0:15:01 > 0:15:05JULIA: Terrified. Don't know anything about any of them.
0:15:05 > 0:15:08'This is going to be one big failure.
0:15:08 > 0:15:10'On television.'
0:15:10 > 0:15:11I'm going 'ome!
0:15:17 > 0:15:20The exhibitionists have 20 minutes
0:15:20 > 0:15:22before they present their answers to the mentors.
0:15:22 > 0:15:26They should be looking for clues regarding period, style
0:15:26 > 0:15:30and the identity of the artist.
0:15:30 > 0:15:34I've no idea who these people are. They could be somebody famous, they could be someone obscure.
0:15:34 > 0:15:39Not knowing anything about the history of art, or 20th-century art,
0:15:39 > 0:15:43or any other art, struggling.
0:15:43 > 0:15:48They need to start to develop an instinctive understanding,
0:15:48 > 0:15:51so we're hoping that they can start to make
0:15:51 > 0:15:56a calculated guess about things, but it's a really, really big ask.
0:16:00 > 0:16:04Can you find an artwork by what many people consider
0:16:04 > 0:16:07to be the greatest 20th-century artist?"
0:16:07 > 0:16:13The first question I thought immediately is the Kamikaze one.
0:16:13 > 0:16:15It says "Kamikaze" on it,
0:16:15 > 0:16:18it's got a little picture of an aeroplane.
0:16:20 > 0:16:25Richard has been the man equipped with the facts and figures in the previous task,
0:16:25 > 0:16:28and back at home, he's the one firing the questions
0:16:28 > 0:16:31as the quiz master in his local pub.
0:16:31 > 0:16:33I don't use art much in my pub quizzes.
0:16:33 > 0:16:35I'd be more along the lines of,
0:16:35 > 0:16:38"Who painted the Sistine Chapel? Who is the Mona Lisa?"
0:16:38 > 0:16:41I wouldn't use something as obscure as this in a pub quiz.
0:16:41 > 0:16:46But it does feed my thirst for knowledge, as it were.
0:16:48 > 0:16:51Leading up to the task, keeper of art Oliver Fairclough has led
0:16:51 > 0:16:55the exhibitionists through many of the stores and galleries,
0:16:55 > 0:17:00but how much information has fact-cruncher Richard been able to retain?
0:17:00 > 0:17:02The jug, I think the jug is to fool us.
0:17:02 > 0:17:05When we came here the very first day,
0:17:05 > 0:17:08Oliver showed us a picture of a jug that Picasso had done.
0:17:08 > 0:17:10I thought Picasso was just a painter.
0:17:10 > 0:17:12I didn't know he did ceramics.
0:17:12 > 0:17:15So I think that has been put in to fool us.
0:17:15 > 0:17:18Richard's powerful memory has helped him once again
0:17:18 > 0:17:23and by being able to identify this jug as a work by Picasso,
0:17:23 > 0:17:26his first question is answered correctly.
0:17:28 > 0:17:33The second question refers to an artist who made a famous album cover,
0:17:33 > 0:17:36and Darren should have chosen the Kamikaze collage
0:17:36 > 0:17:40by the artist Peter Blake, who made his name designing
0:17:40 > 0:17:43one of the most iconic album covers of 20th century.
0:17:48 > 0:17:51Darren, however, has been enticed by the
0:17:51 > 0:17:57French Impressionist Cezanne's The Bathers, a watercolour from 1875.
0:17:57 > 0:18:01It reminded me of an album I bought a long time ago.
0:18:01 > 0:18:04I can't even remember who it was by,
0:18:04 > 0:18:07but it was a famous album in the '80s and it reminded me of that,
0:18:07 > 0:18:10so I thought, "Well, let's stick with that,"
0:18:10 > 0:18:12and I'm quite certain on that one.
0:18:12 > 0:18:16He's just been given these five works and he has to work with them.
0:18:16 > 0:18:19Bit worried about how he's going to do
0:18:19 > 0:18:21but really rooting for him cos we all love Darren.
0:18:26 > 0:18:28With revision time over,
0:18:28 > 0:18:32now Darren is first up to present his answers to the eager mentors.
