Turner Prize ’13: Laure Prouvost

Article as published by The Mancunion, Britain’s biggest weekly student newspaper. The Mancunian Arts & Culture brings you introductions to the four 2013 nominees, this week Raphae Memon introduces Laure Prouvost.

The artist portrays a discordant reality…

Established in 1984, the Turner Prize is awarded each year to a contemporary artist under 50 living, working or born in Britain, who is judged to have put on the best exhibition of the last 12 months.

Laure Prouvost, one of the four nominees for the Turner Prize 2013, is a French artist who lives and works in London. She graduated from Central Saint Martins in 2002, and has also attended Goldsmiths University, in London. Prouvost has exhibited at Tate Britain and the Institute of Contemporary Arts. Earlier this year she won the Max Mara Art Prize for Women for her installation inspired by visiting the Mediterranean and exploring the aesthetic and sensuous pleasures in Italy. Her work combines installation, collage and film – she makes use of old domestic objects, combined with film and sound recordings to create an installation with a narrative. Sometimes quite meaningless and conflicting, Prouvost likes to extend the boundaries between language and translation, with ideas of space and disorientation. She worked on a project for the Frieze Foundation in 2011, involving hand-painted signs, which were both humourous and instructional. They evoked a response between the audience of the Frieze fair within the architecture of the space where it was held.

In film, Prouvost uses a juxtaposition of word and image to create a mesmerising narrative which most of the time has quite a surreal dimension. One of her famous works, It, heat, hit is created using fast-moving sequences of images of everyday events. They could be of a swimming frog in a pond, to a snowy garden scene, contrasted with bold statements on love and violence. Collaged in-between are disturbing scenes of body parts and food, usually taken using close-up shots and focusing on grim details. In terms of sound, the film has an oppressive rhythm that grows and intensifies as the film progresses – the mood becomes unsettling. In this film, and in most of her others, Prouvost highlights the various notions of reality, and how they can slip and falter.

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