Delaine le bas biography of rory

Claudette Johnson, the established Black British artist who has created powerful figurative art in recent decades, has been nominated for the Turner Prize which marks its 40th anniversary this year. The other artists on the shortlist are Manila-born Pio Abad, Glasgow-born Jasleen Kaur and Worthing-born Delaine Le Bas. The Turner Prize exhibition at Tate Britain opens this autumn (25 September-16 February 2025).

Johnson was nominated for two shows: Presence at The Courtauld Gallery in London and Drawn Out at Ortuzar Projects in New York. At a press briefing held today, one of the prize judges, the director general and chief executive of Japan House London, Sam Thorne, said that Johnson “invests her sitters with conviviality and vulnerability” as well as intimacy and empathy.

Compared to a period in which she barely showed her work between the 1990s and 2010s, in recent years Johnson has shown widely to much acclaim. The Courtauld Gallery show, her first major museum presentation in London, featured works ranging from her 1980s “semi-abstract” pieces to a new painting.

In an interview with The Art Newspaper last year, she said: “I am trying to subvert that male gaze. I am trying to introduce another gaze; a Black feminist gaze, if you like."

Pio Abad is nominated for his solo exhibition last year, To Those Sitting in Darkness, at the Ashmolean Museum in Oxford. The show told stories of “plunder and exchange” said Thorne, highlighting “entangled histories” around colonialism. “We were struck with how it chimed with inscription and incision,” Thorne added. In 2022, Abad featured on The Art Newspaper’s Week in Art podcast, discussing the infamous collection of the Marcos family in the Philippines.

Jasleen Kaur is nominated for her solo exhibition Alter Altar at Tramway in Glasgow, which drew on the artist’s childhood in Glasgow’s Sikh community. A Tate statement s

Overview

Working across music, film, text, drawing and performance, Rory Pilgrim redefines how we come together and strive for social change. Influenced by activist, feminist and social practices, Pilgrim works with others, through long-term dialogue and collaboration, to share and voice personal experiences. Pilgrim’s Chisenhale Gallery commission will rethink the emotional and ecological impact of law. Following long-term engagement with communities based on The Isle of Portland – a small island in the English Channel, home to two architecturally dominating prisons, and a diminishing natural ecosystem – Pilgrim’s commission will unfold with others through screenplay, live performance and music. Against a backdrop of incarceration and environmental trauma, Pilgrim’s ambitious new body of work asks; how can we reframe justice as a form of spiritual sanctuary?

Biography:

Rory Pilgrim lives and works in Ee, the Netherlands and Isle of Portland, UK. Selected exhibitions include: Radio Ballads, Serpentine Gallery, London (2022); HOP to HOPE, Wäinö Aaltonen Museum of Art (WAM), Turku (2022); Where the Tide Takes Us, Kunstverein Braunschweig, Braunschweig (2021); The Undercurrent, Badischer Kunstverein, Karlsruhe (2020). Selected screenings and festivals include: MoMA, New York (2022); Centre Pompidou, Paris (2021); Glasgow Film Festival (2020); Images Festival, Toronto (2019); and Transmediale Festival, HKW, Berlin (2019). Pilgrim was nominated for the Turner Prize in 2023, and was the winner of the Prix de Rome in 2019.
 

Named in honor of the renowned English painter J. M. W. Turner, the Turner Prize stands as a beacon of recognition for British visual artists. This prestigious accolade is bestowed biennially at Tate Britain, alternating with various venues beyond London.

Celebrating its 40th anniversary, the Turner Prize continues to showcase the dynamic landscape of British artistic talent, as affirmed by jury chairman Alex Farquharson, who hailed this year’s selection as a “fantastic shortlist of artists.” In a statement, Farquharson also said: “All four make work that is full of life. They show how contemporary art can fascinate, surprise and move us, and how it can speak powerfully of complex identities and memories, often through the subtlest of details. In the Turner Prize’s 40th year, this shortlist proves that British artistic talent is as rich and vibrant as ever.”

To mark its 40th year anniversary, the Turner Prize exhibition will be held at Tate Britain for the first time in six years! The nominated artists’ works will be unveiled at London’s Tate Britain gallery starting from September 25th. Each nominee will receive £10,000, while the ultimate laureate, to be unveiled on December 3rd, will be awarded £25,000.

In 2023, Jesse Darling emerged victorious among a pool of talented nominees including Ghislaine Leung, Rory Pilgrim, and Barbara Walker. Now, as the art world eagerly anticipates the 2024 Turner Prize, let’s take a glimpse into the contenders vying for this esteemed recognition.

This year’s shortlist features a diverse array of artists:

Pio Abad

Hailing from Manila, Abad’s solo exhibition “To Those Sitting in Darkness” at the Ashmolean Museum in Oxford explores colonial history and personal experiences growing up in the Philippines. Through drawings, etchings, and sculptures, Abad confronts themes of imperialism, paying homage to Mark Twain’s critique of colonia

Opening week round-up

On social media I’ve adopted the hashtag #ArtMarathon for the ‘feast’ of visual arts activity across Leeds and beyond triggered by the opening this past week of British Art Show 8 at Leeds Art Gallery. It’s the visual arts equivalent of three buses coming along at once. Here are my highlights so far.

On Tuesday evening at Leeds Art Gallery, British Art Show 8 artist Ryan Gander was in conversation with co-curator Lydia Yee. In front of a packed house (around 200 mainly students – great to see), Gander spoke candidly about making art, what objects are, philosophy and ideas, family and biography, money and the business of art, art education, and his artist-pseudonyms (some very funny). Everything except the wheelchair parked next to his seat. And that’s entirely his prerogative.

The artist invited the audience to text their questions to him on his second phone, the number (07864 693119) in use only for the duration of this project. Yee asked what came first, the objects in his current show at London’s Lisson Gallery, or the stories attached to them. Gander didn’t hesitate in replying that stories matter more to him and that objects are just the leftovers; the object ‘is like the exhaust fumes, or the receipt from a transaction.’ Gander produces compulsively and suffers from self-diagnosed ‘idea diarrhea’. He had stern words for some art students, criticizing those who find excuses for not making anything for weeks: ‘The people who keep making art are the ones who can’t stop making art’. Maybe, but that hardly accommodates serious and debilitating conditions against which some artists heroically battle all their lives, enforcing sometimes long periods of non-productivity. It’s not always a case of picking up where you left off when the condition improves, either, as if artistic production is always a simple linear narrative.

Thursday afternoon saw the launch of The Feast Wagon at The Tetley, the show I’ve co-curated with Zoe Sawyer an