0:00:03 > 0:00:07Over the last few weeks, five members of the public
0:00:07 > 0:00:11have been competing for the chance to put on an exhibition
0:00:11 > 0:00:14at the National Museum, Cardiff.
0:00:16 > 0:00:19Mentors Osi Rhys Osmond and Karen MacKinnon have pushed
0:00:19 > 0:00:24the Exhibitionists to the limit during their time at the museum.
0:00:24 > 0:00:27They dropped us in the deep end with this one.
0:00:27 > 0:00:28I was disappointed.
0:00:28 > 0:00:31You say it's pre-war, and I'll have to go with what you say.
0:00:31 > 0:00:35I don't know who any of these people are.
0:00:36 > 0:00:40In the last programme, the remaining three faced the director general,
0:00:40 > 0:00:42David Anderson.
0:00:42 > 0:00:46They pitched personal visions of what they believed
0:00:46 > 0:00:48should be exhibited at Gallery 24.
0:00:48 > 0:00:50This one is of a drug addict.
0:00:50 > 0:00:53She's throwing down a big idea to the public.
0:00:55 > 0:00:57Only two can go through...
0:00:57 > 0:00:59Da-da-da!
0:00:59 > 0:01:03..and the one who left last time was Richard.
0:01:04 > 0:01:05'Absolutely gutted.'
0:01:05 > 0:01:08I really wanted this.
0:01:08 > 0:01:11Now Julia and Efa go head-to-head,
0:01:11 > 0:01:13and face their biggest challenge yet.
0:01:13 > 0:01:15Oh, my God!
0:01:15 > 0:01:17I got paint all over the floor.
0:01:19 > 0:01:22Two o'clock. Brr-brr! Done.
0:01:22 > 0:01:23I like my side better.
0:01:23 > 0:01:27Who will become the museum's winning Exhibitionist?
0:01:31 > 0:01:34Congratulations. You've made it through
0:01:34 > 0:01:36to Gallery 24.
0:01:36 > 0:01:39This will be the home of your exhibitions.
0:01:39 > 0:01:41We've watched you develop through the tasks,
0:01:41 > 0:01:44and you've all done amazingly well.
0:01:44 > 0:01:47But you still face your biggest challenge yet.
0:01:47 > 0:01:51How will you make your exhibition one that appeals to the public?
0:01:53 > 0:01:56It's the public who ultimately decide
0:01:56 > 0:01:59which one of you is the Exhibitionist.
0:01:59 > 0:02:01Good luck!
0:02:04 > 0:02:09It's going to be quite a lot of work to work out this hang.
0:02:09 > 0:02:11SHE SIGHS
0:02:11 > 0:02:14It's a bit like moving into a new house, I guess.
0:02:14 > 0:02:18You can do whatever you want, and every house is like a little world.
0:02:18 > 0:02:21I often think that when I look at my neighbours' houses.
0:02:21 > 0:02:25This is like our little world now. Say what we want to say.
0:02:25 > 0:02:29I'm not going to let anything slip.
0:02:29 > 0:02:32No, in fact, I am going to let things slip,
0:02:32 > 0:02:33that are not in there.
0:02:33 > 0:02:39I'm going to say, "I've got a ten-foot alligator,
0:02:39 > 0:02:41"which I'm going to mount on the wall there."
0:02:42 > 0:02:44It's the tactical bluff.
0:02:47 > 0:02:50With only a week before their exhibition opens to the public,
0:02:50 > 0:02:53the pressure is on for Julia and Efa
0:02:53 > 0:02:56to finalise their list of artworks that they want in Gallery 24.
0:02:59 > 0:03:03Karen will help develop Julia's "women at home and at work" theme,
0:03:03 > 0:03:08and Osi guides Efa with the ideas she has on destruction and identity.
0:03:08 > 0:03:11Talking to Osi today was really good,
0:03:11 > 0:03:13cos we haven't had that much feedback,
0:03:13 > 0:03:15and trying to provoke our ideas,
0:03:15 > 0:03:17and trying to get the best out of us, really.
0:03:17 > 0:03:22Efa has chosen two photographs by internationally-renowned
0:03:22 > 0:03:24Welsh photographer, David Hurn.
0:03:24 > 0:03:27Did you know much about him before you chose it?
0:03:27 > 0:03:29- I'd never heard of him before. - So you just chose the images?- Yeah.
0:03:29 > 0:03:31I really like the way they look.
