0:00:04 > 0:00:07Over the last past few weeks, five members of the public
0:00:07 > 0:00:10have been competing for chance to stage an exhibition
0:00:10 > 0:00:12at the National Museum, Cardiff.
0:00:16 > 0:00:19Two have already gone, having failed to reach the high standards
0:00:19 > 0:00:23set by the two mentors, art critic Osi Rhys Osmond
0:00:23 > 0:00:27and renowned curator Karen MacKinnon.
0:00:29 > 0:00:34This week, however, impressing Osi and Karen isn't enough.
0:00:34 > 0:00:38Richard, Efa and Julia
0:00:38 > 0:00:43need to impress the museum's Director General, David Anderson.
0:00:46 > 0:00:50Have they got what it takes to become The Exhibitionists?
0:00:59 > 0:01:02Only two of the three Exhibitionists
0:01:02 > 0:01:06will get to hang their show in the prestigious Gallery 24,
0:01:06 > 0:01:10where the two finalists will go head to head
0:01:10 > 0:01:13with one half of the gallery each, to showcase their curating skills.
0:01:13 > 0:01:19Current occupant, the Queen, marking her Diamond Jubilee.
0:01:19 > 0:01:23This is the gallery in which you will hang your exhibition.
0:01:23 > 0:01:26We want you to look very carefully at the space.
0:01:26 > 0:01:29Generally speaking, when people look,
0:01:29 > 0:01:33they turn their heads but they don't really examine
0:01:33 > 0:01:37In today's task, each Exhibitionist has to prepare a theme
0:01:37 > 0:01:39for a proposed exhibition,
0:01:39 > 0:01:43using artworks from the museum's vast collection.
0:01:43 > 0:01:48You need to think about the content, the subject matter,
0:01:48 > 0:01:51the colours, the period,
0:01:51 > 0:01:56and really consider how you're going to pull that together.
0:01:56 > 0:01:58Good luck.
0:01:58 > 0:02:03Now they really are stepping into the curator's shoes.
0:02:03 > 0:02:05and what that feels like.
0:02:07 > 0:02:11But the mentors aren't the only people they have to impress.
0:02:11 > 0:02:14The Exhibitionists also have to present their ideas
0:02:14 > 0:02:17to Director General David Anderson,
0:02:17 > 0:02:23an international authority on museums and learning.
0:02:23 > 0:02:25It's is reputation on the line, too.
0:02:25 > 0:02:29It's a risk but it's a great opportunity as well.
0:02:29 > 0:02:32I hope the three of them will have the confidence
0:02:32 > 0:02:36to believe in their own ideas.
0:02:36 > 0:02:38Not to try and produce an exhibition
0:02:38 > 0:02:40that they think we would have produced if we'd done it.
0:02:40 > 0:02:44If they put their heart into it, we'll have some exciting ideas.
0:02:46 > 0:02:49That room is inside somewhere so established
0:02:49 > 0:02:50like the National Museum,
0:02:50 > 0:02:53something I'd never usually consider myself a part of.
0:02:53 > 0:02:55That makes me want to do something more radical and different
0:02:55 > 0:02:57in that room.
0:02:57 > 0:03:00At the moment, it's quite ordinary.
0:03:00 > 0:03:02There's nothing special there.
0:03:02 > 0:03:04I think I've learned enough
0:03:04 > 0:03:06to curate a show.
0:03:06 > 0:03:08I've got knowledge outside of this I can use.
0:03:08 > 0:03:10I want this now.
0:03:10 > 0:03:14It's underlined, what is ahead of us.
0:03:14 > 0:03:16It's obviously the big one.
0:03:20 > 0:03:22Led by curator Nick Thornton,
0:03:22 > 0:03:25the three are taken down into the secure vaults
0:03:25 > 0:03:29to look for inspiration amongst the artworks stored there.
0:03:29 > 0:03:33Efa tells curator Melissa exactly what she's looking for.
0:03:33 > 0:03:38Most of the stuff I've looked at is not, like, conservative...
0:03:38 > 0:03:40It's more like trying to get a reaction from people.
0:03:40 > 0:03:43- Challenging.- Yeah.
0:03:43 > 0:03:45She's drawn to the abstract landscapes
0:03:45 > 0:03:48of former Welsh Artist of the Year Brendan Burns.
0:03:48 > 0:03:50Do you think one of these would look OK by themselves?
0:03:50 > 0:03:52It's quite a small room.
0:03:52 > 0:03:55They work better as a set.
0:03:55 > 0:03:58- What's his name again? - Brendan Burns.
0:03:58 > 0:04:02She's got lots of interesting ideas, which sometimes
0:04:02 > 0:04:04are a bit wacky and disconnected.