0:18:32 > 0:18:37Hello, Darren. Can you find a work of art which is by an artist
0:18:37 > 0:18:41who many people consider to be the greatest artist of the 20th century?
0:18:41 > 0:18:45I think it's the Kamikaze picture.
0:18:45 > 0:18:48Peter Blake's Kamikaze fools Darren yet again,
0:18:48 > 0:18:53as he should have chosen the multi-million-pound jug by Picasso.
0:18:53 > 0:18:55Not a good start.
0:18:55 > 0:19:00If you begin by making a mistake and getting the first identity of the artwork wrong,
0:19:00 > 0:19:03you will find it very, very difficult to go from there
0:19:03 > 0:19:06because there's five artworks. One mistake, two mistakes,
0:19:06 > 0:19:10in a way, if it isn't right from the very beginning, you're doomed.
0:19:10 > 0:19:16Efa also fails to identify the Picasso and believes that the work
0:19:16 > 0:19:19by one of the greatest artists of the 20th century
0:19:19 > 0:19:22is the Cezanne from 1875.
0:19:22 > 0:19:24I guess this one.
0:19:24 > 0:19:27- The one nearest to you? - Yep.- Thank you.
0:19:27 > 0:19:31Efa in today's task, she was quite nervous.
0:19:31 > 0:19:35I mean, it's difficult, you know, standing in front of me and Osi.
0:19:35 > 0:19:38It's kind of like an interview situation
0:19:38 > 0:19:41and I think she found it really nerve-racking, really.
0:19:41 > 0:19:45I guess the Kamikaze one here behind you.
0:19:45 > 0:19:49Despite her nerves, Efa's musical background has helped her to
0:19:49 > 0:19:53identify the work of Peter Blake,
0:19:53 > 0:19:54who designed the cover of
0:19:54 > 0:19:58the Beatles' Sgt Pepper's Lonely Hearts Club Band.
0:19:58 > 0:20:03I'm going to say it's the piece behind you, Kamikaze.
0:20:03 > 0:20:06Having already answered the first question correctly,
0:20:06 > 0:20:09Julia also gets the album cover question right,
0:20:09 > 0:20:12despite her apparent lack of confidence.
0:20:12 > 0:20:16I just get the sense that she knows a lot more about art
0:20:16 > 0:20:18than she says she does sometimes.
0:20:18 > 0:20:22Now whether this is does because she does her homework and research,
0:20:22 > 0:20:24wouldn't surprise me at all.
0:20:24 > 0:20:29"Which of these works is inspired by classical mythology?" Question three.
0:20:29 > 0:20:33Again, classical mythology - another one of my strong points.
0:20:33 > 0:20:35Better on football.
0:20:35 > 0:20:37I'm going to say it's this piece here.
0:20:37 > 0:20:42Julia correctly identifies Cezanne's The Bathers
0:20:42 > 0:20:44as a work of art influenced by Greek mythology.
0:20:44 > 0:20:48So far she has answered the first three questions right.
0:20:50 > 0:20:54But when Richard is asked to identify the location of
0:20:54 > 0:20:56the castle in this painting, he stumbles.
0:20:56 > 0:21:00It is, in fact, Caernarfon Castle, painted by an unknown artist in the 17th century.
0:21:00 > 0:21:04I think it's a seascape. If you look to the foreground of the painting,
0:21:04 > 0:21:08there's a British man-of-war of circa late 18th, early 19th century.
0:21:08 > 0:21:14He honed in on the rigging of the ship, which is something that is of interest to him.
0:21:14 > 0:21:18He thinks of himself as an expert on the rigging of British men-of-war.
0:21:18 > 0:21:23So it could be either part of the Peninsular Wars against France off the Spanish coast.
0:21:23 > 0:21:27It could be either Cadiz or Trafalgar, I'm not quite sure.
0:21:27 > 0:21:29'So, instead of visiting Caernarfon Castle,'
0:21:29 > 0:21:31we were bound for Cadiz.
0:21:31 > 0:21:36Now that, in a sense, is a serious flaw in someone who wishes to be a curator.
