Where do Turner Awards go when they grow up?

It is imposing, it is mansion, it is immersed in a happy quiet and quiet. The Tate Britain building is indicated for a more relaxed contact with the great works within it, since it is not preferred by the hordes of tourists and artisans as much as his hip brother, Tate Modern.

It is easier to notice the other people who visit it, especially when they are a little more eccentricly dressed, and to find out that next to you walks and notices the works of a famous personality – at least in the art world. Like Grayson Perry or Claire, as is the name of his alter ego, winner of the Turner Award in 2003, who was recently in the museum halls where the works of the annual candidates are hosted in the context of the established annual exhibition. “I came to see where the Turner Award has become,” he said with a manifest contempt and contempt when I approached him to express admiration for his work, for the ceramics and tapestry with the charged pictorial themes.

He had just come out of the hall where the work of Pio Abad, the artist from the Philippines was hosted who focuses on issues relating to colonial history and subsequent cultural losses, while asking questions about the role of museums in maintaining these narratives by drawing material from the archives of the Oxford Ashmolean Museum.

Our course did not continue, so I don’t know if he changed his mind along the way. If he was won by Jaslin Kur’s work, which had prevailed in the British press’s preferences and not only because the red Ford Escort he had carried inside the museum hall and had covered with a giant sheet he recommends a photogenic, “pasary” photographic material. Besides, her participation develops through a mosaic of references to her childhood in Glasgow, where she grew up as a child of Indian origin: photos, everyday objects and soundscapes with her voice, Sufi music. The winner of the annual prize, Jaslin Kur, British Indian descent from Glasgow 38-year-old Kur did indeed prevail, the independent jury made up of gallery directors, critics, curators and writers chaired by Tate Britain director, Alex Farcasson, ruled last Tuesday that it would therefore be the one to receive the $25,000 prize money intended for the institution’s winner/winning winner (the remaining three artists who were nominated for discrimination receive from £10,000 each), because “combined staff, politician and intellectual in her work, creating an optical and acoustic experience that causes joy and promotes solidarity.” So Perry, to come back to him, was impressed by the extent and david structure of Delean’s work. Le Bass, who has all the ingredients of a fairy tale, dream illustrations, light, darkness and many symbols that eventually tell a story completely personal? Le Bass is a British Roma and her exuberant, anarchist works approach ecumenical issues – loss, mortality, regeneration – through a pagan, marginal and marginalized prism.

Is Grayson bored or satisfied? Perry that the last candidate, Claudette Johnson, deals with a “traditional” art medium as he does, in this regard, painting? “It was a pleasure to award a transvestite potter. I think the art world in Britain had more trouble with the second than with the first” he had stated when he had been awarded about 20 years ago.

The British artist creates portraits of black men and women with pastels, guas and aquareles and highlights their beauty, dignity and complexity, while competing with the marginalization of black people in Western art history. Colonial issues, cultural heritage, de- marginalization and visibility. Where has the Turner Prize institution finally become? It is a question that has been roving British journalists and art critics in recent years. Even the fact that the exhibition is hosted in the interior of the museum, “as if the building itself wants to hide it”, has been commented on – discreetly and within decent texts.

Because there go the “scandals” and the laughter caused by the award of artists such as Martin Creed (2001) with works such as “The lights going on and off”, a naked room where the lights just lit and extinguished every five seconds and caused banner protests by groups such as the Stuckists, artists in favor of representational painting and against the “franks” of conceptual art.

There goes the permanent incubator of the 90s and later that for the awards they preferred works that would cause all this trouble or that would only be understood by a specialized audience creating a distance between artists and the world. In recent years, the institution that patented the status of artists such as Rachel Whitered (winner 1993) or Damian Hirst (1995) and highlighted great artists such as Steve McQueen (1999), Douglas Gordon (1996) or Keith Tyson (2002) has been having a hard time finding his footprints, causing lively dialogue – commonly swordring art critics and journalists about what is contemporary art – and attracting sponsors. And let him make generous attempts to communicate with an enlarged audience, because, for example, an effort has been made to geographically decentralize the institution in the sense that exhibitions with the works of the dominant are not only hosted in London but also in other cities in the United Kingdom (the exhibition with the works of the candidates returned to Tate Britain after six years).

