absolutely. i think the government is very much taking that line that, look, christmas is not going to be cancelled this year if they can possibly help it.— cancelled this year if they can possibly help it. rob, thank you very much _ possibly help it. rob, thank you very much indeed, _ possibly help it. rob, thank you very much indeed, and - possibly help it. rob, thank you very much indeed, and of- possibly help it. rob, thank you i very much indeed, and of course, everyone is looking to see whether the government changes its tact. you are watching bbc news. now and bbc news, it's time can a case where wondering, for this year's to enterprise. for the first time, the nominees are made up of collectives, which the organisers say have helped to inspire social change through art. the nominees include lack of city and sound system, cooking sections, gentle slash radical and project artworks. we can now get ready to cross live to coventry cathedral where we can join my colleagues who will tell the sorted audience exactly who this year at�*s winter will be. —— winner will be. year at's winter will be. -- winner will be. ., ., _, ., ., will be. hello and welcome to front row from coventry _ will be. hello and welcome to front row from coventry cathedral - will be. hello and welcome to front row from coventry cathedral and i will be. hello and welcome to front. row from coventry cathedral and the uk's city of culture for the turner prize award ceremony. it is one of the most prestigious and unpredictable events in the british art world, and tonight, with a special programme, we are live on the bbc news channel, the iplayer and of course radio 4. the turner prize itself was set up in 1984 to celebrate the best and most exciting british contemporary art in all its forms from painting to sculpture, video and sound installations to performance art. previous winners include damien hirst, steve mcqueen, grace perry, rachel white read and a kapoor. it's fair to say that for pretty much all of its existence, the turner prize has been much talked about, generating controversy, often in the news media for pushing at the conventional boundaries of art. this year, that winner want to be one person because all the nominees are artists collectives working as groups. they range in size from just two to more than 60 members and work across the uk. the nominees for the turner prize are... a re collective. applause black obsidian sound system. cooking sections. , ., u, black obsidian sound system. cooking sections. , ., ~ sections. gentle radical. and -ro'ect sections. gentle radical. and project artworks. _ sections. gentle radical. and - project artworks. congratulations to them all, project artworks. congratulations to them all. and _ project artworks. congratulations to them all, and there _ project artworks. congratulations to them all, and there is _ project artworks. congratulations to them all, and there is much - project artworks. congratulations to them all, and there is much love i project artworks. congratulations to them all, and there is much love in | them all, and there is much love in them all, and there is much love in the cathedral tonight for all of them, but to kick things off, please welcome the chair of the judges, alex ferguson who is director. hello, alex. now, the turner prize is awarded to a british artist to celebrate their recent work, so very much recognising careers that are very much in progress, rather than looking back on a lifetime achievement.— looking back on a lifetime achievement. , �* , ., . achievement. yes, it's about current developments _ achievement. yes, it's about current developments in _ achievement. yes, it's about current developments in contemporary - achievement. yes, it's about current developments in contemporary art, | developments in contemporary art, and it's really forward facing. that's what it's about, and it's about bringing a larger, broad audience to the art of the present, i think that's the kind of magic that the turner prize creates. £31 that the turner prize creates. of course, there was no prize last year because of lockdown command i won how it felt getting the prize process up and running again for this year. it is wonderful to see it rise again, especially in coventry, so exciting after they year or two we have been in. great to be here. in 2015, the turner prize was won by a collective from an architectural collective, and i remember meeting them, and it got me thinking how far art collective has become a big part of the art world and how long they have been a part of the art world and not always recognised. there is and not always recognised. there is a tradition behind _ and not always recognised. there is a tradition behind this _ and not always recognised. there is a tradition behind this that - and not always recognised. there is a tradition behind this that goes - a tradition behind this that goes right back to the earliest 20th century in a way, artists forming themselves into movements, but i think it's become all the more important in recent years, and perhaps it's particularly meaningful at a time like this after lockdowns and pandemics and so on. this feels like such a great moment to be celebrating collectivity in our practice. 1 celebrating collectivity in our ractice. . ., , ., ., practice. i wandered a bit about how ou went practice. i wandered a bit about how you went looking — practice. i wandered a bit about how you went looking for— practice. i wandered a bit about how you went looking for the _ practice. i wandered a bit about how you went looking for the kind - practice. i wandered a bit about how you went looking for the kind of - you went looking for the kind of artists who might form a long list before you got to a short list. do you go around looking at, or do people start to present themselves? it's the brilliant team, and the chance they had as they found themselves working in a year that was almost entirely shut down, when that year began, we knew they would lose in the first two months, but the second lockdown happened, so they couldn't assess artistic practices according to the usual criteria of exhibitions that have been on, so i think what began as a problem became a beautiful and meaningful solution to honour these practices that have a lot of continuity and investment and commitment to places that people have issues. the commitment to places that people have issues-_ have issues. the whole shortlist this ear have issues. the whole shortlist this year is _ have issues. the whole shortlist this year is collectives, - have issues. the whole shortlist this year is collectives, one - this year is collectives, one wonders what that says about the turner prize and what you have been looking to celebrate. you turner prize and what you have been looking to celebrate.— turner prize and what you have been looking to celebrate. you know, each turner is different. _ looking to celebrate. you know, each turner is different. each _ looking to celebrate. you know, each turner is different. each jury - looking to celebrate. you know, each turner is different. each jury is - turner is different. each jury is different each year. they are independent, so, you know, every year is also marked by the subjectivity the interests of the given jury, subjectivity the interests of the givenjury, but i do feel the decision to focus on collectives this year feels particularly meaningful and powerful, and i'm sure it won't be the last time we see collectives honoured through the turner prize. see collectives honoured through the turner prize-— turner prize. there might be people thinkin: as turner prize. there might be people thinking as well— turner prize. there might be people thinking as well about _ turner prize. there might be people thinking as well about the _ turner prize. there might be people thinking as well about the fact - turner prize. there might be people thinking as well about the fact that l thinking as well about the fact that many in these collectives work in the community, and is there more of a sense of the public who might not think of art other than being something you see in an art gallery, of trying to change people because my perception of what art is? i my perception of what art is? i think it could achieve that. the response from audiences to this turner prize, audiences from coventry, audiences from further afield havejust coventry, audiences from further afield have just been coventry, audiences from further afield havejust been remarkable, amazing. you know, we are perhaps more used to thinking of the visual arts as individually offered, but like writing, we think of all kinds of other art forms, drama, film, this is about authorship, so there has always been an aspect of that to art as well, and it's great to mark that this year.