The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
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Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
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Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
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The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
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Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
The Turner Prize has travelled around the country for a while now - could you tell us a little about its return to Tate Britain?
Yeah certainly - So the Turner Prize was actually meant to return a lot sooner than this, but unfortunately because of COVID it was unable to return, so it’s great to have it back here. Previously it has been on tour, so the last time it was here was 2018, and it’s the fortieth anniversary as well, so it’s a really exciting year for it to come back to us. And next year it will head off again to Bradford for their City of Culture celebrations, so it’s nice that it has a life outside of London, but it’s also great to welcome it home.
What would you say the choice of nominees can tell us about the UK’s contemporary art world?
I think it tells us that it’s an incredibly exciting time in the art world at the moment, especially in the UK. I think that all of the artists nominated this year have incredibly socially-engaged practices, and I think they all explore and investigate cultural, political and societal memory in very individual ways. But also all four draw on their own personal and family lives and histories, and we see how that expands into a wider global context - so I think they’re all united in that respect.
Yeah, it seems a lot of these works very actively engage with the UK’s colonial history - what would you say the role of art is, or could be, in tackling this subject?
I think the role of any museum or institution is to give a platform for a dialogue to begin and continue. I also think it’s something that always needs to be explored and investigated rigorously, and I think it’s important for Tate - and all institutions - to have that conversation, and ensure that all artists represented are able to express their thoughts and feelings through their practice. I think art is important in just letting us talk about these subjects.
So do you see these works as reflective of contemporary and historical UK culture, or more as responses to it?
I think each of the artists, through their practice, is reflecting - obviously they might be responding to specific examples and facets of UK culture, but I think all four have consistently reflected the world around them. So I don’t think it’s something new, it’s an embedded part of their practices.
Are there any common themes that stand out from the work of this year’s nominees?
So each artist is nominated by an independent jury of four; every year the artists are nominated for an exhibition that has taken place in the last twelve months. Each year differs in terms of media and materials, but also what the artist is talking about and expressing through their work. It’s really interesting to see that the common thread which runs through them is socially engaged practice which has a real historical and political concern, often dealing with colonial legacies and museological histories as well.
It’s also quite interesting that several of the artists reframe and respond to existing artworks in a new context…
Yes, particularly in Pio [Abad]’s practice.
The Turner Prize has a history of spotlighting artists who push the boundaries of what we consider ‘art’, for instance Tracey Emin and Damien Hirst - would you say the nominated works fall into this category?
Yeah, I think that these four nominated artists also push boundaries - I think each year the Turner Prize selects the most thought-provoking and boundary-pushing exhibitions and practices in the UK at the moment. So I think that it’s still incredibly exciting to platform these artists, and I think that all of them speak to a real moment in time, so I find that very exciting. And I think that things can be ‘shocking’ in different ways, things can be moving and boundary-pushing in different ways, and I think these four artists express it very differently to, say, Emin in the Nineties. The thing I love about the Turner Prize - and what keeps it incredibly relevant - is it’s about shifting the lens and refocusing on different practices to show us what’s important right now, and what is considered boundary-pushing at the moment.
Recently there’s been quite a big push in experiential art at major galleries - how important is audience response to handing out the Prize?
Obviously the audience response is incredibly important, and we want as many visitors as possible to be welcomed into the show and to find something within the four practices - or even individual objects - which reflects a particular concern of themselves. I think each artist does do that, and we’re just incredibly excited for visitors to come and just see the space, and to understand these four artists.
Especially going through the space, you’re really taken on a journey; you enter Pio [Abad]’s very museological and thought-provoking space, and then you enter quite an immersive space with the work of Jasleen [Kaur]. And then through to Delaine Le Bas’ practice which is a full-scale immersive installation, before leaving on Claudette [Johnson]’s beautiful drawings - I think the Turner Prize offers a bit of everything for everyone in that respect, and it does give you an experiential process.
The 2024 Turner Prize nominees are showing at Tate Britain until 16th February, with the winner to be announced on 3rd December.
