2022 Turner Prize review – more confusing than ever | Turner Prize 2022


THere was a time when judgment was made on Turner Prize It seemed almost believable. The jurors came from different backgrounds, outside of the show circuit. They have traveled a lot to look at their chosen art, to see it in person and not just, as is sometimes thought, on a backlit screen. Above all, they did not have clear professional relationships with the quartet selected as the final candidates.

But this year is amazing. Only the most complacent insider may fail to run into an apparent conflict of interest. Three of the six jurors are responsible for the same galleries where the short shows were held, and a fourth served as coordinator. An escorted tour of England (and who knows, maybe not much further) may be imagined for the jury, as they each stop elsewhere in the LondonAnd the Bristol And the Milton Keynes.

This may seem unimportant to anyone considering a visit 2022 Turner Prize presentation at Tate Liverpool. But given how random the prize is—sometimes awarded to over-promoted, boring, or careless art—it’s worth knowing a bit of the backstory.

Compare Turner and Poker. Imagine that the judges who read all those novels given by the publishers were actually the publishers. Would you be in a hurry to get hold of the award winning book? It seems, as is often the case with the Turner Prize, as if the industry is talking to itself.

Four artists were shortlisted this year. No groups, no men. Ingrid Pollard and Veronica Ryan are well-respected British black artists in their late 60s. Heather Phillipson (44) and Sin Wai Kin (31) are highly visible and on the rise, respectively. There is nothing naive, loose or dogmatic in their ideas (beautifully outlined in short, illustrated interviews), and their work is carefully designed and intensely crafted; However it can be scanty and even lethargic.

Heather Phillipson Rupture #6: Biting an exploding peach at Tate Liverpool.
Heather Phillipson’s ‘supposedly ominous’ rupture #6: A blown peach bite at Tate Liverpool. Photograph: Phil Noble/Reuters

Heather Phillipsonwhich has a huge ice cream with an outrageous black fly Topped the fourth rule In Trafalgar Square throughout the closures showing a 2021 renovation Duveen Galleries Committee at Tate Britain. A disfigured multimedia ecosystem of metal bugs, glowing rocks, wild-weather LED screens and pesky creatures’ eyes, it’s a cross between a rave set and a movie set, the horrific howls emanating from the speakers.

At its core is a corrugated, abandoned shack, supposedly ominous, but it resembles nothing so much as Mike Nelson’s installation without the basic narrative of the threat. All items are separate. Nothing collects or holds together.

Veronica Ryan Crochet Hanging Bags,
Veronica Ryan Crochet Hanging Bags “Each one has something small and sloppy.” Environmental Protection Agency

Veronica Ryan Transform the following gallery into a glowing yellow room hung with nets and crochet bags hanging from the ceiling in cool pinks, yellows, and violets. Each contains a little something that gets overlooked — fruit, seeds or peels, and mementos from the food her Montserrat-born mother gave her during her childhood in London.

Tables are set with bronze-cast fish scales and plates sewn from tea-stained fabrics. Pillows and velor pillows are molded in faded stucco. It’s a shame that you can’t get close to such intimate things. This late surrealism amounts to a parallel setting – another room in another world, its small, quiet objects remnants of her family’s history but also with hints of the slave trade. He is very gentle and pensive, but repetitive at times.

Sin Way Ken He is the star, producer, and director of a series of films that feature everything from TikTok to Chinese TV to boyband promotions. Sin plays all the parts, a fast-changing artist who shows off in prosthetics, wigs, and stunning makeup that transforms them into everything from a K-pop star to TV host to pin-up curls, and even a gorgeous Chinese watercolor.

Sin’s presentation of the boyband is a masterful analysis of that synthetic phenomenon – earnest, selfish, eccentric and so on – hypnotic to be seen, pursued with its own words and determination. The song’s hook can be a blow to all of Sen’s contemplative novels in this gallery. “You always” sings the soulful singer: But what are you, and how many copies can there be before you have no self, in a contemporary world where everyone makes themselves?

Ingrid Pollard Many years of work appear in multiple media. An unfolding photographic narrative includes shots of a Black Boy bar, Black Boy buildings, Black Boy street signs, dolls, bejeweled brooches, and even a pertinent excerpt from Virginia Woolf’s Orlando Featuring a black boy’s severed head. The spooky white embossed prints, which you have to look at to make out any recognizable subject, turned out to bear similar ghostly portraits, as if white history were trying to erase their racist past; The effects are still there.

Ingrid Pollard's bow and very low, 123 (2021) at Tate Liverpool.
Ingrid Pollard “Very Expressive” Bows and Very Low, 123 (2021). Environmental Protection Agency Photo: Adam Vaughan/EPA

latest kinetic statuesSimilar to Jean Tingley, they are very expressive in their form and movement. An object made of a bicycle and a heavy rope rises up, almost delivers a blow, but falls backwards, trembling and defeated. Two pairs of saws, like the ends, are almost raised to make the cut point. It’s a piece of haunting lenticular imagery in which a young black girl in a white dress in the 1940s drowns, and rises again and again. Are you doing it out of ceremonial pride or enforced respect for some invisible imperial power? Like sculptures, she is trapped in an endless cycle of repetition, almost but not quite there, always trying to break free.

Brand new and mature, newer and longer stature have been unfairly grouped together in this oddly lopsided iteration of the Turner Prize Show. My feeling is that Pollard deserves a win because her opponents are nothing short of an intense retrospective lifetime of sheer seriousness and strength. But the system always goes awry one way or another. The Turner Prize is completely meaningless.


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