0:03:31 > 0:03:34Like Wales - people think about singing,
0:03:34 > 0:03:36like in this one, and mountains and sheep and stuff.
0:03:36 > 0:03:39Obviously, we're the modern world with modern problems,
0:03:39 > 0:03:41like drugs and stuff, as well.
0:03:42 > 0:03:45Down in the secure stores, Claudia Williams'
0:03:45 > 0:03:49mother and child painting strikes a chord with Julia.
0:03:49 > 0:03:52Some of it is because of the subject,
0:03:52 > 0:03:53and the style of painting.
0:03:53 > 0:03:57Some of it is because it really reminded me of personal stuff.
0:03:57 > 0:03:59Like I had my youngest child, Joe,
0:03:59 > 0:04:04when the world is completely surrounded on the baby,
0:04:04 > 0:04:08and you seem to be morphing into the background.
0:04:08 > 0:04:14I haven't really thought about the way I will put things...
0:04:14 > 0:04:17Efa has no specific plans on the layout of her exhibition yet,
0:04:17 > 0:04:22and gets assistance from Pip Diment from the museum's design team.
0:04:22 > 0:04:24However, she's determined
0:04:24 > 0:04:27to distinguish her side of the gallery from Julia's.
0:04:27 > 0:04:30I think if I'm colouring the walls,
0:04:30 > 0:04:33colouring my cases the same colour is good.
0:04:33 > 0:04:37While Efa chooses to plan her side of the gallery
0:04:37 > 0:04:40with a miniature mock-up, Julia and Karen use a virtual gallery
0:04:40 > 0:04:43on a computer programme in the designer's office.
0:04:43 > 0:04:46It's a really useful tool, isn't it?
0:04:46 > 0:04:48Originally, Julia asked for a purple and green colour scheme
0:04:48 > 0:04:51for the plinths.
0:04:51 > 0:04:54You can see that your plinth, your colours...
0:04:54 > 0:04:56..it's too much.
0:04:56 > 0:04:58But until I've seen it, I haven't got a clue, Karen,
0:04:58 > 0:05:02because I've never done this sort of thing before...
0:05:02 > 0:05:04Time is running out and decisions must be made,
0:05:04 > 0:05:07as the hang is imminent.
0:05:08 > 0:05:12Over the last few weeks, Julia and Efa have been guided
0:05:12 > 0:05:14by museum staff and the mentors
0:05:14 > 0:05:16through galleries and secure store rooms,
0:05:16 > 0:05:19in pursuit of art works that will make up their collection.
0:05:20 > 0:05:23Many of the artworks chosen for previous tasks
0:05:23 > 0:05:25are now on their final list for the exhibition.
0:05:29 > 0:05:31Julia has selected 12 paintings,
0:05:31 > 0:05:34three ceramic pieces, two sketches and a bust...
0:05:36 > 0:05:39..all of which have been created by women artists.
0:05:41 > 0:05:45Among the selection is Sue Williams' Oh, from 2001.
0:05:47 > 0:05:53Efa has selected four photographs, three paintings, three sculptures
0:05:53 > 0:05:55and a video installation -
0:05:55 > 0:05:57all but one with a Welsh connection.
0:05:57 > 0:06:00Amongst her chosen works are Colin Allen's Street Scene,
0:06:00 > 0:06:02from 1953,
0:06:02 > 0:06:06and Shani Rhys James self portrait from 1992.
0:06:08 > 0:06:11These works will soon be carefully moved out of the stores
0:06:11 > 0:06:12and into Gallery 24.
0:06:14 > 0:06:18Meanwhile, the Exhibitionists are about to face one extra challenge,
0:06:18 > 0:06:21and an opportunity to enhance their curating powers.
0:06:22 > 0:06:28Karen has met up with Julia at her local cafe in Swansea,
0:06:28 > 0:06:31and Osi is about to present the same challenge to Efa
0:06:31 > 0:06:33on the steps of the museum.
0:06:33 > 0:06:36There's something else I haven't told you.
0:06:36 > 0:06:38If you are the successful Exhibitionist...
0:06:38 > 0:06:43If the public vote for your exhibition to win,
0:06:43 > 0:06:47you'll get the chance to choose a work
0:06:47 > 0:06:50outside of the gallery's collection.
0:06:50 > 0:06:53To bring in a new piece of work
0:06:53 > 0:06:56- to reinforce what they've already done.- Wow!
0:06:56 > 0:07:00In a sense, this is your chance to really show us
0:07:00 > 0:07:03a piece of work you really care about.
