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 beck's futures 2006
 to access audio and video on collective you need real player.Thirteen new artists at London’s ICA. Here we are again, with the annual Beck’s Futures prize opening. It’s arguable whether any “best of” show (let alone a prize-laden one) really defines the young contemporary British art scene. So what is the actual purpose of seeing an exhibition like this rather than wandering around the dirty streets of East London or Glasgow?This year the Beck’s selection panel has gone a bit YBA crazy, with big name artists Jake and Dinos Chapman, Yinka Shonibare, Gillian Wearing, Cornelia Parker and Martin Creed picking the work. It’s impossible not to wonder if the selection of artists on show says more about the panel than a new generation of British art.  Inaugurate (still detail) by Flavia Muller Medeiros and Road To Ruin by Olivia Plender. The problem is that recent British art can appear insular. It’s so busy referencing its own history that it can often distance the viewer. Can someone really connect to art that seems busier with itself than people looking at it? In some cases, thankfully, yes, although the good multi-layered artworks are few and far between. Olivia Plender’s comic strip and installation about alcohol and the road to ruin is a brilliant poke at beer brand Beck’s’ involvement. Jamie Shovlin’s curated collection piece, Lustfaust, plays with reality and fantasy in a brilliant way. (Nothing is as it appears here.) There’s beauty with Matt Stokes’ film, Long After Tonight, recreating the joy of Northern Soul nights in a gothic Dundee church. There’s also humour with Bedwyr Williams’ interactive wall of size 13 shoes, each tagged with personal anecdotes.  Walk A Mile In My Shoes (detail) by Bedwyr Williams and Untitled (detail) by Daniel Sinsel. As artificial as shows like these are, Beck’s should be respected for having given a healthy push to some good artists in the past few years, like Toby Paterson, Neil Rumming, Kirsten Glass or Lali Chetwynd. But there’s also been a large dose of forgettable duds, and 2006 is no exception. One of the most interesting elements this year is that the public can vote on who they feel should win, either on touch-screen pods in each of the three venues across the country or online. The panel still gets the final say but it means there’s another collective voice in the room influencing the choices. May the best artist win.
Francesca Gavin
Beck’s Futures is at the ICA, London, until 14 May 06. Simultaneous shows are at Glasgow’s CCA, 08 April – 14 May, and Bristol’s Arnolfini, 13 April – 14 May.
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comment by twycross33
Sep 5, 2006
"Do you think that Beck's Futures is a "best of" show?"--No, I think it's art, and therfore up to the indidual to find the best.
comment by rowan
May 3, 2006
Just to let you all know that Matt Stokes won this year's prize.
comment by rowan
Apr 4, 2006
We also show images from the exhibitions we cover, partly for for that very reason, that so many can't make it but might be interested in seeing the sort of things that we're talking about.As for video art, I get what you say totally. I studied Fine Art Film and Video for my BA and that was always an issue for me, as an artist what can you expect/hope for from the people viewing your video? I don't really think that full films work fabulously well in galleries myself.
comment by Metrognome
Apr 4, 2006
Dear Rowan,Thanks for the reply. Good point about leaving reason to go to the show -- though that begs questions about one's ability to do so, geographically or for any other reason. In my opinion the way that galleries show video pieces sometimes leaves a lot to be desired. Typical of my experience is wandering into an almost pitch black room, apprehensive of bumping into/falling over other visitors, particularly if they are knife-wielding maniacs (you never know with contemporary art...) I invariably arrive half-way through the piece and out of sense of Duty to Art remain until I clock that this is where I came in; admittedly easier with some pieces than others. One of the advantages of video is that it has a time dimension, so I'd have thought artists make careful decisions about beginnings, middles and ends when using the medium. So, for health and safety reasons, on the one hand, and respect for the artist's creative strategy on the other, showcasing work in an environment like Collective has a lot going for it, I think. In the same way that you showcase music. I wonder what others think? I'll try not to post this message twice this time!
comment by rowan
Apr 3, 2006
Well we have shown some video pieces from shows before, but it's good for there still to be reason to go the show, don't you think? I'm glad that you enjoyed it, it brings something different to a show when you're shown round in my opinion. The other exhibitions are pretty much the same show as far as I'm aware - has anyone been to either of the other 2?
comment by Metrognome
Apr 3, 2006
Thanks for the guided tour video -- I thought the curator's tone of amused seriousness was spot on. Being led round the work gives a good sense of how it looks in the gallery. Any chance of Collective (a) 'showing' the video work in its entirety from an exhibition like this (e.g. the northern-soul in a Dundee church video) and (b) taking us on a tour of the other two exhibitions running parallel to this one?Incidentally, my vote goes to the guy with the shoes!
comment by Metrognome
Apr 3, 2006
Thanks for the guided tour video -- I thought the curator's tone of amused seriousness was spot on. Being led round the work gives a good sense of how it looks in the gallery. Any chance of Collective (a) 'showing' the video work in its entirety from an exhibition like this (e.g. the northern-soul in a Dundee church video) and (b) taking us on a tour of the other two exhibitions running parallel to this one?Thanks very much for this, by the way. I really enjoyed it. Incidentally, my vote goes to the guy with the shoes!
comment by Jakki
Mar 30, 2006
Those appear to be some amazing works. I wish I could see them in person.
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