Pickled cows, unmade beds and elephant dung have created an unshockable British public when it comes to new developments in the world of modern art.
Perhaps that’s why this year’s Beck’s Futures – termed the Turner Prize’s hipper younger cousin – is presenting nominees (all under 35 and UK based) whose work seems bent on inspiring humour rather than bafflement.
Bedwyr Williams’ performance art has been described as bordering on stand up comedy. Characters in inflatable suits feature, and like most comedians, Williams’ works are autobiographical; his footwear-swapping gallery is born of his inability to find shoes large enough to fit him. Blood n Feathers, the artistic duo of Lucy Stein and Jo Robertson, merges mural with improvised singing.
Established in 1999, Beck’s Futures, a collaboration between drinks manufacturer Beck’s and the Institute of Contemporary Art, has consistently pushed the boundaries of modern art, earning it a reputation as wacky. Rob Bowman, curator of this year’s show, is sceptical about this label.
‘I think it has been convenient for Beck’s Futures to be described over the years in terms of its quirkiness or eccentricity, but this probably has more to do with an adventurous spirit than anything else.’
Much was made of the traditional paintwork included in last year’s Turner Prize shortlist and this year we see paint creeping into the Beck’s Prize where last year’s was rather installation-heavy.
‘The purpose of the awards,’ says Rob, ‘is, after all, to support artists who are developing ideas and artworks that can challenge and stimulate. The artists selected might well choose to do this in the form of photography or painting – and painting has a significant presence in this year’s show – or in forms that are less recognisable to us as established forms of artistic expression.’
Nevertheless, would it seem that paintwork is trickling into a more prominent position within the modern art world, and that this is reflected in the Beck’s Futures shortlist?
‘I don’t believe Beck’s Futures, or indeed any other award show or group presentation of artists’ work, would claim precisely to represent how modern or contemporary art is evolving. What it can do is to suggest some of the ways in which the territory continues to change for contemporary artists and how they choose to respond to that context. It’s a cliché to talk about how diverse artistic practice is in the UK, but it’s also perhaps bound to be a noticeable feature of exhibitions such as this, which support the work of younger artists.’
There’s another major new element to this year’s competition: the winner will be chosen by the usual panel of judges, but in conjunction with a public vote.
‘Ultimately the awards and exhibitions exist to support artists’ work, and engage public interest. If a public vote stimulates debate, and encourages the public to see the work and express their opinion, then that is a positive thing. Naturally, as with any chosen system, there is always an alternative way to organize things, but this particular system gives the public a single ‘block’ vote: a ‘seventh’ voice alongside the views of our six individual selectors, which can be registered either online or at the three venues for the exhibition. It’s this combination of public and judges’ votes, which will decide where the award goes.’
Check out the artwork, find out about the exhibitions and register your vote at www.becksfutures.co.uk. The three exhibitions will take place at the ICA in London, Britol’s Port House, and the MacLellan Galleries in Glasgow until 14th May 2006.
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