— art as well, and it's great to mark that this year. thank you so much for talkinu that this year. thank you so much for talking to us _ that this year. thank you so much for talking to us a _ that this year. thank you so much for talking to us a bit _ that this year. thank you so much for talking to us a bit about - that this year. thank you so much for talking to us a bit about the i for talking to us a bit about the judging process. thank you. applause time now to hear _ judging process. thank you. applause time now to hear from _ judging process. thank you. applause time now to hear from our _ judging process. thank you. applause time now to hear from our first - judging process. thank you. applause time now to hear from our first two - time now to hearfrom ourfirst two nominees, array collective and black obsidian sound system. array collective are a group of artists and activists based in belfast. they create collaborative actions including making banners for rallies and demonstrations, to respond to social and political issues affecting northern ireland. there are 11 artists. _ affecting northern ireland. there are 11 artists. we _ affecting northern ireland. there are 11 artists. we all— affecting northern ireland. there are 11 artists. we all have - are 11 artists. we all have individual practices, but when we come _ individual practices, but when we come together, we are array collective. and that was in the '905 it first _ collective. and that was in the '905 it first came — collective. and that was in the '905 it first came to be, and then around times_ it first came to be, and then around times of— it first came to be, and then around times of the — it first came to be, and then around times of the '905, it became a re studios i— times of the '905, it became a re studios. i guess especially that time _ studios. i guess especially that time that it initiated, there was a richness — time that it initiated, there was a richness of— time that it initiated, there was a richness of artist led spaces and kind of— richness of artist led spaces and kind of diy activity and diy spaces going on— kind of diy activity and diy spaces going on at the time. it kind of diy activity and diy spaces going on at the time.— going on at the time. it expanded and uuite going on at the time. it expanded and quite naturally _ going on at the time. it expanded and quite naturally into _ and quite naturally into collective due to _ and quite naturally into collective due to the — and quite naturally into collective due to the political _ and quite naturally into collective due to the political climate - and quite naturally into collective due to the political climate the l due to the political climate the time, — due to the political climate the time, marching _ due to the political climate the time, marching for— due to the political climate the time, marching for causes - due to the political climate the time, marching for causes that due to the political climate the . time, marching for causes that we believed _ time, marching for causes that we believed in — time, marching for causes that we believed in if— time, marching for causes that we believed in-_ time, marching for causes that we believed in. ., ., ., ., believed in. if someone had an idea, ou would believed in. if someone had an idea, you would share _ believed in. if someone had an idea, you would share it _ believed in. if someone had an idea, you would share it with _ believed in. if someone had an idea, you would share it with the - you would share it with the group and everyone would come together and make it happen. that's when local activist groups would start to ask us to give them a hand with visuals. again, we were very much part of that community, so we are not working for people, it's kind of ourselves as well, and for about two years, there was a real push for political causes that we felt very strongly about, so the two main ones would've been the abortion law and marriage equality. we didn't really see that as an artistic practice, it was more of us campaigning for equal rights, really, but they were all campaigns that were quite personal to us, so we always felt like we were part of the communities we were working with and for. black were part of the communities we were working with and for.— working with and for. black obsidian sound system _ working with and for. black obsidian sound system are _ working with and for. black obsidian sound system are a _ working with and for. black obsidian sound system are a london-based l sound system are a london—based collective who use their sound system to connect communities and amplify their voices.— amplify their voices. black obsidian sound system _ amplify their voices. black obsidian sound system was _ amplify their voices. black obsidian sound system was started - amplify their voices. black obsidian sound system was started in - amplify their voices. black obsidian sound system was started in 2018 i amplify their voices. black obsidian. sound system was started in 2018 as part of a show called ritual without belief, which was here at gasworks. i was contacted to be part of the build of the system, i have some experience doing that, and got to know everyone through that and had a group of black, non— binary and clear people in mind to be involved with it, so we had to open build sessions twice weekly and it took about a month and half the belt, and from that from the exhibition happened and the collectives as we know it formed around that. black obsidian sound _ know it formed around that. black obsidian sound system _ know it formed around that. black obsidian sound system felt like an invitation — obsidian sound system felt like an invitation. the fact that it is clear. — invitation. the fact that it is clear, that it's black and brown... it felt _ clear, that it's black and brown... it felt radical, it felt intentional, it felt like it was coming _ intentional, it felt like it was coming of a place of care. it's somewhere to be in your excitement about _ somewhere to be in your excitement about silent and other people who look like _ about silent and other people who look like you. and i think we are 'ust look like you. and i think we are just trying — look like you. and i think we are just trying to make ourselves more present— just trying to make ourselves more present so— just trying to make ourselves more present so that people know that that space is here for them if they want _ that space is here for them if they want to— that space is here for them if they want to come into it. to show that we are presenting _ want to come into it. to show that we are presenting is _ want to come into it. to show that we are presenting is very - want to come into it. to show that we are presenting is very much a i we are presenting is very much a continuation _ we are presenting is very much a continuation and _ we are presenting is very much a continuation and making - we are presenting is very much a continuation and making visible i we are presenting is very much a . continuation and making visible of the ways— continuation and making visible