The Turner Prize Wrestles With an Identity Crisis, Naomi Polonsky, δημοσίευση στο Hyperallergic [8/2/2023]
LIVERPOOL — A multisensory apocalyptic ecoscape. Assemblages of crocheted sacks and fruit sculptures. A K-Pop-style boy band in ostentatious drag. Racist pub signs and menacing moving sculptures. This is the Turner Prize 2022 exhibition at Tate Liverpool, featuring a series of eye-catching and intelligent contributions by its four nominees: Sin Wai Kin, Heather Phillipson, Ingrid Pollard, and Veronica Ryan.
The exhibition is a feast for the eyes. The gallery space loops around so that all the artists have their own mini-exhibitions, marked out from one another with statement wall and floor colors. First up is artist-cum-musician-cum-poet Heather Phillipson with her maximalist and anxiety-inducing installation “RUPTURE NO 6: biting the blowtorched peach.” Monstrous animal eyes blink, a violent wind shrieks, and a tin cabin tips to one side on a sandy bed. In contrast, Veronica Ryan’s neighboring yellow-walled display is quiet and contemplative. Her elegant works engage with urgent questions of our time (consumerism, the environment, the legacies of British colonialism), but always with a poeticism and light touch.
Η συνέχεια εδώ.