0:04:04 > 0:04:08She's got an interest in the politics of art,
0:04:08 > 0:04:10she's got something to say.
0:04:10 > 0:04:14She could do well but it's this question making it a coherent whole.
0:04:14 > 0:04:18She's been quiet. She's retreated into herself.
0:04:18 > 0:04:22I really hope she comes in, guns blazing
0:04:22 > 0:04:25and shows us a bit of that rock'n'roll Efa.
0:04:25 > 0:04:27She's young, she's funky.
0:04:27 > 0:04:31Let's bring that into the mix and have that arrogance of youth,
0:04:31 > 0:04:33a bit of swagger.
0:04:33 > 0:04:35I consider myself an anarchist.
0:04:35 > 0:04:38I don't know what the museum will think about having an anarchist
0:04:38 > 0:04:41putting an exhibition on in the museum.
0:04:41 > 0:04:45Richard, on the other hand, having worked in a factory all of his life,
0:04:45 > 0:04:49is interested in artworks depicting the worker
0:04:49 > 0:04:51and is introduced to prints of miners
0:04:51 > 0:04:53by curator Charlotte Topsfield.
0:04:53 > 0:04:55Wow! I like that!
0:04:55 > 0:04:57That is... That is nice.
0:04:59 > 0:05:01This is called Portrait Of Elias Jones.
0:05:01 > 0:05:05It's a collier in a tin bath.
0:05:05 > 0:05:09It's by Evan Walters, who came from a mining background.
0:05:09 > 0:05:12You can see he knows what he's doing.
0:05:12 > 0:05:15One of the big questions is whether Richard can move on from
0:05:15 > 0:05:19his fact-based, analytical approach,
0:05:19 > 0:05:21which would be fine in certain respects.
0:05:21 > 0:05:23Say if you were making a book.
0:05:23 > 0:05:26But in an exhibition, you'll need an awareness of the object, the thing,
0:05:26 > 0:05:30as a thing in space, with a relationship with a thing that is next to it
0:05:30 > 0:05:32and the other things in the group.
0:05:32 > 0:05:35I think this is what he lakes at the moment.
0:05:35 > 0:05:36That's fantastic.
0:05:36 > 0:05:38What I've decided to do for my gallery
0:05:38 > 0:05:43is a social history timeline for the 20th century.
0:05:43 > 0:05:46Tourists come to Wales and they expect to see the social history side of Wales -
0:05:46 > 0:05:50the mining, the rugby, the politics.
0:05:50 > 0:05:54That's what Wales is famous for, apart from sheep!
0:05:54 > 0:05:56If you'd like to just come around this side.
0:05:56 > 0:06:02Julia has asked to see the work of Welsh artist Shani Rhys James.
0:06:02 > 0:06:06My theme is about women, representation of women
0:06:06 > 0:06:11or about art by women, of women.
0:06:11 > 0:06:13Where is the space in that museum
0:06:13 > 0:06:15that belongs to the women of Wales?
0:06:15 > 0:06:20Is it relevant to everybody in Wales? Yes, it is.
0:06:20 > 0:06:25She's thinking about the final exhibition all the time.
0:06:25 > 0:06:30She's also reading and just falling in love with art.
0:06:30 > 0:06:32I think that's wonderful to see.
0:06:35 > 0:06:40Meanwhile, Efa discovers the work of Maurice Cockrill,
0:06:40 > 0:06:43with a painting described as representing the winding rivers of Wales.
0:06:43 > 0:06:48I can imagine it on that wall when you're walking in to the gallery.
0:06:48 > 0:06:49It's a very powerful work.
0:06:49 > 0:06:53Being so bright, you've also got to consider
0:06:53 > 0:06:54what you would put next to it.
0:06:54 > 0:06:59Colours can really affect others works that you display.
0:06:59 > 0:07:02- It could clash.- Yes, it's punchy.
0:07:02 > 0:07:06He was famous as a war photographer in Vietnam...
0:07:06 > 0:07:08Back in the prints and drawings room,
0:07:08 > 0:07:13Richard is introduced to the photographs of world-famous Philip Jones Griffiths.
0:07:13 > 0:07:18- This is a really lovely photograph. - 1967. I was one when that was done.
0:07:20 > 0:07:25We've got photographs from ten years later, my brother and friends, that could be us.
0:07:25 > 0:07:30It's four young lads. One is looking serious and three are right little sods.
0:07:30 > 0:07:33It does reflect my lifestyle as a kid.
0:07:33 > 0:07:36I grew up on a rough council estate.
0:07:36 > 0:07:38Both my parents worked. Worked hard.
0:07:38 > 0:07:40Dad had two jobs.
0:07:40 > 0:07:46We used to play for hours. We'd be out in the morning, till Mum came looking for us.