0:07:03 > 0:07:07You may have some ideas. You may know someone in the art world.
0:07:07 > 0:07:09You may have an artist you admire.
0:07:09 > 0:07:11I would like to get something quite local -
0:07:11 > 0:07:14if at all possible, sort of Swansea-ish.
0:07:14 > 0:07:17I think I'd really like to get something weird
0:07:17 > 0:07:20- that might not usually be shown in the museum.- Mm.
0:07:20 > 0:07:24And this additional work you can choose
0:07:24 > 0:07:28will only go into the exhibition if you win.
0:07:28 > 0:07:30OK.
0:07:30 > 0:07:32That's exciting. Gives it another incentive to win.
0:07:32 > 0:07:34It does, doesn't it?
0:07:34 > 0:07:36LIFT VOICE: Doors opening.
0:07:36 > 0:07:38Efa has a big day ahead of her.
0:07:38 > 0:07:41She is the first of the two to start hanging her show.
0:07:41 > 0:07:44I have a wisdom tooth coming through,
0:07:44 > 0:07:46and I wasn't able to go to sleep last night.
0:07:46 > 0:07:48When I did go to sleep,
0:07:48 > 0:07:50it was one of those sleeps you're not really asleep.
0:07:50 > 0:07:53I was having nightmares about this whole thing going really wrong!
0:07:58 > 0:08:01The last time we were here, the wall was just white,
0:08:01 > 0:08:03so it's cool to see it being painted
0:08:03 > 0:08:06they way I asked for it to be painted.
0:08:06 > 0:08:10Efa has asked for her side to be painted Van Dyck brown,
0:08:10 > 0:08:14to differentiate her exhibition from her rival's white walls.
0:08:15 > 0:08:18And since both Exhibitionists have chosen this self portrait
0:08:18 > 0:08:22by Shani Rhys James, the painting will bridge the two halves.
0:08:24 > 0:08:28Some of Julia works have been brought out of storage,
0:08:28 > 0:08:30but what does Efa think of her rival's choices?
0:08:30 > 0:08:32They don't speak to me as much,
0:08:32 > 0:08:36so even if I don't win, I like my side better.
0:08:37 > 0:08:39SHE LAUGHS
0:08:39 > 0:08:41In Swansea, Julia and her mentor, Karen,
0:08:41 > 0:08:44are searching for the extra art piece
0:08:44 > 0:08:48that will be displayed alongside her exhibition, if she wins.
0:08:48 > 0:08:49ALL: Hello!
0:08:54 > 0:08:57Eva Bartussek is a mother of three and a photographer
0:08:57 > 0:08:58who lives in Swansea,
0:08:58 > 0:09:01who photographed the last season at the Vetch,
0:09:01 > 0:09:03Swansea City's former football ground.
0:09:03 > 0:09:06Everything I'm looking at, I'm kind of comparing to this.
0:09:06 > 0:09:09I kind of feel that this would fit.
0:09:10 > 0:09:14The Colin Allen, look - over there.
0:09:14 > 0:09:17Although Efa hasn't arrived with a specific plan
0:09:17 > 0:09:19for where the works should go,
0:09:19 > 0:09:23she's happy to experiment at Lee and Chris' expense.
0:09:25 > 0:09:31I usually have lots of random stuff on my bedroom walls,
0:09:31 > 0:09:33of my student house.
0:09:33 > 0:09:35Just posters of music,
0:09:35 > 0:09:37and stuff I believe in, I suppose.
0:09:37 > 0:09:42I'm not careful - they're just on top of each other, messily.
0:09:43 > 0:09:46I've never put anything like this up before.
0:09:46 > 0:09:47SHE LAUGHS
0:09:49 > 0:09:53Many of Efa's choices are politically motivated,
0:09:53 > 0:09:57such as this work by Iwan Bala, Captive (Enslaved) World.
0:09:58 > 0:10:02Here, the artist has framed Wales at the centre of the world.
0:10:02 > 0:10:05Another politically-charged artist Efa has chosen
0:10:05 > 0:10:08is Ivor Davies, with a piece called The Writing on the Wall One -
0:10:08 > 0:10:10Destruction of Language and Community.
0:10:10 > 0:10:14Ivor Davies inherited this shotgun from his grandfather.
0:10:14 > 0:10:18That's his family bible, and he ripped them apart.
0:10:18 > 0:10:21But he also broke the shotgun,
0:10:21 > 0:10:26and across it, it says "knowledge is power", basically.
