The work that Charlotte Prodger based on a variety of video formats has been receiving Tuesday night’s Turner prize for contemporary art, which for the first time in its history has excluded both the painting and the sculpture of the list of finalists. The English artist, aged 44, was the favorite among criticism very divided in their judgment of the papers selected for this edition, all of them films and dominated by the social and political activism.
Prodger tells your smartphone to their experiences of coming out of the closet as a lesbian or her work in the precarious sector of nursing homes
Born in Bournemouth (south of England), and is now established in the city scotland Glasgow, Prodger uses the smartphone or smart phone as an extension of your own body to record their movements, and narrating in a film’s autobiographical experiences to come out of the closet as a lesbian or her work in the precarious sector of the nursing homes. The sound accompanying these images –some bucolic countryside, the scottish – includes the reading of extracts of his diaries and of prominent figures who are fighting for the rights of the homosexual community.
Next to their burden and social policy, the work of the flamboyant winner of the Turner and of your cheque of 25,000 pounds –amen of the projection that provides the award– intended to investigate a range of visual formats, from the earliest systems of recording to the phones more sophisticated. And, with it, reflect on how the way it chooses to present the reality just shaping what we see and feel.
Bias controversial
Their proposals succeeded in blinding just Bahsegel a part of the specialized press, while the rest considered the selection of Prodger’s a lesser evil compared to the rest of the names in the running. Has upset many of the contested and controversial bias adopted this year by the Turner, whose craftsmen have been summarized in the need to “address the most important issues that we face today, such as gender identity, human rights abuses, police brutality or the legacy migration of the era of post-colonial”. Reasons very laudable, but beyond the political declaration where is the art?, argue the points of an issue that they consider pointless.
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what all have said –detractors and defenders– is in the works by the finalists that exposes the Tate Britain in london from September require the visitor with a huge amount of time to switch between them. Because this is in all cases of movies, and with a considerable footage as the average.
In that eternal debate about what is art has led to the inclusion among the four nominees for the Turner of a collective of activists integrated by intellectuals, lawyers, engineers, architects, and investigative reporters. The Academic Group Forensic Architecture –based in Goldsmiths, University of London– is not a group of artists in the strict sense, although their works are exhibited in galleries. Its members, whose number fluctuates round today 19 people, use the film, photography and digital tools to rebuild and report cases of human rights abuses or institutional violence.
Its insertion in the end of the award of the most prestigious art of the United Kingdom has not been, in reality, a novelty. Another collective of designers and architects, Assemble, took the prize three years ago thanks to a regeneration project of social housing in Liverpool.
The other two applicants in the running, the new zealander Wiillis Thompson and the london origin bangladeshi Naeem Mohaiemen, set out in their respective film proposals the inequality on grounds of race and the effects of colonialism in successive generations of migrants.