0:07:48 > 0:07:51Efa finds inspiration where she least expected.
0:07:51 > 0:07:53I went into the Welsh Ceramics Gallery
0:07:53 > 0:07:56and that is not the kind of stuff I like.
0:07:56 > 0:07:58I eat my chips off that kind of stuff.
0:07:58 > 0:08:01But I saw a really interesting piece on two monitors
0:08:01 > 0:08:06where on one side there was a tea cup, smashing.
0:08:06 > 0:08:10On the other one it was reforming - he'd reversed the tape.
0:08:10 > 0:08:14I really like the, erm... It was just different.
0:08:14 > 0:08:16Especially in that context, it was cool.
0:08:16 > 0:08:19This is a video piece by the artist David Cushway.
0:08:19 > 0:08:23Tea Cup One Bounce and Tea Cup Two Break.
0:08:23 > 0:08:28I'm not going to compromise what I want in the exhibition.
0:08:28 > 0:08:32I'm going to present tomorrow to the National Museum of Wales and to the mentors.
0:08:32 > 0:08:36If they don't like it, they don't like it. I don't want to do something I don't like for them.
0:08:36 > 0:08:39She reminds me of a young me. She does.
0:08:39 > 0:08:42I used to wear skirts that short as well.
0:08:42 > 0:08:44No, she's got fire in her belly
0:08:44 > 0:08:46and loads of politics in her soul.
0:08:46 > 0:08:49That's what we need more of. Brilliant.
0:08:49 > 0:08:50Loves Ef.
0:08:50 > 0:08:53Julia seems to be struggling.
0:08:53 > 0:08:56She seems concerned about this.
0:08:56 > 0:08:59As though it's too much in one go.
0:08:59 > 0:09:01She might be trying to fool us. I don't know.
0:09:06 > 0:09:08The next day and The Exhibitionists
0:09:08 > 0:09:12return to the museum, where they have the morning in the stores before they give
0:09:12 > 0:09:14their presentations.
0:09:16 > 0:09:19Efa is in the ceramics stores with curator Rachel Conroy,
0:09:19 > 0:09:24who is showing her one of the collection's newest acquisitions.
0:09:24 > 0:09:28It's by a Welsh artist called Catrin Howell.
0:09:28 > 0:09:31She is heavily influenced by mythology
0:09:31 > 0:09:35and she creates these beautiful animal sculptures.
0:09:35 > 0:09:38She is particularly influenced by the Mabinogi.
0:09:38 > 0:09:41I really like it. It's quite strange.
0:09:41 > 0:09:43Erm...
0:09:43 > 0:09:47I'm not sure how it would tie into my theme but I do like it.
0:09:47 > 0:09:52Having previously enjoyed his time in the prints and drawings room,
0:09:52 > 0:09:55Richard has the opportunity of looking at contemporary paintings
0:09:55 > 0:09:57with curator Melissa Munro.
0:09:59 > 0:10:02I'm not even sure what that's supposed to be.
0:10:03 > 0:10:06This is Beach Girl by Peter Lanyon.
0:10:06 > 0:10:07It was painted in 1961.
0:10:07 > 0:10:09OK.
0:10:09 > 0:10:15It's a figure on a beach. He was one of the leading abstract painters
0:10:15 > 0:10:17of the 20th century in Britain.
0:10:17 > 0:10:19That just doesn't appeal to me.
0:10:19 > 0:10:23I like art. I like a nice landscape, a portrait,
0:10:23 > 0:10:27even etching but this...
0:10:27 > 0:10:31A lot of people would like it. I'm not saying it's wrong, I'm not saying it's right.
0:10:31 > 0:10:34But to me... It doesn't appeal to me.
0:10:34 > 0:10:36When I first looked at it, I thought it was a snail.
0:10:36 > 0:10:39A snail's shell. An abstract of a snail.
0:10:41 > 0:10:44That's how much I've learned in the past few weeks, unfortunately!
0:10:48 > 0:10:53Let's hope Julia is slightly more inspired with what she sees in the ceramics store.
0:10:53 > 0:10:56Before you handle anything, I'll just say a few things.
0:10:56 > 0:10:59Always two hands. Just be confident.
0:10:59 > 0:11:02Keep them over this white bit of table.
0:11:02 > 0:11:05This is by... It's a set called Puccini.
0:11:05 > 0:11:11It's by probably one of the most important international female potters,
0:11:11 > 0:11:13Betty Woodman.
0:11:13 > 0:11:18It was made in 1989. I'll just set it up for you.
0:11:18 > 0:11:20My twins were born in 1989.
0:11:20 > 0:11:24And I've got a boy and a girl.
0:11:24 > 0:11:25A blue and a pink.