0:10:27 > 0:10:30After directing the museum staff,
0:10:30 > 0:10:33Efa is asked to help exhibition co-ordinator, Rachel Conroy,
0:10:33 > 0:10:35with the display cabinets.
0:10:35 > 0:10:40Didn't think I'd have to clean some boxes.
0:10:40 > 0:10:42Glad I don't have to do it every day.
0:10:43 > 0:10:45I think that's clean enough.
0:10:45 > 0:10:48It might be clean enough for Efa,
0:10:48 > 0:10:49but will it be clean enough for Rachel,
0:10:49 > 0:10:52who brings in this ceramic piece by Catrin Howell
0:10:52 > 0:10:53to go in the display case?
0:10:55 > 0:11:00But a piece of fluff has found its way into the cabinet.
0:11:00 > 0:11:02Obviously I didn't clean it very well.
0:11:06 > 0:11:10Julia, Karen, and Eva Bartussek are discussing the extra piece
0:11:10 > 0:11:12for the exhibition.
0:11:12 > 0:11:14This provocative low-angle photograph
0:11:14 > 0:11:16of a woman in Swansea colours
0:11:16 > 0:11:20has a very personal connection to our Exhibitionist.
0:11:20 > 0:11:23People who didn't even know my name knew my legs.
0:11:23 > 0:11:24Everyone knows it's me.
0:11:24 > 0:11:27People phoned me up - saw me in the book,
0:11:27 > 0:11:30"Are they your legs?"
0:11:30 > 0:11:33This picture was taken as a part of a set of photographs
0:11:33 > 0:11:36of Swansea football fans, and it now has a deeper significance for Julia.
0:11:36 > 0:11:43I feel like there's a circle, a journey we've come on, as well.
0:11:43 > 0:11:45You have started me
0:11:45 > 0:11:47on informally being involved in the world of art.
0:11:47 > 0:11:52Somehow, this crazy journey has come to me curating
0:11:52 > 0:11:55an exhibition at the National Museum of Wales.
0:12:00 > 0:12:02Today is Julia's hang day,
0:12:02 > 0:12:05and with Efa away, she has the museum staff at her feet.
0:12:05 > 0:12:08Now I feel like a curator. Now I feel more powerful,
0:12:08 > 0:12:11bringing my own art into the National Museum of Wales,
0:12:11 > 0:12:13adding to the collection with my own legs.
0:12:14 > 0:12:17Julia has brought the framed photograph of her legs
0:12:17 > 0:12:20that will go up if she wins.
0:12:20 > 0:12:22But today she will concentrate on the pieces
0:12:22 > 0:12:24she has selected from the museum collection.
0:12:29 > 0:12:32Feels like we're waiting for the arrival of a baby, doesn't it?
0:12:33 > 0:12:36It's coming! Nearly!
0:12:36 > 0:12:38Oh, my God - it's massive!
0:12:38 > 0:12:39Oh, wow!
0:12:46 > 0:12:50Efa is considering the extra piece that she can bring in
0:12:50 > 0:12:53from outside the museum's collection.
0:12:53 > 0:12:55This is one he's done.
0:12:55 > 0:12:59She has brought her mentor, Osi Rhys Osmond,
0:12:59 > 0:13:01down to Cardiff Metropolitan School of Art,
0:13:01 > 0:13:04to introduce him to student Sam Worthington.
0:13:10 > 0:13:11Hi.
0:13:13 > 0:13:16Hello. How are you?
0:13:16 > 0:13:18- This is Sam.- Hello, Sam. I'm Osi.
0:13:18 > 0:13:21- So, you...- I'm the mentor.
0:13:21 > 0:13:23Are you using oil paint here?
0:13:24 > 0:13:27- Yep.- I can smell it. Isn't it beautiful?- It's lovely.
0:13:27 > 0:13:31What is it about Sam's work that appeals to you first?
0:13:32 > 0:13:35It's really strange, and I like the way
0:13:35 > 0:13:38he mixes human bodies with machines.
0:13:40 > 0:13:42Which ones are you most confident about?
0:13:43 > 0:13:46It's my choice, but...
0:13:46 > 0:13:48Obviously, the larger one, for me,
0:13:48 > 0:13:51is a better representation of my work.
0:13:51 > 0:13:53I really like that one.
0:13:53 > 0:13:56I've been working hard on it,
0:13:56 > 0:13:59ten hours a day, just to try and get it finished.