of the ways in— continuation and making visible of the ways in which _ continuation and making visible of the ways in which we _ continuation and making visible of the ways in which we are - continuation and making visible of the ways in which we are already. the ways in which we are already working — the ways in which we are already workinu. �* ~ ,, working. applause that was _ working. applause that was black - working. applause - that was black obsidian working. applause _ that was black obsidian sound working. applause — that was black obsidian sound system and array collective. now it is time to hear from two of this year turner prizejudges, we have a difficult job of drying up the shortlist and choosing tonight's winner. he's welcome to the stage the actor and art collector, russell toby and zoe whitley who is a curator and director of the chisholm hill gallery dashes chisholm hill gallery in london. hello, thank you both for being here, i will start with you, russell, because you are a serious collector of tim tate and contemporary art. so tell us a little bit of what got you started and what sort of stuff do you like? what got me started, i loved her teens _ what got me started, i loved her teens as i— what got me started, i loved her teens as i can come and when i started — teens as i can come and when i started going to museums and seeing p0p started going to museums and seeing pop art— started going to museums and seeing pop art on— started going to museums and seeing pop art on the wall, andy warhol, etc can _ pop art on the wall, andy warhol, etc can i _ pop art on the wall, andy warhol, etc can i realised i didn't need to grow— etc can i realised i didn't need to grow up— etc can i realised i didn't need to grow up so— etc can i realised i didn't need to grow up so i thought this is really fun, grow up so i thought this is really fun and — grow up so i thought this is really fun, and that was my route and what colour— fun, and that was my route and what colour and _ fun, and that was my route and what colour and cartoon, so i'm a complete _ colour and cartoon, so i'm a complete partner, a complete geek, so for— complete partner, a complete geek, so for me. _ complete partner, a complete geek, so for me. if— complete partner, a complete geek, so for me, if you like a fan boy tonight — so for me, if you like a fan boy tonight. thank you for having me. it tonight. thank you for having me. if is tonight. thank you for having me. is great to tonight. thank you for having me. if is great to have you. apart from, you know, traditional visual arts, what are the kind of art forms to collect? i what are the kind of art forms to collect? ~ . what are the kind of art forms to collect? ,, ., .., ., , ., collect? i like all contemporary art aintin: , collect? i like all contemporary art painting, photography, _ collect? i like all contemporary art painting, photography, sculpture,| collect? i like all contemporary art| painting, photography, sculpture, i tried to— painting, photography, sculpture, i tried to streamline my collection because — tried to streamline my collection because it — tried to streamline my collection because it spirals, but as i said, i'm a _ because it spirals, but as i said, i'm a nerd — because it spirals, but as i said, i'm a nerd and art addict, so it's quite— i'm a nerd and art addict, so it's quite hard— i'm a nerd and art addict, so it's quite hard to say no to good art. can i_ quite hard to say no to good art. can i ask— quite hard to say no to good art. can i ask you, the shortlist, there are five collectives on the shortlist. why did they stand out? they stood out because we were looking — they stood out because we were looking for collectives, artists that work _ looking for collectives, artists that work within a collective to amplify — that work within a collective to amplify change and encourage movement toward something amazing through— movement toward something amazing through art. movement toward something amazing throu~h art. ~ . ., movement toward something amazing throu~h art. . ., ., ., movement toward something amazing throuh art. . ., ., through art. what about for you? alex was saying _ through art. what about for you? alex was saying earlier _ through art. what about for you? alex was saying earlier that - through art. what about for you? | alex was saying earlier that there was something about the past year and lockdown which may be made the work of collectives particularly interesting this year. i work of collectives particularly interesting this year.— work of collectives particularly interesting this year. i think so, but if you _ interesting this year. i think so, but if you like _ interesting this year. i think so, but if you like for _ interesting this year. i think so, but if you like for me _ interesting this year. i think so, but if you like for me that - interesting this year. i think so, but if you like for me that a - interesting this year. i think so, but if you like for me that a bit. but if you like for me that a bit of a red herring because i work with artists on a daily basis, and i think artists are superheroes. to quote storms eight, fellow south london, all i see is innovators and icons. you are all amazing, and it is so exciting to see that even when from last december through to mid may, we were in a whole series of lockdowns and museums and galleries are closed, but artists didn't say, ok, well then there's nothing for us to deal. such a think that artists are the people who make and to believe that things are possible and to do and change things in their communities, it felt like that was what felt so urgent to recognise. you talk about an urgency. was there a sense that collectives were going to be the short list? what drew you to be the short list? what drew you to the shortlisted artists? it to be the short list? what drew you to the shortlisted artists?— to the shortlisted artists? it was really more _ to the shortlisted artists? it was really more about _ to the shortlisted artists? it was really more about the _ to the shortlisted artists? it was really more about the fact - to the shortlisted artists? it was really more about the fact that l really more about the fact that artists are making change in their communities, and i think we are often taught that artists are kind often taught that artists are kind of alone in their studios and the sole geniuses, and then there is a finished product which may be if you are lucky or rich enough that you can own, but actually, there are some of the different ways to access art and for art to exist, and i think we get caught up on the question of is it art? so i want to preempt, yes, all of this is art, and i love seeing it so much. the work of this _ and i love seeing it so much. the work of this year's _ and i love seeing it so much. the work of this year's nominees wasn't created always to be shown in a gallery, and i wonder as someone who collects art but values that more broadly, how that affected your approach as a judge. i broadly, how that affected your approach as a judge. approach as a 'udge. i approached it as an art fan. — approach as a judge. i approached it as an art fan- i— approach as a judge. i approached it as an art fan. i don't _ approach as a judge. i approached it as an art fan. idon't look— approach as a judge. i approached it as an art fan. i don't look it - approach as a judge. i approached it as an art fan. i don't look it up - approach as a judge. i approached it as an art fan. i don't look it up a - as an art fan. idon't look it up a thing— as an art fan. idon't look it up a thing as— as an art fan. i don't look it up a thing as a — as an art fan. i don't look it up a thing as a collector, i looked at as a fanr _ thing as a collector, i looked at as a fan and — thing as a collector, i looked at as a fan, and the storytellers are just on the _ a fan, and the storytellers are just on the front— a fan, and the storytellers are just on the