0:11:25 > 0:11:29Julia's mission, the female role of nurturing and so on,
0:11:29 > 0:11:32I think that could be a very good exhibition.
0:11:32 > 0:11:38I know that there is work in the collection that could make a fabulous exhibition
0:11:38 > 0:11:39along those lines.
0:11:39 > 0:11:40Will she see that?
0:11:40 > 0:11:46I feel at this point that Julia needs to branch out with that thematic.
0:11:46 > 0:11:51She started by looking at self portraits
0:11:51 > 0:11:53of women artists.
0:11:53 > 0:11:56Now, she's going in some really interesting directions.
0:11:56 > 0:12:01She's talked about strong women. There's a lot of questions she needs to ask to shape that.
0:12:01 > 0:12:03I've expectations of Efa to surprise me.
0:12:03 > 0:12:05I'm hoping she does.
0:12:05 > 0:12:11I like the way she thinks politically. I like the way she thinks in the aesthetic
0:12:11 > 0:12:12and beyond the aesthetic.
0:12:12 > 0:12:15Going, "Wow" and then follow it around.
0:12:15 > 0:12:18Richard, also, he's looking for a didactic approach.
0:12:18 > 0:12:22He's a teacher. He wants to tell people things about their history they may not have noticed.
0:12:22 > 0:12:26I'm excited about them all and I'm sure it's going to be very interesting.
0:12:30 > 0:12:34The presentations are looming, with precious little time before they pitch their ideas
0:12:34 > 0:12:37to the mentors and the museum's Director General,
0:12:37 > 0:12:38David Anderson.
0:12:38 > 0:12:43How they present is up to them but they're all being very creative.
0:12:46 > 0:12:49Ah! Feeling a bit nervous today.
0:12:49 > 0:12:53It's the final day now before the big vote-off.
0:12:54 > 0:12:58I just hope that they think my knowledge is better than my art skills!
0:12:58 > 0:13:01It's up to them now
0:13:01 > 0:13:03to put on an exhibition that will excite us.
0:13:03 > 0:13:06They're all pretty even for me, at the moment.
0:13:06 > 0:13:09I don't see anyone in front by a long way.
0:13:10 > 0:13:15Preparation time is over. This is their last chance to stay in the competition.
0:13:15 > 0:13:18With the museum's Director General and the mentors waiting eagerly,
0:13:18 > 0:13:20Richard is first up.
0:13:20 > 0:13:25A bit apprehensive now. This is the one that decides who does and who doesn't go through.
0:13:25 > 0:13:28It's, er... It's D-Day or E-Day.
0:13:28 > 0:13:29It's all or nothing now.
0:13:29 > 0:13:31It's crunch time.
0:13:37 > 0:13:40Welcome. I'm looking forward to hearing your presentation.
0:13:40 > 0:13:46OK. I've called my exhibition A Social Timeline of 20th Century Wales.
0:13:47 > 0:13:50I've decided to start with the 1905 picture
0:13:50 > 0:13:54entitled The Try That Beat The All Blacks.
0:13:54 > 0:13:57That will start there with a brief description of why I've put it there
0:13:57 > 0:13:58and the artist.
0:13:58 > 0:14:01That's from 1905.
0:14:01 > 0:14:05We go on to a picture from the First World War
0:14:05 > 0:14:07of the war poet Robert Graves.
0:14:07 > 0:14:09We put that alongside there.
0:14:09 > 0:14:13Then we go on to the '20s.
0:14:13 > 0:14:15This is called A Portrait Of Elias John.
0:14:15 > 0:14:18It shows an old collier, who's just come home from the mines,
0:14:18 > 0:14:22done 12, 14 hours, in the tin bath, being washed by his wife.
0:14:22 > 0:14:25Then, into the '60s...
0:14:25 > 0:14:28Richard impresses the three with his concise presentation,
0:14:28 > 0:14:34having chosen works representing each decade, including Evelyn Dunbar and George Chapman.
0:14:34 > 0:14:38But when it comes to the '60s, he chooses the Philip Jones Griffiths photograph,
0:14:38 > 0:14:42which reminds him of his own childhood.
0:14:42 > 0:14:44Bunch of four boys, this is a black and white photograph.
0:14:44 > 0:14:47Four young lads stood on wasteground.
0:14:47 > 0:14:50Same sort of thing I'd do in the early '70s.
0:14:50 > 0:14:53When we were kids, bottle of pop, jam sandwich,
0:14:53 > 0:14:56over the fields, down the river, all day, until Mum came looking for us.
0:14:56 > 0:14:59That's the '60s.
0:14:59 > 0:15:03The next three decades are represented with more historic photographs,
0:15:03 > 0:15:07and a painting of Penarth Pier by Merlin James.