0:13:59 > 0:14:02It really makes me want to win,
0:14:02 > 0:14:04so I can show Sam's work to thousands more people
0:14:04 > 0:14:06than he'd usually show it to.
0:14:09 > 0:14:11Oh, my God!
0:14:12 > 0:14:15Julia's wish list has now arrived at Gallery 24.
0:14:15 > 0:14:19and among them are internationally renowned female artists such as
0:14:19 > 0:14:24Berthe Morisot, Brenda Chamberlain and Gwen John.
0:14:24 > 0:14:28I have got right here, right now, some of the greatest artworks
0:14:28 > 0:14:30I've ever seen.
0:14:30 > 0:14:33These are national treasures, obviously.
0:14:33 > 0:14:39And they are ready for me to hang in a way I think is good and proper.
0:14:42 > 0:14:44Should she be on this side?
0:14:46 > 0:14:52Although Julia has an army of men hanging her exhibition,
0:14:52 > 0:14:55and is equipped with a plan, her female intuition is failing her,
0:14:55 > 0:14:57and she seeks advice from her mentor.
0:15:00 > 0:15:05Hi, Karen. Have you got two minutes? Oh, brilliant!
0:15:05 > 0:15:09'You know the mother and baby? Try swapping it...'
0:15:09 > 0:15:13I'm happier with that. I'll tell you why I'm arguing my case,
0:15:13 > 0:15:16is because I think...
0:15:16 > 0:15:19But Karen's advice is at odds with Julia's original plan.
0:15:19 > 0:15:21Or does that not work for you either?
0:15:21 > 0:15:24'Swap the Claudia with the drawing?'
0:15:24 > 0:15:26What d'you think of that?
0:15:26 > 0:15:29- 'Yeah, I think that would be fine.' - Thank you.
0:15:29 > 0:15:32A confirmation from her mentor seems to have clicked things into place.
0:15:32 > 0:15:35Boom!
0:15:35 > 0:15:39Simply going to be done by a little jiggery-pokery,
0:15:39 > 0:15:42and we'll have this.
0:15:42 > 0:15:44Two o'clock - brr, brr! Done. Home.
0:15:53 > 0:15:55Over the last couple of days,
0:15:55 > 0:15:58Efa has been writing on the walls of the museum...
0:16:01 > 0:16:04..and her rebellious side is beginning to play up.
0:16:06 > 0:16:07I got paint all over the floor.
0:16:10 > 0:16:13I think handwriting is definitely something really personal.
0:16:13 > 0:16:16Today I'm tring to make it readable
0:16:16 > 0:16:19to the people coming into the exhibition.
0:16:19 > 0:16:22With the pressure of winning the public over,
0:16:22 > 0:16:25Efa has bowed down to museum formality.
0:16:25 > 0:16:28It wasn't my idea to use the projector.
0:16:28 > 0:16:30I probably would have just written it on the wall,
0:16:30 > 0:16:33but this is definitely a good idea, cos it looks straight...
0:16:33 > 0:16:34SHE LAUGHS
0:16:34 > 0:16:37..and tidy-ish.
0:16:37 > 0:16:39My wrists are going to hurt by the end of this,
0:16:39 > 0:16:40but it'll be OK.
0:16:47 > 0:16:51It's the last day of the hang, and for the first time,
0:16:51 > 0:16:54the rivals work on opposite sides of Gallery 24.
0:16:54 > 0:16:56Although they now work alone,
0:16:56 > 0:16:59they have been guided and given advice
0:16:59 > 0:17:02by their mentors, Osi and Karen.
0:17:02 > 0:17:05Efa is a very exciting person to mentor.
0:17:05 > 0:17:08She shows an eclectic collection of work.
0:17:08 > 0:17:11It is quite bizarre, in some senses.
0:17:11 > 0:17:14But I think the way it will speak, and paintings and objects
0:17:14 > 0:17:16rub off one another,
0:17:16 > 0:17:18and correspond and converse,
0:17:18 > 0:17:20I think we'll create something very exciting.
0:17:22 > 0:17:26'I've been mentoring Julia over the last few weeks.
0:17:26 > 0:17:28'I think she's got a really strong show,
0:17:28 > 0:17:29'and hopefully she's taken on board
0:17:29 > 0:17:32'some of the ideas about hanging the show,'
0:17:32 > 0:17:34and how it'll look together,
0:17:34 > 0:17:37and a balance between the theme of the show,
0:17:37 > 0:17:39and what people see when they come in,
0:17:39 > 0:17:41cos I think that's really important.