> What exactly is going on? As far as the absence of sussurus that conservative tabloids were concerned, mainly to create a cover that would make sense, the explanation is simple. As Juliette Zack notes in her article entitled “Is the Turner Prize Relevant Today?” in the magazine “Frieze”, this particular press that highlighted “scandals” is the same one who has given less and less space to the arts since the new century’s filming. Then the so-called YBAs (Young British Artists) grew up and the culture of the “art of shock” somehow faded. The award was first established in 1984 by the Patrons of New Art when he was director of Tate Gallery Sir Alan Bones. The aim was to strengthen the interest in contemporary art and also the practical support of Tate towards young artists, works of which she would buy for her collections. Neither is the choice of the name given to him by chance, since Joseph Mallord William Turner (1775–1851), who lived in the 19th century and served in the oldest visual medium, painting, was a controversial personality of his time, in that he followed an innovative approach to the way in which he portrayed light and color. At some point, indeed, the work of the painter who is now considered one of the most important British artists had been described as “the product of a sick eye and an careless hand”. It is said that Turner himself wanted to establish an award that would address young artists but did not eventually succeed. However, the award bearing its name is considered one of the most important for modern art in the United Kingdom and awarded annually to a “British” artist.

Quotes enter because it may include people who simply work in the country or who are British but operate abroad. In any case, it focuses on recent developments in their work, in a report where they presented their work the year before their candidacy, rather than on their timeless course (for example, Kur was found nominated for her report entitled ‘Alter Altar’ in Tramway, Glasgow). For 25 years, from 1991 to 2016, there was the age limit of 50 years for participants of the “qualifying Booker”, in order to highlight the “new blood” of the British visual scene. The lifting of this restriction was welcomed as something positive, with sculptor Annis Kapoor – who won the award at 37 years old – stating: “We have a long obsession in the art world with youth and I think it is good to keep in mind that it often takes a lifetime to recognize the work, to become a true artist.” == sync, corrected by elderman == @elder_man Tate Britain, where the exhibition of Turner Award candidates is hosted this year That year it was that a black female artist was first awarded, the 63-year-old then Lubina Himid (2017), as the struggle for the inclusion of ignored minorities had already begun. For example, women began to forcefully enter the Turner game from 2010 onwards, as by then, within 24 years, they had only been awarded three of them (Rachel Whitered, Jillian Waring, Toma Abch). Along the way the awards began to lose the stigma of the 90s, trying to direct themselves to the changing and increasingly inclusive landscape in the art world. Women began to have their honors at a stormy rate, they were added as candidates with increasingly exotic multicultural background, to reach this year an anasable – a Filipino, a British Indian origin, a Roma and a black artist – that fully reflects the spirit of the times.

Which spirit requires that quotas of diversity be sought at almost a compulsive rate, as a necessary mechanism for their promotion, but sometimes at the expense of artistic value, substance and originality (the composition of the above four does not belong in this case, as their jobs are indeed hetero-criminally interesting and politically charged. As was Kur’s speech in the award of the Turner Award, which with a handkerchief with the colors of the Palestinian flag on the neck referred to the open letter that they have signed 1,000 people requiring Tate “to cut off her ties to organizations complicit in the genocide of the Palestinians”).

These are Turner’s times and committee, which is not a metaphysical entity but consists every time of people who know or determine trends in modern art, she tries to coordinate with them and express them (or direct them). For example, in 2020, because of the pandemic, instead of a prize, he decided to offer grants of 10,000 pounds to 10 artists recognizing the difficulties that this health anomaly brought to their lives. In 2021 emphasis was placed on collectives and five teams were nominated for the award. Array Collective, a group of 11 Belfast artists who create collaborative projects on issues such as access to abortion, gay rights, mental health, etc. All the boxes have been checked, there remains the promotion of works with true power and vitality.