0:15:07 > 0:15:08The very last picture, then.
0:15:08 > 0:15:11Rowan Williams, Archbishop of Canterbury, retires this year.
0:15:11 > 0:15:14He was from Wales, he was based in Monmouth - where I'm from.
0:15:14 > 0:15:17There's a lovely picture of him, staring through the windows
0:15:17 > 0:15:18of Lambeth Palace.
0:15:18 > 0:15:21I thought that would finish off the exhibition quite well.
0:15:21 > 0:15:23And that's my exhibition.
0:15:23 > 0:15:26Who do you think the exhibition will appeal to?
0:15:26 > 0:15:28The museum needs to bring in audiences.
0:15:28 > 0:15:30Who do you think we will get?
0:15:30 > 0:15:33From the diversity of the pictures, and the way I have done the timeline,
0:15:33 > 0:15:35I hope it will appeal to everybody - all ages.
0:15:35 > 0:15:37You have a lot of extended families nowadays -
0:15:37 > 0:15:40grandparents looking after their grandchildren.
0:15:40 > 0:15:42Grandfather brings the young boy to the museum. "What's that?"
0:15:42 > 0:15:45"When I was a boy, we worked in the pits, had our backs scrubbed.
0:15:45 > 0:15:48They start talking about it. They discuss
0:15:48 > 0:15:50like when they were kids.
0:15:50 > 0:15:51Thank you, Richard.
0:15:51 > 0:15:53Great, thank you.
0:15:54 > 0:15:56Whoo!
0:15:56 > 0:15:59Think that went well. I hope it went well.
0:15:59 > 0:16:01I was clear, precise.
0:16:01 > 0:16:04Yeah. I think I have done enough.
0:16:04 > 0:16:07I thought it was interesting what he was saying about grandparents
0:16:07 > 0:16:08bringing grandchildren,
0:16:08 > 0:16:10and parents bringing their relatives, as well.
0:16:10 > 0:16:12What he is implying in this
0:16:12 > 0:16:14is the exhibition is there to encourage people
0:16:14 > 0:16:16to interpret for themselves.
0:16:16 > 0:16:18To talk amongst themselves, exactly.
0:16:18 > 0:16:20It really will come to life for him
0:16:20 > 0:16:23at the point people are in there, sharing memories and experiences.
0:16:23 > 0:16:25I think it was a very strong pitch.
0:16:27 > 0:16:29Next up is Julia.
0:16:29 > 0:16:34Will her feminist theme impress Karen, Osi and David Anderson?
0:16:37 > 0:16:39Hello!
0:16:39 > 0:16:42- We're looking forward to your presentation.- Thanks for seeing me.
0:16:42 > 0:16:45I'm an unusual woman. I'm an extraordinary woman,
0:16:45 > 0:16:48like some of the pieces I will be showing you, I think.
0:16:48 > 0:16:50I had twins, aged 16.
0:16:50 > 0:16:52I was married at 16,
0:16:52 > 0:16:54and I unfortunately had a divorce - or fortunately,
0:16:54 > 0:16:56whichever way you look at it.
0:16:56 > 0:16:59I then became a volunteer in the women's movement,
0:16:59 > 0:17:01in a women's refuge.
0:17:02 > 0:17:04But I also then
0:17:04 > 0:17:05got remarried, wanting to be
0:17:05 > 0:17:07quite a traditional woman,
0:17:07 > 0:17:10and tried to rebuild the family to bring up my children in.
0:17:10 > 0:17:11Had the third child, Joe,
0:17:11 > 0:17:15and I went through another divorce.
0:17:15 > 0:17:17I then, I guess,
0:17:17 > 0:17:19spent some time reinventing myself,
0:17:19 > 0:17:21and being more comfortable in my skin.
0:17:21 > 0:17:23As a working-class woman, I live in a council house.
0:17:23 > 0:17:27I don't see a lot of people like myself in this place.
0:17:27 > 0:17:29However, I have noticed
0:17:29 > 0:17:32that about 50% of people do seem to be female,
0:17:32 > 0:17:35and that's just a rough poll.
0:17:35 > 0:17:37But I have noticed
0:17:37 > 0:17:39that isn't what I have seen on the walls.
0:17:39 > 0:17:42And I wonder, in 2012,
0:17:42 > 0:17:45if there is something we can do about that, in this space.
0:17:45 > 0:17:47So I'm going to start on this wall.
0:17:47 > 0:17:51I have a mixture of different pieces of art here.
0:17:51 > 0:17:53I'm a really bad drawer,
0:17:53 > 0:17:56so I will just have to tell you what they are about.
0:17:56 > 0:17:58This piece here
0:17:58 > 0:18:01is an Edith Downing piece called Music.
