text fernanda velasco

This year marks the much-anticipated return of the Turner Prize to Tate Britain after six years touring museums nationwide. While this edition may fall short of homecoming expectations, the diverse group of nominees —Pio Abad, Jasleen Kaur, Delaine Le Bas, and Claudette Johnson—offer intriguing reflections on identity and belonging through deeply individual lenses.

Pio Abad opens the exhibition with an almost scholarly look at cultural loss, colonial legacy and the fraught role of museums as keepers of historical artefacts. It is therefore unsurprising that Abad is constantly drawn to jewellery since, as he puts it, ‘beautiful things can be vessels for painful stories.’ A giant reproduction of jewels from Imelda Marcos’s infamous collection connects the artist’s Filipino heritage to broader issues of provenance and ownership. In the drawing series 1897.76.36.18.6 No.1-18, Abad creates a humorous yet profound juxtaposition by placing everyday objects from his home, such as plants and books, next to the British Museum's Benin Bronzes, underscoring the ongoing debate around the repatriation and rightful ownership of these artefacts. Among these objects, a Tate & Lyle sugar bag stands out, as Abad posits that even mundane household items can be loaded with painful histories. Abad’s argument is clear and compelling, relayed through self-written captions that provide insight into his creative and research process. While this ensures his message is delivered, his guiding voice can at times feel overly directive, such as when he labels a pair of tiaras as ‘intimate testimonies to endless cycles of violence, upheaval and impunity’, ultimately leaving the viewer with little room for reflection.

In contrast, Jasleen Kaur invites viewers into a more subdued, if at times vacant, meditation on cultural memory and identity infused with echoes of her Scottish-Indian background. The space has memorable moments, such as a Ford Escort decorated with beaded seat covers and draped in a lace doily. Kaur transforms a mass-produced icon into something soft, intimate and culturally resonant. This reimagining of the mundane evokes traces of familial history, inviting us to consider how personal and collective memories infuse our environments. Everyday objects fill the space with ghostly whispers of communal memory. This intentional ambiguity invites viewers to engage with the work and uncover the nuanced narratives embedded within. However, the personal significance of many objects is obscure. Kaur does provide additional context outside the exhibition space through videos in which the nominees share further insight into their practice. But ultimately, many of the objects remain just that – personal objects. Kaur is interested in making sense of what is usually ‘out-of-view’, but struggles to guide us towards her desired destination.

We then find ourselves thrust into the immersive, sensory overload of Delaine Le Bas’s installation. Le Bas, of Romani descent, fills three rooms with music, imagery, and eclectic visuals, creating a bodily experience that brings much-needed energy to a show that has been somewhat monotonous up to this point. The installation consists of draped painted fabrics, sculptures and costumes. Its corridor-like layout asks viewers to abandon passive observation in favour of movement between spaces of chaos, fear, awe and reverence. Foil-covered walls and floors reflect a distorted version of ourselves that is disconcerting yet poignant. Le Bas then offers a quiet release in the last room, as our journey concludes with a commanding statement: ‘Know Thyself’. She has taken us through a journey that is an exploration of both communal and personal identity, serving as a declaration of Roma pride and a visceral confrontation of the marginalisation her community faces.

Finally, Claudette Johnson brings the exhibition to a contemplative close. Her monumental Black figures command attention, reclaiming space within Tate Britain’s walls with quiet dignity. Johnson’s Pietà, undoubtedly the highlight of her show, offers a powerful contemporary take on the classical subject through Black experiences. By turning to established narratives, Johnson carves out a space to address racially charged subjects. It echoes racial violence and grief, portraying a scene that is all too recognisable. Johnson continues to embrace the traditional canvas format, but this does not mean that her work is less impactful than that of her fellow nominees. Her portraits ask for our time and attention, rewarding both with an emotional depth that lingers long after we’ve left, suggesting quiet reflection can be revolutionary.

Right: Friends in Green + Red on Yellow, 2023, oil paint oil pastel and oil stick on paper. Private collection.

While this year’s Turner Prize might not be the most ground-breaking, it directly reflects the complex socio-political landscape of contemporary Britain. Loaded with themes of colonialism, diaspora and cultural resistance, the exhibition raises an implicit question: what does it mean to ‘belong’ in today’s world? What does it mean to belong in a community, a culture, or within the walls of a museum? The Turner Prize 2024 explores how history, personal identity, and cultural legacy intertwine, offering moments of introspection and a glimpse into the layered realities of each artist’s world. It’s an uneven but compelling mix that, even in its quieter moments, manages to surprise.

text fernanda velasco

PUBLISHED NOVEMBER 27, 2024.

glimpse magazine