0:17:41 > 0:17:46Julia and Efa appear to have bonded during their time at the museum,
0:17:46 > 0:17:49but will the competition create a divide between them?
0:17:50 > 0:17:52She has lots of old pieces,
0:17:52 > 0:17:54which were already shown in the museum.
0:17:54 > 0:17:55I think mine are more pieces
0:17:55 > 0:17:58that might have been forgotten if I didn't choose them.
0:17:58 > 0:17:59I'm happy with that.
0:17:59 > 0:18:01SHE SIGHS
0:18:01 > 0:18:05I think probably, if we had to have the insurance company
0:18:05 > 0:18:07in here today,
0:18:07 > 0:18:08to value it,
0:18:08 > 0:18:12in case, say, an anarchist was to burn it down,
0:18:12 > 0:18:15mine would probably be worth more money.
0:18:15 > 0:18:19A bone of contention between the two Exhibitionists has emerged today,
0:18:19 > 0:18:24with the news that Shani Rhys James has specified
0:18:24 > 0:18:27that her work should be hung over a white wall.
0:18:27 > 0:18:32This lovely young gentleman is painting a border,
0:18:32 > 0:18:38which will take some extra white over into the dark side.
0:18:40 > 0:18:43Julia doesn't waste any time gloating about the white paint
0:18:43 > 0:18:45spilling into the dark side.
0:18:46 > 0:18:48It's nice. It looks good.
0:18:54 > 0:18:57With the final works arriving, Julia gets her latex on,
0:18:57 > 0:19:01so she can get physical with the delicate ceramics.
0:19:01 > 0:19:04These are not easy to get on, you know.
0:19:04 > 0:19:06It does feel slightly...kinky.
0:19:08 > 0:19:11- Now you can help me with positioning, as well.- Okey-dokey.
0:19:13 > 0:19:16- Oh, my God! Can I?- 'Course you can.
0:19:20 > 0:19:22Lovely.
0:19:22 > 0:19:24Alongside the Betty Woodman porcelain,
0:19:24 > 0:19:28are three pieces created by Susie Cooper -
0:19:28 > 0:19:31works that have only recently been acquired by the museum.
0:19:34 > 0:19:37The reason I chose those is there are lots of cups and saucers
0:19:37 > 0:19:38in the paintings behind us,
0:19:38 > 0:19:41in terms of the Gwen John interior and the Claudia.
0:19:42 > 0:19:46Susie Cooper was a really pioneering woman.
0:19:46 > 0:19:48She was the first woman from the potteries
0:19:48 > 0:19:52to establish this kind of business, during the war.
0:19:52 > 0:19:54Similar sort of times, really, to now.
0:19:54 > 0:19:56Economic problems, and she managed to make it work.
0:19:56 > 0:19:58I've got a bit of respect for her.
0:19:58 > 0:20:01These are people who are coming to the work fresh.
0:20:01 > 0:20:03It's work they've chosen.
0:20:03 > 0:20:05It's work that means something to them.
0:20:05 > 0:20:08And, hopefully - this is a big thing to say -
0:20:08 > 0:20:12maybe the staff here can learn something
0:20:12 > 0:20:14from the way ordinary members of the public
0:20:14 > 0:20:16might put an exhibition together.
0:20:16 > 0:20:20Of course, our Exhibitionists have learned a lot from the staff
0:20:20 > 0:20:21of the museum,
0:20:21 > 0:20:25but I sometimes think a business like this,
0:20:25 > 0:20:28when it's really successful, there's an element of exchange.
0:20:28 > 0:20:31Both sides, in a sense, learn from each other.
0:20:31 > 0:20:34This is different to how I'd display it, which is interesting.
0:20:34 > 0:20:36I'd automatically put them...
0:20:36 > 0:20:37- Straight.- Yeah.
0:20:39 > 0:20:41- You're taking me out of my comfort zone.- I know.
0:20:42 > 0:20:46This unusual piece is by Claudi Casanovas,
0:20:46 > 0:20:49a Catalonian sculptor, and the only artist in Efa's exhibition
0:20:49 > 0:20:53without a Welsh connection, although it does fit her identity theme.
0:20:54 > 0:20:57These are urns,
0:20:57 > 0:21:01and there is enough space to hold the ashes of a human body.
0:21:02 > 0:21:05Because of that, he wants this to remind us of our own deaths.
0:21:05 > 0:21:08If you think about your own death, you think about your own life
0:21:08 > 0:21:09and identity.
