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The selections for this year’s Turner Prize is surprising not only because the nominees include, after a long time, two painters, but also because only one of the four finalists was born in Britain. The committee’s chair and Tate director, Sir Nichalas Serot, claims that the selections represent the contemporary scene in all its variety and naturally include artists that only work in Britain. This is the case with German photographer Wolfgang Tillmans whose pictures are known from both gallery installations and the pages of fashion magazines. The Danish graduate of Goldsmith’s College, Michael Raedecker, places his fragile paintings in familiar countryside landscapes. In addition to her chaotic installations, the neurotic realist Tomoko Takahashi has recently concerned herself with the parodic computer project WordPerhect. Glenn Brown’s paintings, the only British representative in the lot, draw from the works of old masters. The exhibition of the finalists will open on October 25 at Tate Britain.
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Contents of the new issue.
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"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
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An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
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