In 2007, for the first time ever in its 24 year history, the Turner Prize was presented outside London. The world鈥檚 most prestigious art prize was instead awarded in Liverpool, as a curtain raiser to the city鈥檚 status of European Capital of Culture 2008. However, that was not the only reason for the decision to move the prize, as Christoph Grunenberg, director of TATE Liverpool pointed out. 鈥淚t鈥檚 not happening in a vacuum, it鈥檚 building on a long tradition of very strong visual arts scene in the city as well as almost 20 years of TATE Liverpool and a long history of engagement with contemporary art.鈥
With regards to the shortlist for the prize, Grunenberg is keen to highlight, 鈥淚t鈥檚 London artists, as well as artists from outside London, but it鈥檚 also all artists who all have some kind of relationship with Liverpool. Some of them have had quite an intense relationship with the city and with TATE Liverpool.鈥 Of course each artist鈥檚 relationship with Liverpool had no bearing on the decision-making process, but one thing that the list does seem to reflect is the mood of the country at the moment. Grunenberg is quick to counter any hint of a conscious decision on the part of the judging panel, of which he is chair, to select a politicised group. He does however acknowledge, 鈥渋t is a political list… it will make an interesting exhibition, those artists are all in some way or another concerned with a political situation, with the history of this country or their own personal history, so I think there is a connecting strand, which brings all their work together.鈥
This year鈥檚 shortlist includes Zarina Bhimji for her solo exhibitions at Haunch of Venison, London and Zurich, with work engaging with universal human emotions such as grief, pleasure, love and betrayal using non-narrative photography and film-making; Nathan Coley for his solo exhibition at Mount Stuart, Isle of Bute, the public installation Camouflage Church, Santiago de Compostela, Spain and his contribution to the group exhibition Breaking Step 鈥 Displacement, Compassion and Humour in Recent British Art at the Museum of Contemporary Art, Belgrade, Serbia. Through a variety of media, Coley鈥檚 work manifests the belief systems embedded in society and its architectures; Mike Nelson for his solo exhibitions AMNESIAC SHRINE or Double coop displacement, Matt鈥檚 Gallery, London and Mirror Infill (2006), Frieze Projects, Frieze Art Fair, London in which his immersive installations transport the viewer to imaginary, yet plausible worlds; and Mark Wallingerfor his solo exhibition State Britain at TATE Britain. Wallinger鈥檚 powerful installation demonstrates art鈥檚 unique ability to engage with contemporary political issues.
The Turner Prize has been in danger of becoming purely synonymous with controversy in past years. Yet Grunenberg argues that that controversy forms part of the role of the prize, which is to widen the debate surrounding contemporary art. 鈥淥ne of the great things the Turner Prize has achieved is to bring contemporary British art to the forefront of people鈥檚 minds, it has broadened awareness. It has also grown up with incredible international success of British artists, not just the YBA, but already in the previous generation in the 1980s, and I think that鈥檚 a real acknowledgement of the excellence and the quality and the broad range of practice that exists now in Great Britain, which is now an international community of artists.鈥 Gruenberg believes that the Turner Prize is also vital for opening up contemporary art to a whole new range of audiences and to try to engage people on all different levels.
Grunenberg does concede, however, that often engaging audiences with contemporary art isn鈥檛 as straightforward as it sounds. 鈥淚t actually needs courage to go beyond your comfortable preconceptions, and actually do some work. There鈥檚 still the understanding that somehow it鈥檚 really about 鈥榳hat does this artwork tell me?鈥 rather than 鈥榳hat can I make out of it, and how can I understand it?鈥 It鈥檚 sort of a notion of light entertainment in a way, it has to be served on a platter, instantly consumable, which of course a lot of contemporary art isn鈥檛.鈥
It isn鈥檛 just the public that occasionally struggle to comprehend contemporary art, as Grunenberg points out. 鈥淪ometimes one does feel exasperated by the questions one is asked, that includes all kind of media:both tabloid and quality outlets, as well as radio and television. I do hope there will come a point where it is not necessary anymore to defend contemporary art 鈥 especially if it has a conceptual nature 鈥 or the whole question of craft, of talent, and production. I do hope there will be, over the next year, a more open attitude to what are now very common practices.鈥
One thing that is always true of contemporary art is that it has to be seen firsthand, experienced up close and personal, to even begin to make any kind of impact. Audiences could judge for themselves by visiting TATE Liverpool and viewing The Turner Prize exhibition between 19 October and 13 January 2008. .
Rachel Hazelwood
