Turner Prize 2010, Tate Britain

Interesting, engaging and intelligent. You wouldn't believe it's the Turner Prize

by Fisun GunerTuesday, 05 October 2010

'Otolith III' by Turner Prize-nominees The Otolith Group is both confusing and beguiling

There may be some who feel this year’s shortlist for the Turner Prize has done little to forge ahead with anything new, innovative and different. And then there may be others who will welcome the rather more established artists on this year’s list, that is those who have continued to steadily develop their practice for well over a decade, with no great surprises, such as Angela de La Cruz and Dexter Dalwood.

Explore topics

Share this article

...

Permalink Submitted by takeitthere (not verified) on Thu, 07/10/2010 - 00:57

otolith lll is brilliant and does remain.....its on its own and thats what art should be..

...

Permalink Submitted by Anton (not verified) on Tue, 09/11/2010 - 08:59

The Otolith Group hark back to the mega-earnest and mega-deadly 'theoretical work' of the 70s and 80s, but with just a touch of 21st century pizzazz. Given that I came to absolutely loathe all that stuff at the time, I found myself wondering why I warmed to this exhibit. Nostalgia for a now remote era? Or the sense (the hope), that their apparently poker-faced seriousness had the tiniest layer of humorous self-knowledge? I suspect that there isn't, and that the Otolith Group regard aridity and humourlessness as necessary to their project. It's still the most thought provoking of the four exhibits - though that isn't saying much. By the way you can listen to 'Otolith ii' - the French TV series shown on different screens - on headphones, if you can find them in the dark!

...

Permalink Submitted by Pinger (not verified) on Thu, 11/11/2010 - 21:13

too obscure and too much like hard work I'm afraid. As a result it loses its audience

Add comment

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Visual arts

Help to give theartsdesk a future! Support our GoFundMe appeal

Electric Dreams: Art and Technology Before the Internet, Tate Modern review - an exhaustive and exhausting show Flashing lights, beeps and buzzes are diverting, but quickly pall

ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetime Despite anticipating disaster, this mesmerising voyage is full of hope

Vanessa Bell, MK Gallery review - diving into and out of abstraction A variation of styles as the Bloomsbury artist breaks free from Victorian mores

Lygia Clark: The I and the You, Sonia Boyce: An Awkward Relation, Whitechapel Gallery review - breaking boundaries Two artists, 50 years apart, invite audience participation

Mike Kelley: Ghost and Spirit, Tate Modern review - adolescent angst indefinitely extended The artist who refused to grow up

Monet and London, Courtauld Gallery review - utterly sublime smog Never has pollution looked so compellingly beautiful

Michael Craig-Martin, Royal Academy review - from clever conceptual art to digital decor A career in art that starts high and ends low

Van Gogh: Poets & Lovers, National Gallery review - passions translated into paint Turmoil made manifest

Peter Kennard: Archive of Dissent, Whitechapel Gallery review - photomontages sizzling with rage Fifty years of political protest by a master craftsman

Dominique White: Deadweight, Whitechapel Gallery review - sculptures that seem freighted with history Dunked in the sea to give them a patina of age, sculptures that feel timeless

Bill Viola (1951-2024) - a personal tribute Video art and the transcendent

Follow @theartsdesk