0:18:01 > 0:18:04I was really interested by this piece.
0:18:04 > 0:18:08This woman, I think, links the political and the art world
0:18:08 > 0:18:09really nicely.
0:18:09 > 0:18:11And this piece here,
0:18:11 > 0:18:14is Gwen John.
0:18:14 > 0:18:16The reason I have picked that
0:18:16 > 0:18:17is because I think
0:18:17 > 0:18:22this is an internal space that women were more traditionally
0:18:22 > 0:18:24associated with.
0:18:24 > 0:18:26The next piece I have chosen,
0:18:26 > 0:18:30(and there is so much to choose from - it's fantastic!)
0:18:30 > 0:18:33I saw this photo, and I just thought, "I've got to have it".
0:18:33 > 0:18:35I'm sorry again.
0:18:35 > 0:18:37I think her name is Edith, the woman who did this photography,
0:18:37 > 0:18:40but it's of Catrin Finch, the harpist.
0:18:40 > 0:18:42Again, not a world I am familiar with.
0:18:42 > 0:18:46But what I was familiar with was this pregnant lady,
0:18:46 > 0:18:48the bellybutton sticking out.
0:18:48 > 0:18:50Is there a look?
0:18:50 > 0:18:51Are all the works very different?
0:18:51 > 0:18:54What I would like to say something about
0:18:54 > 0:18:57is the way I would like to have it shown.
0:18:57 > 0:18:59I wanted to have a tour on the floor.
0:18:59 > 0:19:01I wanted to have some footprints.
0:19:01 > 0:19:03That sort of almost takes you
0:19:03 > 0:19:06on the kind of route around the pieces
0:19:06 > 0:19:09that the experts tell me would be best to show it.
0:19:09 > 0:19:12Very interesting, and lots of enthusiasm.
0:19:12 > 0:19:13- Yeah!- Thank you.- Thank you!
0:19:13 > 0:19:15Thanks for the opportunity, really.
0:19:15 > 0:19:18Fantastic! Loved it - brilliant!
0:19:18 > 0:19:20Really good fun. Lovely people.
0:19:20 > 0:19:22Really easy to talk to. Really easy to pitch to.
0:19:22 > 0:19:26I think it wasn't entirely necessary to go that far
0:19:26 > 0:19:28into her own personal history,
0:19:28 > 0:19:31Perhaps it could have been made shorter,
0:19:31 > 0:19:34then this would have taken a bit more focus.
0:19:34 > 0:19:36I think,
0:19:36 > 0:19:38in a way, she is throwing down
0:19:38 > 0:19:41a big idea to the public,
0:19:41 > 0:19:44and saying, "Agree with me, or argue with me.
0:19:44 > 0:19:45"But respond to me."
0:19:45 > 0:19:47- Yes.- That's true.
0:19:49 > 0:19:51Last up is Efa.
0:19:51 > 0:19:55What will the panel make of her destructive theme?
0:20:00 > 0:20:04Hello, welcome. I look forward to hearing your presentation.
0:20:05 > 0:20:07OK. My working title is
0:20:07 > 0:20:10Our Identities Cannot Be Contained.
0:20:10 > 0:20:13I grew up in villages in North Wales,
0:20:13 > 0:20:16Bethesda and Criccieth were the ones I spent the most time in.
0:20:16 > 0:20:18I was really angry as a teenager.
0:20:18 > 0:20:20and I don't think I knew why.
0:20:20 > 0:20:22When I finished college, I went travelling,
0:20:22 > 0:20:24and it chilled me out a lot. That's why I am how I am now.
0:20:24 > 0:20:26When I came to Cardiff,
0:20:26 > 0:20:28I started going to protests,
0:20:28 > 0:20:31and learned more about the inequalities in this world.
0:20:31 > 0:20:35I can safely say by now, I hate supermarkets and banks.
0:20:37 > 0:20:39By the time I end my degree next year,
0:20:39 > 0:20:44I'll be £30,000 in debt, and I think that's something to be angry about.
0:20:44 > 0:20:46So a lot of the pieces I've chosen focus on destruction.
0:20:46 > 0:20:48It's essentially a collection
0:20:48 > 0:20:51of pieces exploring identity and expression,
0:20:51 > 0:20:54by artists whose country, race or gender have been repressed.
0:20:54 > 0:20:59Most of the pieces, I think, are quite obvious choices.
0:20:59 > 0:21:02This is a multi-media piece.
0:21:02 > 0:21:04It's a cup. On one side, it's breaking.
0:21:04 > 0:21:06the other side, it's reforming.
0:21:06 > 0:21:08It's like all the things that have been repressed.
0:21:08 > 0:21:10We are now coming together.
