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canonical . sculpture is no longer relevant , certainly not new , failing convince the viewer's proficient , all-but-innocent eye . canvases and broken , disassembled and reassembled pieces of furniture in this exhibition are graceless and do not any new interest as may be invoked by contemporary . , forgotten sights of the late 1970 s and early 1980 s installations in New York's lofts . The contemporary discourse about return to painting , and especially the desire to find refreshing innovations in the nominees' works , remain unfulfilled , the viewer is left perplexed . The Otolith Group The group was founded in 2002 by Kodwo Eshun and Anjalika Sagar . Eshun was born in London in 1966 . He studied English Literature at University College , Oxford ( 1985-1988 ) . was born in London in 1968 . She studied Anthropology and Hindi at the School of Oriental and African Studies University of London ( 1994-97 ) . The Otolith Group been nominated for their project A Long Time between Suns , and the accompanying publication . According to curator , the group creates documentaries using material from a range of disciplines , whose observation mode built-in and predetermined for the viewer . Group members emphasize the collaborative practice , which links culture and education , and their desire to convey political messages and obtain goals . They curate exhibitions accompanied , fields of art and life . A highly coveted prize among British artists , the Turner promote one greatly in the hierarchy of the contemporary art world . The shortlist exhibition for 2010 presents painter and three installation artists : sound , objects , video . Following a long visit to the exhibition and attempt to fathom the selection of artists who are supposed to mark a breakthrough in contemporary art , the of disappointment is inevitable . Still , if you are looking for enjoyment , you will find a suitable , although not innovative candidate in Philipsz and her sound installation which offers a pleasant stay in the gallery with beautiful singing emanating from three black loudspeakers . Sitting the wooden bench in the white space offers a pleasurable musical interval , a meditative experience which grants moments of grace despite the sadness , or perhaps precisely because it touches sadly upon the strings of the soul . Susan Philipsz Born in Glasgow in 1965 . Graduated from Duncan Jordanstone College of Art , Dundee in 1993 and immediately thereafter continued her studies at the University of Ulster Philipsz has been nominated for the presentation of work Lowlands ( 2008-10 ) at the Glasgow International Festival of Visual Art . A sound artist , Philipsz uses her century Scottish lament recounting the death of a lover Her vocals reverberate and expand in the spacious vacant gallery , leaving her imprint on a virtual world of human to the curator , Philipsz brings sound and space together . generates musical effects by means of sounds which set space in motion , thereby producing a dialogue between singer , with the soft feminine voice , and the listener . work begins with three singing channels played at intervals , repeated in a loop , as if they were trying to retrieve something lost , but ultimately , before the silence , only voice remains , and the song is heard in its full melancholic intensity , inundating the space with sadness . Angela de la Cruz Born in La Coruña , Spain in 1965 . Moved to the UK in 1987 Slade School of Art , London ( 1994-96 ) . De la Cruz the language of painting and sculpture to create works combine formal tension with a deeper emotional presence She has been nominated for her solo exhibition at Camden , damages the canvases , trying to stretch the boundaries painting and sculpture , while redefining the interrelations between these two mediums . Indeed , the sense discomfort vis-à-vis her works introduces questions about the boundaries of painting and its place in the 21 st century With the exception of one work which resembled suspended red coat , it is hard to shake off the feeling the works were spawned by violent situations whose results are now seen on the space's floor and walls . According to explanations in the modest catalogue and in the media , works started out as traditional monochromatic paintings which the artist subsequently began to bend and distort strange , at times violent manners . According to the curator in de la Cruz's room one wonders "When is a painting a painting ? " The artist redeems painting from its sacred binding fixtures , breaking painterly conventions and placing on the floor . Her interaction with the painting
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