0:21:12 > 0:21:16Julia's title for her exhibition is A Gallery of One's Own.
0:21:16 > 0:21:18and she has decided to use vinyl footprints
0:21:18 > 0:21:21as a personal viewing guide.
0:21:21 > 0:21:22But time is running out.
0:21:25 > 0:21:27I feel a bit panicky, cos thee was so much more I wanted to do.
0:21:27 > 0:21:30So many more discussions I want to have with the team,
0:21:30 > 0:21:33but I have to go back to work now.
0:21:33 > 0:21:36This has been a beautiful added extra in my life,
0:21:36 > 0:21:40but I really have got an employer to serve.
0:21:42 > 0:21:44After three days of writing on the walls,
0:21:44 > 0:21:48Efa's only a few words from completing her exhibition.
0:21:49 > 0:21:53The last line is, "We write our own stories.
0:21:53 > 0:21:55"We are our own destinies, our own creators".
0:21:57 > 0:22:01I guess I've created this exhibition, so...good line to end on.
0:22:04 > 0:22:07After an intense period at Gallery 24,
0:22:07 > 0:22:11Efa returns to her house in East Cardiff,
0:22:11 > 0:22:14where she is getting ready for her big move.
0:22:14 > 0:22:16Tomorrow, she sets off for another adventure,
0:22:16 > 0:22:18a hitch-hiking trip through Europe.
0:22:20 > 0:22:22But today, Efa and Julia find out
0:22:22 > 0:22:26if they are the National Museum's winning Exhibitionist.
0:22:28 > 0:22:31In Swansea, Julia has a bus of family, friends
0:22:31 > 0:22:35and Swansea City fans alike, to support her on her big day.
0:22:40 > 0:22:43Efa and Julia will return to the museum tonight
0:22:43 > 0:22:46for a momentous ceremony to announce the winner.
0:22:53 > 0:22:57It's the public who decide who will be the winning Exhibitionist.
0:22:57 > 0:23:01The museum is open for the public to vote.
0:23:01 > 0:23:04Will they follow Julia's footsteps and be attracted to a strong
0:23:04 > 0:23:10feminist agenda, featuring varied works by female artists,
0:23:10 > 0:23:13or will they be seduced by Efa's dark side,
0:23:13 > 0:23:15a collection of work that explores Welsh identity
0:23:15 > 0:23:20through paintings, ceramics, and video installations?
0:23:21 > 0:23:24A museum assistant supervises the voting box,
0:23:24 > 0:23:27where members of the public can vote with a white or black coin
0:23:27 > 0:23:28for their favourite exhibition.
0:23:30 > 0:23:33I'm going to vote for the dark side, I think.
0:23:33 > 0:23:36Very different. I can't choose.
0:23:36 > 0:23:40It looks like a totally professional exhibition to me.
0:23:40 > 0:23:43It's an excellent place to actually exhibit
0:23:43 > 0:23:46modern people's ideas.
0:23:49 > 0:23:53Julia is determined to look her best for tonight's ceremony,
0:23:53 > 0:23:56and the beauty treatment begins at the nail bar.
0:23:56 > 0:24:00Tonight, I'm going to be an Exhibitionist
0:24:00 > 0:24:02in all aspects of the word.
0:24:02 > 0:24:04I will be a work of art.
0:24:06 > 0:24:08While Julia is painting her nails red,
0:24:08 > 0:24:11Efa is busy painting her student house walls white,
0:24:11 > 0:24:15after taking down her anarchist posters.
0:24:16 > 0:24:20It's quite funny thinking that the museum walls, where my exhibition is,
0:24:20 > 0:24:22represents me better than my bedroom walls.
0:24:24 > 0:24:28So, of course, Efa lives in Cardiff.
0:24:28 > 0:24:30It's her home patch,
0:24:30 > 0:24:32and I live that little bit further away,
0:24:32 > 0:24:35in the beautiful town of Swansea.
0:24:35 > 0:24:37So, it's...
0:24:37 > 0:24:41I would absolutely love to beat her on those grounds,
0:24:41 > 0:24:44and those grounds only.
0:24:44 > 0:24:48Efa's family have travelled down from Cricieth to support her,
0:24:48 > 0:24:52and she's scrubbed up well for the event.
0:24:52 > 0:24:56But only one of the Exhibitionists will be celebrating tonight,
0:24:56 > 0:24:59once the result of the public vote is announced.