0:21:10 > 0:21:13We live in a multi-cultural society. It's a really exciting time.
0:21:13 > 0:21:15These are three photographs.
0:21:17 > 0:21:20This one is an expression.
0:21:20 > 0:21:23It's a picture of graffiti saying, "Get rid of Maggie, please!"
0:21:25 > 0:21:27This one is of a drug addict,
0:21:27 > 0:21:29which is obviously a form of destruction.
0:21:29 > 0:21:31Some people react to the world like this.
0:21:31 > 0:21:33And, ooh.. SHE LAUGHS
0:21:34 > 0:21:36This is a picture
0:21:36 > 0:21:38of a young boy destroying a piano.
0:21:38 > 0:21:41My picture's not very good, but it's a famous photograph.
0:21:41 > 0:21:43I really like that,
0:21:43 > 0:21:45because young children are more ready to express themselves
0:21:45 > 0:21:48than adults are, most of the time.
0:21:48 > 0:21:50Who is this? Iwan Bala.
0:21:50 > 0:21:54I think he explores Welsh culture and identity,
0:21:54 > 0:21:57so I think that fits well.
0:21:57 > 0:21:59And that's my wonky presentation.
0:22:00 > 0:22:03It's a very powerful idea at the centre of the exhibition there.
0:22:03 > 0:22:06Who do you see as the audience?
0:22:06 > 0:22:09I don't think people would usually put all these pieces together
0:22:09 > 0:22:10in this museum,
0:22:10 > 0:22:14so hopefully new people, younger people,
0:22:14 > 0:22:16and alternative people.
0:22:16 > 0:22:20- That's great, thank you. - Thank you very much.- Thanks.
0:22:20 > 0:22:22I was really nervous before I went in,
0:22:22 > 0:22:25because I was scared - cos he's like the boss of the museum,
0:22:25 > 0:22:28and I don't usually come across people like that in my life.
0:22:28 > 0:22:31But once I got in, they were all really friendly and smiling,
0:22:31 > 0:22:32so I calmed down a bit.
0:22:32 > 0:22:34I was really bowled over
0:22:34 > 0:22:37by the way in which so many interesting images
0:22:37 > 0:22:39were being brought together
0:22:39 > 0:22:42around an idea that she held with such passion.
0:22:42 > 0:22:46And was such a personally-driven collection, as well.
0:22:46 > 0:22:50Absolutely. I just felt what's amazing about Efa
0:22:50 > 0:22:53is this discovery of art.
0:22:53 > 0:22:55The other thing I felt about is her is,
0:22:55 > 0:22:58whereas the first presentation we saw was very much about
0:22:58 > 0:22:59the past into the present...
0:22:59 > 0:23:01Yeah.
0:23:01 > 0:23:03..this is absolutely about contemporary, now.
0:23:03 > 0:23:05It's almost a manifesto
0:23:05 > 0:23:08for the future as well, really.
0:23:08 > 0:23:10As Director of the museum,
0:23:10 > 0:23:13I would be happy - I would even be proud, actually -
0:23:13 > 0:23:15to show any of these three exhibitions,
0:23:15 > 0:23:17but I know you have to choose two.
0:23:17 > 0:23:19And I wish you well with your decision.
0:23:22 > 0:23:25The final task is over,
0:23:25 > 0:23:28but only Karen and Osi will decide
0:23:28 > 0:23:30which two go through to the final.
0:23:30 > 0:23:33So, who is going to clean up?
0:23:33 > 0:23:35There's one Exhibitionist
0:23:35 > 0:23:37- whose exhibition I really want to see.- Me, too.
0:23:37 > 0:23:39- I am looking forward to it. - Absolutely.
0:23:39 > 0:23:42I think it will be an extraordinary experience.
0:23:42 > 0:23:45- And we know who that is, don't we? - We know that this Exhibitionist
0:23:45 > 0:23:49is certainly in the fray.
0:23:49 > 0:23:52There's an old saying, "Second place is first loser".
0:23:52 > 0:23:54I don't want to be second place. I want to be the winner.
0:23:54 > 0:23:56This Exhibitionist,
0:23:56 > 0:23:58we were a little disappointed in.
0:23:58 > 0:24:03Strong delivery - very well put together,
0:24:03 > 0:24:05but in some senses, there were limitations.
0:24:05 > 0:24:08I told the boss of the museum my ideas,
0:24:08 > 0:24:11and most people my age have never done that,
0:24:11 > 0:24:13so I did the best I could.
0:24:13 > 0:24:17I feel less supportive of this case.
0:24:17 > 0:24:20Very supportive of this case,
0:24:20 > 0:24:21and quite supportive of that case.
0:24:21 > 0:24:25Best I could do. That will always be good enough for me.