front line, they are telling us to— on the front line, they are telling us to make — on the front line, they are telling us to make you want to know what's going on— us to make you want to know what's going on in— us to make you want to know what's going on in the world, look at artists, — going on in the world, look at artists, and these collectives are showing — artists, and these collectives are showing us ourselves. they are showing — showing us ourselves. they are showing us ourselves. they are showing us what is going on, and that for— showing us what is going on, and that for me — showing us what is going on, and that for me was an incredible privilege _ that for me was an incredible privilege-— that for me was an incredible ”rivilee_ . ., ., ., y., ., privilege. what about for you, zoe? there is an — privilege. what about for you, zoe? there is an exhibition _ privilege. what about for you, zoe? there is an exhibition on _ privilege. what about for you, zoe? there is an exhibition on at - privilege. what about for you, zoe? there is an exhibition on at the - there is an exhibition on at the gallery that attempts to kind of give us a sense of the thinking of these artists. they are not, designed to be in an art gallery all the time. i wonder how that affects how we approach their work. i the time. i wonder how that affects how we approach their work. i think each of the — how we approach their work. i think each of the artist _ how we approach their work. i think each of the artist has _ how we approach their work. i think each of the artist has a _ how we approach their work. i think each of the artist has a particular. each of the artist has a particular way a particular atmosphere. it can be beautiful paintings on the wall. it can also be an experience shared or a series of questions that are asked, things that make me want to figure out, i like to know more about this. i think that's what art constantly does. and i don't think that this is any different. i constantly does. and i don't think that this is any different.- that this is any different. i want to ask both _ that this is any different. i want to ask both of— that this is any different. i want to ask both of you, _ that this is any different. i want to ask both of you, the - that this is any different. i want i to ask both of you, the nominees come from all of the uk and i wonder what you think they reveal about art in the country at large now? i what you think they reveal about art in the country at large now?- in the country at large now? i think one of the most _ in the country at large now? i think one of the most important - one of the most important things that they shortlist is able to show us is that we don't in any way have to think that centres of cultures only one place, say in a capital city. that art can exist all over. i didn't grow up in a home with oil paintings on the walls. but the fact that books are artwork, that art can come to us over the airways, it may be something that a family member made it that we cherish and talk about. i think that those are the kinds of things that we actually are constantly surrounded by culture and things that are hard but somehow we are told or think that art can only be these few things. i love the capacious news and the generosity of the artists who have given us so much with the show.— the artists who have given us so much with the show. what about for ou much with the show. what about for you russell? _ much with the show. what about for you russell? what _ much with the show. what about for you russell? what it _ much with the show. what about for you russell? what it says _ much with the show. what about for you russell? what it says about - much with the show. what about for you russell? what it says about art| you russell? what it says about art in the uk? n you russell? what it says about art in the uk? ~ , , ., , ,., in the uk? i think it 'ust shows you how brilliantly — in the uk? i think itjust shows you how brilliantly gifted _ in the uk? i think itjust shows you how brilliantly gifted we _ in the uk? i think itjust shows you how brilliantly gifted we are - in the uk? i think itjust shows you how brilliantly gifted we are and i how brilliantly gifted we are and how brilliantly gifted we are and how many amazing talents we have in this country— how many amazing talents we have in this country and how many artistic stories— this country and how many artistic stories we — this country and how many artistic stories we have and how many storytellers there are. i am overwhelmed by the show at the herbert — overwhelmed by the show at the herbert i— overwhelmed by the show at the herbert. i think what the heart do not herb— herbert. i think what the heart do not herb it's done is incredible. i think— not herb it's done is incredible. i think what— not herb it's done is incredible. i think what everybody's come up with is really— think what everybody's come up with is really inspiring. people have come — is really inspiring. people have come up — is really inspiring. people have come up to the show will be blown away _ come up to the show will be blown awa . ., y ., come up to the show will be blown awa . ., ,., ~ ., come up to the show will be blown awa . ., ,. ~ ., ., away. zoe, you will know there are some art critics _ away. zoe, you will know there are some art critics who _ away. zoe, you will know there are some art critics who aren't - away. zoe, you will know there are some art critics who aren't happy i some art critics who aren't happy about this all collective shortlist with what you think that is? i about this all collective shortlist with what you think that is? i think it's because _ with what you think that is? i think it's because of _ with what you think that is? i think it's because of the _ with what you think that is? i think it's because of the way _ with what you think that is? i think it's because of the way we - it's because of the way we frame expertise. and expertise is what we know and what we know really well rather than being something that can constantly grow and change and, oh, wow, i don't know this yet but i can know it if i'm open to it. and so i think that that discomfort with the things that we don't know can somehow make us a little bit more critical of things. but i think is we were half as open as these artists have been with us and i think people will gain so much from coming and learning about the artists. ~ ., ., coming and learning about the artists. ., ., artists. what would you say, russell? _ artists. what would you say, russell? l — artists. what would you say, russell? i think _ artists. what would you say, russell? i think it's - artists. what would you say, russell? i think it's become| artists. what would you say, - russell? i think it's become common ractice for russell? i think it's become common practice for them _ russell? i think it's become common practice for them to _ russell? i think it's become common practice for them to get _ russell? i think it's become common practice for them to get the - russell? i think it's become common practice for them to get the turner i practice for them to get the turner prize _ practice for them to get the turner prize every— practice for them to get the turner prize every year. it doesn't surprise _ prize every year. it doesn't surprise me. it's not about them is about people coming to see in the artist and the collectives that communities there working with. that's— communities there working with. that's what that's for. excellent. thank you both so much. well, we are going to hearfrom thank you both so much. well, we are going to hear from two thank you both so much. well, we are going to hearfrom two more of thank you both so much. well, we are going to hear from two more of the shares nominees. gentle/radical and cooking sections whose work is currently installed on the isle of skye. cooking sections explores how food production especially salmon fishing affects the climate. their aim to replace farm salmon with food that supports environment.