0:21:36 > 0:21:38That kind of single-mindedness is,
0:21:38 > 0:21:42in a sense, almost destructive, rather than creative.
0:21:42 > 0:21:45I think it's the last one that's there, on the left.
0:21:45 > 0:21:49However, Richard identifies which painting caused controversy in
0:21:49 > 0:21:52the 19th century as The Good Samaritan by Millet,
0:21:52 > 0:21:54with amazing accuracy.
0:21:54 > 0:21:57I think it depicts a drunk being taken home,
0:21:57 > 0:22:01mid 19th century, lot of problems with isolation from not drinking.
0:22:01 > 0:22:03Lot of Methodist movements...
0:22:03 > 0:22:05The painting was indeed controversial
0:22:05 > 0:22:08because of its depiction of a drunk,
0:22:08 > 0:22:11and because it shows contemporary rather than biblical costume.
0:22:11 > 0:22:14The only thing left is the jug.
0:22:16 > 0:22:21Darren's process of elimination was in jeopardy from his first question.
0:22:21 > 0:22:24On his final answer, he should be identifying
0:22:24 > 0:22:27Millet's peasant painting from the 19th century.
0:22:27 > 0:22:30Instead he's left with Picasso's ceramic jug.
0:22:30 > 0:22:33Van Gogh? I don't know. I don't know who any of these people are.
0:22:33 > 0:22:36Not only has he misidentified the artwork,
0:22:36 > 0:22:39he also fails to name the artist.
0:22:39 > 0:22:43The trouble was, because he didn't choose Picasso,
0:22:43 > 0:22:46everything was like a kind of pack of cards or dominoes then,
0:22:46 > 0:22:49everything went wrong, one after the other.
0:22:49 > 0:22:53And he just got, you know, love him, he just got more and more nervous.
0:22:53 > 0:22:58- Would I be correct in saying that perhaps Van Gogh is famous for colour?- Yes.
0:22:58 > 0:23:01- Yes.- Hm. Well, it's interesting that you choose something
0:23:01 > 0:23:03which is black and white.
0:23:05 > 0:23:08It's the JF Millet behind you here.
0:23:08 > 0:23:12Efa ends her presentation with a correct answer,
0:23:12 > 0:23:15recognising Millet's drunken peasants,
0:23:15 > 0:23:18but she's unsure of her overall performance.
0:23:18 > 0:23:22I had no idea how that went because four out of the five,
0:23:22 > 0:23:26I wasn't sure about, so I just guessed from what I know about
0:23:26 > 0:23:28different parts of art and its history.
0:23:28 > 0:23:31She had an emotional, intuitive approach.
0:23:31 > 0:23:36But what I would like her to do is reinforce it by intellectual activity,
0:23:36 > 0:23:39by thinking about how things actually do work together.
0:23:39 > 0:23:43I'm still happy with my choices cos that's the best that I could do.
0:23:43 > 0:23:46They dropped us in the deep end with this one,
0:23:46 > 0:23:48so I tried my best. That's all I can do.
0:23:50 > 0:23:54With the tasks completed, Osi and Karen have plenty to discuss,
0:23:54 > 0:23:58but will they agree on which exhibitionist to eliminate?
0:24:04 > 0:24:08Well, I think we've grown to really see that they've all got
0:24:08 > 0:24:10qualities they could bring to this
0:24:10 > 0:24:13but some are doing better than others.
0:24:13 > 0:24:15I'm looking for that balance between
0:24:15 > 0:24:19a knowledge and understanding of what it means to be a curator.
0:24:19 > 0:24:21Do you know what I think as well?
0:24:21 > 0:24:25- Yeah?- A reaction.- A reaction. - A reaction which is deep felt.
0:24:25 > 0:24:27I really wanted to stay in
0:24:27 > 0:24:30and I hate it when people say that on television.
0:24:30 > 0:24:32"I really want to do this! Please vote to me!"
0:24:32 > 0:24:35You know, it's... But I'm really feeling, you know,
0:24:35 > 0:24:37I could really achieve something.