0:24:25 > 0:24:27Well, I think we have come to a conclusion.
0:24:27 > 0:24:28Yep.
0:24:28 > 0:24:32These two are our Exhibitionists.
0:24:43 > 0:24:47The remaining three enter Gallery 24.
0:24:47 > 0:24:49Unfortunately for one of them,
0:24:49 > 0:24:54this will be their last visit as a potential Exhibitionist.
0:24:59 > 0:25:01We were thrilled
0:25:01 > 0:25:03by your growing and deepening
0:25:03 > 0:25:05interest and understanding
0:25:05 > 0:25:07of the visual arts.
0:25:07 > 0:25:09Julia,
0:25:09 > 0:25:13you thoroughly researched and embraced your theme,
0:25:13 > 0:25:18but we feel you need to focus a little more.
0:25:18 > 0:25:21Efa, you took us on a global journey,
0:25:21 > 0:25:24and yet remained firmly rooted in Wales.
0:25:24 > 0:25:28Yet you need a more strategic approach.
0:25:28 > 0:25:31Richard,
0:25:31 > 0:25:34you took us through a century of Welsh imagery,
0:25:34 > 0:25:37and a personal journey.
0:25:37 > 0:25:39But you still rely on facts.
0:25:41 > 0:25:44We would have been happy to show
0:25:44 > 0:25:46all three of you.
0:25:46 > 0:25:48But unfortunately,
0:25:48 > 0:25:51someone has to go.
0:25:57 > 0:25:59Julia,
0:25:59 > 0:26:01you...
0:26:03 > 0:26:04are an Exhibitionist.
0:26:07 > 0:26:09Efa,
0:26:09 > 0:26:12you are an Exhibitionist.
0:26:16 > 0:26:20Richard, unfortunately,
0:26:20 > 0:26:23you are no longer an Exhibitionist.
0:26:40 > 0:26:43Gutted. Absolutely gutted.
0:26:43 > 0:26:46I thought I'd done... Well, obviously didn't do enough to get through.
0:26:46 > 0:26:50I don't know, but I'm gutted. I really wanted this.
0:26:50 > 0:26:52I think ultimately the thing
0:26:52 > 0:26:55that spelt out the main difference between the candidates
0:26:55 > 0:26:58was not just how they have performed so far,
0:26:58 > 0:27:01but what potential for growth was there
0:27:01 > 0:27:02in their proposal.
0:27:02 > 0:27:08It felt a little bit as if Richard's idea was finished.
0:27:08 > 0:27:12You couldn't quite see where else he was going to go with that.
0:27:12 > 0:27:14It will be strange going back to the factory.
0:27:14 > 0:27:16One minute, a whisker away
0:27:16 > 0:27:20from being curator of a fantastic art exhibition,
0:27:20 > 0:27:22to back on working nights,
0:27:22 > 0:27:24making cardboard boxes.
0:27:24 > 0:27:27Congratulations!
0:27:27 > 0:27:30- Congratulations!- Yay!
0:27:30 > 0:27:32Congratulations!
0:27:42 > 0:27:44Fantastic. We feel so good, don't we?
0:27:44 > 0:27:46I'm sorry - I'm speaking for you.
0:27:46 > 0:27:47It just became real right then,
0:27:47 > 0:27:49when he went, "You're an Exhibitionist."
0:27:49 > 0:27:51"You're an Exhibitionist!"
0:27:51 > 0:27:53I looked at the room and went, "Oh, my God..."
0:27:53 > 0:27:55- This is our space.- Oh, my God!
0:27:55 > 0:27:58Brilliant. I'm really looking forward to seeing your exhibition.
0:27:58 > 0:28:02And yours. Yours sounds amazing!
0:28:03 > 0:28:04In the final episode,
0:28:04 > 0:28:07it's showtime.
0:28:07 > 0:28:10Now I'm feeling like a curator. Now I'm feeling more powerful.
0:28:10 > 0:28:12Oh, my God - it's massive!
0:28:12 > 0:28:15I wasn't able to go to sleep last night.
0:28:15 > 0:28:18I had nightmares about this whole thing going really wrong.
0:28:18 > 0:28:19It's looking good, don't you think?
0:28:19 > 0:28:21- Mine's looking better!- Well...
0:28:23 > 0:28:25Come on, white walls - what are you thinking?
0:28:25 > 0:28:28Swansea City!
0:28:28 > 0:28:31To find out more about the artworks featured in this programme,
0:28:31 > 0:28:34and to see them in more detail,
0:28:34 > 0:28:36go to bbc.co.uk/yourpaintings
0:28:36 > 0:28:40and click on "The Exhibitionists".
0:28:48 > 0:28:51Subtitles by Red Bee Media Ltd