— that supports environment. we use installations _ that supports environment. we use installations film _ that supports environment. we use installations film production - that supports environment. we use installations film production and i installations film production and site—specific projects and collaborations with different governmental and private institutions to think how we create new food imaginary is a new food cultures to respond to the climate emergency. and the core of our practice is in interest in the construction of space and now we use food and different ingredients to investigate or explore these different landscapes. in the past five or six years we were working on the isle of skye on a project that the isle of skye on a project that the effects of salmon farming on the marine and terrestrial environments. when we started working on our project on the isle of skye in scotland we had conversations with environmentalists that had been already doing a lot of work around the impact of salmon farms. it's a platform and moves to try to imagine alternative and more just food systems. alternative and more 'ust food 5 stems. . ' alternative and more 'ust food 5 stems. . , alternative and more 'ust food sstems. . . systems. cardiff based collective gentle/radical _ systems. cardiff based collective gentle/radical organised - systems. cardiff based collective gentle/radical organised events| systems. cardiff based collective i gentle/radical organised events in their local area at riverside to rethink how we can live together in a more equitable way. gentle/radical primary focus is the neighbourhood we are in. and whilst a good number of us live in riverside and some of us very close by our interest in what does it mean to have a long—term presence in a place? gentle radical was established in 2016. ,, . �*, ., ., 2016. since then it's evolved and shifted over— 2016. since then it's evolved and shifted over the _ 2016. since then it's evolved and shifted over the years _ 2016. since then it's evolved and shifted over the years today - 2016. since then it's evolved and shifted over the years today we i 2016. since then it's evolved and i shifted over the years today we are around 12, 13 different associates and collaborators within the group. working cross notjust creative practice but also a whole range of disciplines for the community development and land disciplines for the community development and [and justice through to conflict resolution and faith and healing justice work. we've worked mainly in cardiff over the last five years running a whole range of cultural projects, platforms, communities grant two screening symposiums and voxels. we are interested in how we can use strategy to look how we can shape community change at local levels and really a sense ofjustice and transformation all over the world. gentle/radical and cooking sections, one of the creative challenges for the organisers of the turner prize this year is that how to showcase the work of each of the nominated collectives in the exhibition. array collectives in the exhibition. array collective traits from the gallery into a pulp without permission where a wake is being held for the centenary photo black and city and sound installed a sculptural form that dominates the space. cooking sections use projections to shed light on industrial salmon farming. gentle/radical have a series of films that explore the importance of care and friendship. and project artworks created a studio space and artworks created a studio space and a huge archive of more than 40,000 artworks of neuro— divergent artist was up to him learn more welcome at the curator of the turner prize exhibition which is that coventry. thank you so much for being here. i went to have a look at the exhibition today and it's so wonderful and fascinating and enthralling. of course most of the art doesn't exist in a conventional art doesn't exist in a conventional art space like a gallery. how did you approach making in exhibition? the first place to start was by listening. what you've already heard todayis listening. what you've already heard today is that all of the artist groups and collectives here are really interested in what art can do as a possibility, as a space of imagination and to think about how we can make an exhibition that is true to their ambitions but also allows people in. how it can be an invitation for people to join the artists and thinking about really fundamental lessons about how we live. what we eat, who do we see, who voices do hair, what do we stand for and who do we stand with? so these artists are really making propositions into the world. and the exhibition then serves as an open invitation for us to come in and kick it around. i invitation for us to come in and kick it around.— invitation for us to come in and kick it around. i love the idea of an invitation. _ kick it around. i love the idea of an invitation. that's _ kick it around. i love the idea of an invitation. that's all - kick it around. i love the idea of an invitation. that's all well - kick it around. i love the idea of an invitation. that's all well sir. j an invitation. that's all well sir. what was it like dealing with the artists given that the operate as collectives?— artists given that the operate as collectives? ~ ., ., collectives? well, in front of them, talkin: collectives? well, in front of them, talking about _ collectives? well, in front of them, talking about curating _ collectives? well, in front of them, talking about curating this - talking about curating this particular turner prize as being the equivalent of the curatorial equivalent of the curatorial equivalent of the curatorial equivalent of an extreme sport. that the wong great being around it has also been notches that we've been working with an extraordinary bunch of human beings but also the team. we have to turn ourselves into a collective in a way to kind of sort of match. that's the only way we could pull this off. did of match. that's the only way we could pull this off.— could pull this off. did you go to where they _ could pull this off. did you go to where they were _ could pull this off. did you go to where they were located - could pull this off. did you go to where they were located and i could pull this off. did you go to i where they were located and spent time? , . . . ., where they were located and spent time? , .. .. ., where they were located and spent time? , ., , time? yes, a crucial part of this was really _ time? yes, a crucial part of this was really to — time? yes, a crucial part of this was really to understand - time? yes, a crucial part of this was really to understand what i was really to understand what people are doing in the places that they are doing in the places that they are working to see, and cardiff, and hasting, in belfast to really get a flavour for what is driving people and try and produce an exhibition that will allow people that feeling and notjust something you can see on the walls. flan and notjust something you can see on the walls-— and notjust something you can see on the walls. can you describe what ou did on the walls. can you describe what you did for — on the walls. can you describe what you did for each _ on the walls. can you describe what you did for each collective? - you did for each collective? firstly, it was not something that i or we did, we did collectively with the artist themselves so very briefly, in array, one of the things we were keen to do was how do we bring that sense of liveliness? their practices about protest, things that happen in the public social so how do you bring that into the gallery space. so you can judge to how successful you've been or not for lack of city and sound system, they were interested not in creating an immersive environment that you showed but also parallel workshop space which can amplify the voices of