0:24:59 > 0:25:03Not only will the winner will be crowned as the best Exhibitionist,
0:25:03 > 0:25:06but will also have their chosen work of art
0:25:06 > 0:25:08from outside the museum's collection
0:25:08 > 0:25:11hung as a part of their completed exhibition.
0:25:14 > 0:25:19The ceremony has begun, and both parties arrive in style.
0:25:22 > 0:25:26But before the art aficionados take a look at Gallery 24,
0:25:26 > 0:25:29Colin, Richard and Darren,
0:25:29 > 0:25:32the three runner-up Exhibitionists,
0:25:32 > 0:25:34take a peep at their fellow competitors' labour of love.
0:25:35 > 0:25:38I know that's Efa's side, straight away.
0:25:40 > 0:25:41Very nice. Bright, contrasting...
0:25:43 > 0:25:44That's spooky, that!
0:25:44 > 0:25:45Very nice indeed.
0:25:46 > 0:25:48Very different.
0:25:48 > 0:25:51I'm blown away, I'm so thrilled.
0:25:51 > 0:25:54My two friends are both putting on an exhibition,
0:25:54 > 0:25:55and it looks fabulous!
0:25:57 > 0:26:00Although Julia and Efa's selection was very different,
0:26:00 > 0:26:03they both chose the Shani Rhys James painting.
0:26:05 > 0:26:10Unbeknown to them, the artist will be present for the award ceremony.
0:26:12 > 0:26:14Please welcome Shani Rhys James.
0:26:14 > 0:26:17APPLAUSE
0:26:17 > 0:26:20Shani Rhys James' surprise entry overwhelms Julia.
0:26:24 > 0:26:27The public vote was very close.
0:26:27 > 0:26:29Having worked with the finalists,
0:26:29 > 0:26:32we believe both thoroughly deserve their own exhibition here.
0:26:32 > 0:26:36But the public have decided that the winning Exhibitionist...
0:26:39 > 0:26:40..is Efa.
0:26:40 > 0:26:43CHEERING AND APPLAUSE
0:26:52 > 0:26:55Efa's exhibition has become Gallery 24's most popular side,
0:26:55 > 0:26:57and tomorrow morning,
0:26:57 > 0:27:01Sam Worthington's work will also be exhibited at the National Museum.
0:27:03 > 0:27:07Anybody who's seen my exhibition knows I believe in equality,
0:27:07 > 0:27:09and I think if the museum keeps doing this,
0:27:09 > 0:27:11we're all equal, and we can all be a part of it,
0:27:11 > 0:27:13so thank you.
0:27:13 > 0:27:15CHEERING AND APPLAUSE
0:27:15 > 0:27:18I thought Julia's would appeal to the public more.
0:27:18 > 0:27:22I thought Efa's was much harder for people to enjoy,
0:27:22 > 0:27:25but it seems as though people understood what she was driving at.
0:27:25 > 0:27:27They got the agenda. They got the message.
0:27:27 > 0:27:31I feel for Julia tonight, cos it's been so emotional.
0:27:31 > 0:27:36I can't stress enough how much this means to these two.
0:27:36 > 0:27:38I'm a bit sad.
0:27:40 > 0:27:41But there we are.
0:27:43 > 0:27:45Democracy, innit?
0:27:45 > 0:27:48But Julia - she's strong, she's feisty.
0:27:48 > 0:27:51I think she'll be doing something else in the future.
0:27:51 > 0:27:55I think it's not the last we've seen of Julia.
0:27:55 > 0:27:59There's a big bottle of gin in Swansea with my name on it,
0:27:59 > 0:28:00so we're going home in the bus,
0:28:00 > 0:28:03off we go. Boom!
0:28:05 > 0:28:07During Efa's time at the museum,
0:28:07 > 0:28:10she has been driven by her anti-establishment beliefs
0:28:10 > 0:28:13and dug out works that she believes
0:28:13 > 0:28:17say something about contemporary Wales, and herself.
0:28:17 > 0:28:21When I started this project, I was definitely more negative
0:28:21 > 0:28:23about the museum than I was positive.
0:28:23 > 0:28:26It still is just a huge institution.
0:28:26 > 0:28:29There's still a lot of hierarchy, but they have let us do this,
0:28:29 > 0:28:31so I am more positive about it now,
0:28:31 > 0:28:33as long as they keep doing this kind of thing.
0:28:33 > 0:28:36Efa and Julia's exhibition is open to the public
0:28:36 > 0:28:39at the National Museum until the 18th of August.
0:28:48 > 0:28:51Subtitles by Red Bee Media Ltd