0:24:37 > 0:24:41There's ability there and I think sometimes it's difficult
0:24:41 > 0:24:44for people to recognise and take hold of their own strengths.
0:24:44 > 0:24:47- It's seeing what they are. - Absolutely.
0:24:47 > 0:24:49- And pushing them forward. - Absolutely.
0:24:49 > 0:24:53Understanding what it means to be a curator from a really personal perspective.
0:24:53 > 0:24:57I don't know who's going to go cos we haven't seen each other perform the tasks.
0:24:57 > 0:24:59I hope it's Richard but I don't know if it will be.
0:24:59 > 0:25:02If I'm the one that goes today,
0:25:02 > 0:25:05obviously I'm not going to go and sit in the corner
0:25:05 > 0:25:08and break down in tears, but I will be upset.
0:25:18 > 0:25:21Our exhibitionists return to gallery 24,
0:25:21 > 0:25:25where two will eventually hang their own show.
0:25:28 > 0:25:31However, for one exhibitionist, their time is up.
0:25:36 > 0:25:38Well done.
0:25:38 > 0:25:42You performed well in both your tasks.
0:25:42 > 0:25:47The hang was really successful and the museum staff were delighted.
0:25:47 > 0:25:52Your responses to the questions showed potential.
0:25:52 > 0:25:54But we've made our decision.
0:25:56 > 0:26:01Julia, you answered the five questions correctly,
0:26:01 > 0:26:04but where's the sparkle?
0:26:06 > 0:26:10Darren, you only answered one question correctly.
0:26:10 > 0:26:16You're obviously inspired by art and we love your colourful personality,
0:26:16 > 0:26:17but is that enough?
0:26:19 > 0:26:22Richard, your analytical powers enabled you
0:26:22 > 0:26:24to deduce three correct answers,
0:26:24 > 0:26:27yet you failed to connect with the works.
0:26:30 > 0:26:33Efa, you clearly connect to the work
0:26:33 > 0:26:35and you got three questions right,
0:26:35 > 0:26:37but where's the rock 'n' roll?
0:26:41 > 0:26:45Unfortunately, one of you has to leave.
0:26:52 > 0:26:55Darren, you're no longer an exhibitionist.
0:26:58 > 0:27:01HE INHALES AND EXHALES DEEPLY
0:27:10 > 0:27:12I am disappointed.
0:27:12 > 0:27:16It would've been nice to hang on for another...
0:27:16 > 0:27:19a little bit longer but, you know, it's the way it goes.
0:27:22 > 0:27:26- I am absolutely gutted. Really upset.- JULIA: Yeah.
0:27:26 > 0:27:30- Sorry.- We've all got on really, really well and we've become a team.
0:27:35 > 0:27:36That was a really big shock.
0:27:36 > 0:27:39I expected Darren to be in the last two, to be honest.
0:27:39 > 0:27:42Well, we've lost our queen, haven't we?
0:27:42 > 0:27:47And, so, it'll be a sorrier, sadder place without Darren.
0:27:47 > 0:27:49Oh, bless! I mean, we love Darren
0:27:49 > 0:27:54but, unfortunately, he got a bit weaker as the tasks went on.
0:27:54 > 0:27:58Enthusiasm, personality, is not enough
0:27:58 > 0:28:01and, therefore, he had to go.
0:28:01 > 0:28:06Next time, our remaining three decide which paintings
0:28:06 > 0:28:10they would hang in gallery 24.
0:28:10 > 0:28:12When these pictures are taken down,
0:28:12 > 0:28:14this space will look terrifyingly huge.
0:28:14 > 0:28:17Nothing worse than a blank, white wall.
0:28:17 > 0:28:22You need to think very, very carefully about your plans.
0:28:22 > 0:28:23Julia seemed a bit concerned.
0:28:23 > 0:28:25SHE GROWLS
0:28:25 > 0:28:29Now I think I am determined to get through to the next round.
0:28:29 > 0:28:31To see high-quality photographs
0:28:31 > 0:28:34of the artworks featured in this programme,
0:28:34 > 0:28:38go to the website and click on the exhibitionists.
0:28:46 > 0:28:50Subtitles by Red Bee Media Ltd