the community here in coventry. so that was very much what they were doing. for cooking sections, apart from their immersive installation, a crucial part of that is actually the cards that you people could have best which is restaurants up and down the country removing farmed salmon, that's part of their project. and for project artworks we really wanted to be able to show the whole arc. so you go from a working studio to their archive to a conventional exhibition and for gentle/radical the attempt was how do we bring people into the intimate conversations a more just, do we bring people into the intimate conversations a morejust, equitable life that the members of gentle/radical are so deeply engaged with. 1 gentle/radical are so deeply engaged with. ~ ., ., with. i know you encourage the members _ with. i know you encourage the members to — with. i know you encourage the members to drop _ with. i know you encourage the members to drop a _ with. i know you encourage the members to drop a token - with. i know you encourage the members to drop a token end i with. i know you encourage the l members to drop a token end for with. i know you encourage the - members to drop a token end for the holiday been reacting, what have you sense and have you got from them? it's been interesting to see not just in the comments were getting in the cards but the types of engagement we are getting. just, i was so two stop by a mother and a child just talking about their experience of the exhibition. and how they feel transformed by what seeing this exhibition and the turner prize has done for them. lovely. can i ask, again, how have the artist felt about being part of the artist felt about being part of the turner prize in a gallery? i the turner prize in a gallery? i guess you're going to have to ask them. given that they're all here i think there is plenty of opportunity to do that. i'm not going to go there. . �* , . to do that. i'm not going to go there. . v . , to do that. i'm not going to go there. . �*, ., , ,., ., . there. that's a very diplomatic answer. there. that's a very diplomatic answer- we — there. that's a very diplomatic answer. we can _ there. that's a very diplomatic answer. we can say _ there. that's a very diplomatic answer. we can say the - there. that's a very diplomatic- answer. we can say the exhibition is running tilljanuary 12 and it is really worth seeing, is in a? thank you so much. really worth seeing, is in a? thank you so much-— really worth seeing, is in a? thank you so much. thank you for having us. and you so much. thank you for having us- and the _ you so much. thank you for having us. and the turner— you so much. thank you for having us. and the turner prize _ you so much. thank you for having us. and the turner prize exhibition which gives — us. and the turner prize exhibition which gives you — us. and the turner prize exhibition which gives you all _ us. and the turner prize exhibition which gives you all a _ us. and the turner prize exhibition which gives you all a chance - us. and the turner prize exhibition which gives you all a chance to - which gives you all a chance to check out the work of the nominees is on at the herbert gallery right across from the cathedral in coventry untiljanuary 12. across from the cathedral in coventry untiljanuary12. i do urge you to come and see you. it's time to meet the last of our collectives now. project art work based in sussex. they collected with art with complex needs including diverse artist and the people that support them. . , , �* , ., them. creativity isn't 'ust what ha--ens them. creativity isn't 'ust what happens in the _ them. creativity isn't just what happens in the studio, - them. creativity isn't just what happens in the studio, it's - them. creativity isn't just whatj happens in the studio, it's how them. creativity isn't just what - happens in the studio, it's how you shape and form the forces that impact on your lives. there are many if you have complex needs and multiple disabilities. if you are a caregiver very often and unpaid caregiver very often and unpaid caregiver that you are cry but not quite related. so we walk alongside people and understanding of the system that both disabled and enable people to live more fully we have a core team of people that work here in a core group of neuro— divergent artists who we work with over a long period of time. hate artists who we work with over a long period of time-— period of time. we see ourselves as a community _ period of time. we see ourselves as a community so _ period of time. we see ourselves as a community so we _ period of time. we see ourselves as a community so we have _ period of time. we see ourselves as a community so we have a - period of time. we see ourselves as a community so we have a much - period of time. we see ourselves as i a community so we have a much wider reach _ a community so we have a much wider reach when _ a community so we have a much wider reach when we got the support the family— reach when we got the support the family and — reach when we got the support the family and support workers in the wider— family and support workers in the wider collective project artworks. we think— wider collective project artworks. we think about the community and the collective is a kind of ecosystem of interdependencies. because this dependency is something that our society doesn't accept. and yet we are all interdependent in some way. project art work in the last of those extracts from my work productions. you can find out more about all the nominated collectives on the herbert artillery website. well, we've heard from all the nominees and some of the judges with a now welcome the queen of the pauline black was going to be announcing the winner tonight. welcome. i have to say, you actually know a lot about art being displayed in a gallery when it was never really designed to be that way. of course the history of 2—tone music at a whole exhibition at the herbert gallery early rree this year. can you ask what that was like, how you went about putting that story in a museum? ~ ., , went about putting that story in a museum? . ., , ., ., , museum? well, it was a wonderfully curated exhibition _ museum? well, it was a wonderfully curated exhibition because _ museum? well, it was a wonderfully curated exhibition because i - museum? well, it was a wonderfully curated exhibition because i think. curated exhibition because i think you captured the actual spirit, the energy and the verve and passion of 2—tone. what we were fighting for, what we are fighting against us that racism, sexism, you know it, you give us in is him and we are against it back in those days. it was such a joy it back in those days. it was such a joy to see all these artefacts from fans all over the country who had contributed to it and things which found ourselves in attics and end cupboards that were long forgotten. and that's the way to put something together to show what we had to offer. ~ ., together to show what we had to offer. . ., ,., together to show what we had to offer. . ., ., , ,., offer. what sort of things did you find in attics? _ offer. what sort of things did you find in attics? old, _ offer. what sort of things did you find in attics? old, all— offer. what sort of things did you find in attics? old, all sorts of. find in attics? old, all sorts of thins, find in attics? old, all sorts of things. all— find in attics? old, all sorts of things, all search _ find in attics? old, all sorts of things, all search of _ find in attics? old, all sorts of things, all search of dodgy - things, all search of dodgy photographs. all sorts of stuff like that. it was great to see some of the things that other people had found. like the founder really of 2—tone and he had got original art from way before when he was in covered tree art factory here at the university. the old manchester polyp technic as it was known. drawing on all of those ideas that he had about 2—tone before we formed the band. and how that came together. that 2-tone before we formed the band. and how that came together. that was tremendously interesting. _ tremendously interesting. interesting how things come together in the genesis of ideas you've been to see the turner exhibition, what did you make of the? i to see the turner exhibition, what did you make of the?— did you make of the? i thought it was fantastic. _ did you make of the? i thought it was fantastic. i've _ did you make of the? i thought it was fantastic. i've always - did you make of the? i thought it was fantastic. i've always felt - did you make of the? i thought it| was fantastic. i've always felt that good art reflects the times that we live in. and the collectives have just taken that. from the length and breadth of britain. and they have taken those ideas of inclusivity, of diversity, of being able to create something during the most trying times and create something really beautiful. and i was absolutely knocked out by the beauty of all of the exhibits. it’s knocked out by the beauty of all of the exhibits-— the exhibits. it's particularly fittin: the exhibits. it's particularly fitting that _ the exhibits. it's particularly fitting that coventry - the exhibits. it's particularly fitting that coventry has - the exhibits. it's particularly. fitting that coventry has been the exhibits. it's particularly i fitting that coventry has been a city of culture. have you noticed there is a coventry link in each of the nominees is not totally, totally. a, the nominees is not totally, totall . �* ., the nominees is not totally, totall. �* ., ., the nominees is not totally, totall. . ., ., , ., ., totally. a lot of people forget that the green party — totally. a lot of people forget that the green party actually _ the green party actually originated in coventry. it was called the people's party back then. so to have climate change being addressed in such a wonderful vivid way and marginalise people coming together and being given a voice, that's what everything has been about. it's being able to give people a voice. you mentioned people i think now and making a fact of much of the music scene of the late '70s and early '805, it scene of the late '70s and early '80s, it spoke about the political and social divisions with britain at large hook up i wonder looking at the turner shortlisted artist now if you feel the same energy from them? yes, absolutely. the energy i feel was fantastic. and so much fed into what we the people who were involved in 2—tone at the time and still are are talking about. good artists stuff to eight start conversations. we started the conversation about racism, weaver started the conversation about bringing people together and celebrating the things that are different about us because that's what's interesting. yes, thank you. that's what makes good art. ibe thank you. that's what makes good art. �* , ., thank you. that's what makes good art.�* ., ., . thank you. that's what makes good art. ., ., . �* art. be you announce the winner i'm hhoin to art. be you announce the winner i'm going to announce _ art. be you announce the winner i'm going to announce the _ art. be you announce the winner i'm going to announce the chair - art. be you announce the winner i'm going to announce the chair of - art. be you announce the winner i'm going to announce the chair of the i going to announce the chair of the judges and director of tate britain back to the stage, alex. alex, can i just ask you a bit about let's have a thing here, you're getting the speech. i don't have to say anything. go for it.- speech. i don't have to say anything. go for it. good evening eve one anything. go for it. good evening everyone and _ anything. go for it. good evening everyone and thank— anything. go for it. good evening everyone and thank you - anything. go for it. good evening everyone and thank you for - anything. go for it. good evening everyone and thank you for being here with us tonight. in coventry for the turner prize 2021. on behalf of my fellow directors and the trustees of tate i would like to congratulate coventry culture trust in the herbert art gallery and museum for delivering a truly unforgettable turner prize here in coventry. it's been tates privilege to work with you all. over the past 18 months the art sector has needed to band together more than ever. that spirit of togetherness and mutual support has strengthen our e ecology of museums and galleries in towns and cities across the uk. on that note, like to offer a heartfelt thanks to everyone who's made this prize a success. all five of this year's nominees of course the jury, colleagues in coventry and agitate and each visitor to the exhibition, deep turner prize is about providing the cutting edge of contemporary art with the broadest possible public. making everyone who ever you are feel that the art of today can and should be part of your life. this year shortlisted up it amazes that idea each of the nominees engages — epitomises. and with the communities close to them. taken together the collectors reveal how art can be for everyone. at the time when so many people faced isolation and hardship and when so much art making disappeared behind closed doors, these five groups of artist continued to put that spirit of solidarity and care at the heart of their work. solidarity and care at the heart of theirwork. merging solidarity and care at the heart of their work. merging art and life, each collective is dedicated to making real differences. it is now my pleasure to hand over to coventry is very own pauline black who will reveal the winner of the turner prize 2021. thank you, alex. well, ijust like to say— thank you, alex. well, ijust like to say one — thank you, alex. well, ijust like to say one thing, you all know now what _ to say one thing, you all know now what it is— to say one thing, you all know now what it is like to be centre coventry _ what it is like to be centre coventry. i hope you had a wonderful time _ coventry. i hope you had a wonderful time and _ coventry. i hope you had a wonderful time. and now i'm delighted to announce — time. and now i'm delighted to announce the winner of the turner prize _ announce the winner of the turner prize 202t — announce the winner of the turner prize 2021. and it is... array collective _ array collective belfast —based artist _ array collective belfast —based artist and lucky to find activism making — artist and lucky to find activism making bannisters and decoration and issues as— making bannisters and decoration and issues as they skate rights, marriage _ issues as they skate rights, marriage inequality. an anti- austerity- — marriage inequality. an anti- austerity. hello, _ marriage inequality. an anti- austerity. hello, welcome i marriage inequality. an anti- austerity. hello, welcome to| marriage inequality. an anti- i austerity. hello, welcome to all marriage inequality. an anti- - austerity. hello, welcome to all of you. of course were going to get you to cluster around my microphone goes up to cluster around my microphone goes up first of all, a hearty congratulations. speaking on half of the collective, thank you for all being here. how does it feel to a ball one? ,, ., �*, ., , ball one? serial. it's mad. yes, i wasn't expecting _ ball one? serial. it's mad. yes, i wasn't expecting this _ ball one? serial. it's mad. yes, i wasn't expecting this at - ball one? serial. it's mad. yes, i wasn't expecting this at all, - ball one? serial. it's mad. yes, i wasn't expecting this at all, it's i wasn't expecting this at all, it's amazing. i wasn't expecting this at all, it's amazinh. ., ., wasn't expecting this at all, it's amazin.. ., ., ,.,y , wasn't expecting this at all, it's amazin.. ., ., , amazing. i have to say this least one baby in _ amazing. i have to say this least one baby in a — amazing. i have to say this least one baby in a sling, _ amazing. i have to say this least one baby in a sling, there - amazing. i have to say this least one baby in a sling, there is - amazing. i have to say this least| one baby in a sling, there is too. we have another young... is this the next generation of the collective already? how lovely to see you. i can see their sleeping beautifully. can i ask what difference winning the turner prize is going to make to your work? to the turner prize is going to make to our work? ., ., ., ~' the turner prize is going to make to our work? ., ., ., ,, ., , the turner prize is going to make to your work?— your work? to our work as a collective — your work? to our work as a collective l _ your work? to our work as a collective i think _ your work? to our work as a collective i think all - your work? to our work as a collective i think all the - your work? to our work as a i collective i think all the others have heard this it was well, it's push us to create something new and especially because we've not been making it work over the last year or two for the it's motivated us and it's pushed us. it's changed maybe how we work, i think we surprised ourselves with what we came out with at the end were so proud.— at the end were so proud. you've worked so _ at the end were so proud. you've worked so closely _ at the end were so proud. you've worked so closely tied _ at the end were so proud. you've worked so closely tied to - worked so closely tied to activism. i wonder what's next for array collective? did you have a plan? should show children hugging soonest, can we get a translation? can we _ soonest, can we get a translation? can we get— soonest, can we get a translation? can we get a — soonest, can we get a translation? can we get a bit of a translation? translation is we are so proud to be from belfast come to be old belfast in the _ from belfast come to be old belfast in the communities we work with. it's for— in the communities we work with. it's for everyone of belfast but it's for— it's for everyone of belfast but it's for all— it's for everyone of belfast but it's for all in the room. we see you. _ it's for all in the room. we see you. we — it's for all in the room. we see you, we support you, were with you. how do _ you, we support you, were with you. how do you — you, we support you, were with you. how do you think your weight is going to go down and belfast? isrfht’ere going to go down and belfast? were hhoin to het going to go down and belfast? were going to get the _ going to go down and belfast? were going to get the open top bus. will. going to get the open top bus. will het the going to get the open top bus. ii. get the open top tour in belfast when we get back. we wanted to see a shadow to everyone at the black box and sunflower!— and sunflower! which say, that prize mone is and sunflower! which say, that prize money is £25,000. _ and sunflower! which say, that prize money is £25,000. what _ and sunflower! which say, that prize money is £25,000. what he - and sunflower! which say, that prize money is £25,000. what he can - and sunflower! which say, that prize money is £25,000. what he can do. money is £25,000. what he can do with a? �* . ., , money is £25,000. what he can do with a? a ., , ., money is £25,000. what he can do witha? a ._ ., ,., with a? actually, for us at the minute have _ with a? actually, for us at the minute have studio _ with a? actually, for us at the minute have studio spaces i with a? actually, for us at the minute have studio spaces in | with a? actually, for us at the - minute have studio spaces in belfast which is quite precarious for the people have been moved out of the city, everything is been redeveloped. for us we thought about me delete that may be reinvesting in somewhere permanent to work because were good to be kicked out of our space soon enough. where one of the last studios in the city centre. so it's really important for us, this price is important to us, and our position in the city centre is really important for the work with that we do for the rallying and going out to the streets. thea;r that we do for the rallying and going out to the streets. they might want to rethink. _ going out to the streets. they might want to rethink. i _ going out to the streets. they might want to rethink. i think— going out to the streets. they might want to rethink. i think you're - going out to the streets. they might want to rethink. i think you're the i want to rethink. i think you're the first northern irish artist to win the turner prize. you have made some history. how are you going to celebrate? final question, how you got to celebrate? its, celebrate? final question, how you got to celebrate?— celebrate? final question, how you got to celebrate?_ i i got to celebrate? a few pines. i cannot say _ got to celebrate? a few pines. i cannot say what _ got to celebrate? a few pines. i cannot say what a _ got to celebrate? a few pines. i cannot say what a delight - got to celebrate? a few pines. i cannot say what a delight it - got to celebrate? a few pines. i cannot say what a delight it is i got to celebrate? a few pines. i i cannot say what a delight it is that you all chose to come and share your went with us all. thank you and congratulations. congratulations on the babies, as well. there's a lot of productivity going on in this collective. can i welcome alex back to the stage? array collective well done. alex, obviously, all the nominees as we saw, amazing. but can you tell us what stood out about this year's winner?— this year's winner? obviously, terribly hard _ this year's winner? obviously, terribly hard decision - this year's winner? obviously, terribly hard decision for- this year's winner? obviously, terribly hard decision for the l this year's winner? obviously, i terribly hard decision for the jury to make. they have such profound admiration for all the collections here. just thinking about array tonight, obviously, what they deal with is really serious stuff, lgbt issues, feminist perspectives on issues, feminist perspectives on issues today in a divided society and a secretary in society. i think what the jury feels is remarkable is an amazing lightness of touch and play and conviviality and sense of hospitality and a sense of carnival that they bring to the work. i think given this is an exhibition, maybe with array collective we had the least sense of how they would translate what they do in belfast to the floor of the gallery. and seeing the life in it, i think it wasjust a marvellous transposition into the space of an exhibition. if i can summarise a little bit from myjury days, that's a sum of... summarise a little bit from my 'ury days, that's a sum of. . .* days, that's a sum of. .. such a wonderful— days, that's a sum of... such a wonderful summary. _ days, that's a sum of. .. such a wonderful summary. i- days, that's a sum of... such a wonderful summary. i think i days, that's a sum of... such a i wonderful summary. i think what days, that's a sum of... such a - wonderful summary. i think what do you lack we want to be in with a collective. a recollect teacher this year's winners for the front row is back tomorrow and radio for mac at 70 we have a interview with screenwriter aaron sorkin. from me and everyone here at coventry a very good evening. this is bbc news. i'm james reynolds. the headlines at 8pm — the prime minister hasn't denied that christmas gatherings took place in downing street during lockdown, and someone who was at one of them on december 18th last year tells the bbc that several dozen people were there for drinks, food and games. as preparations for christmas go ahead, some doctors say it's best to avoid large gatherings, but ministers say it's the individual�*s responsibility. we've all got a role to play in this. this is a national mission what we've set out in vaccinations. we can all play a role. police in new mexico are investigating whether a reloaded bullet may have killed the cinematographer halyna hutchins on a film set. the act or bala says he did not pull the trigger of