Installation & Multimedia

TateShots: Turner Prize 2014, Tris Vonna-Michell

Turner Prize nominee Tris Vonna-Michell discusses his creation of multilayered narratives delivered as audio recordings and slide projections in this film shot in his Stockholm studio and the exhibition installation at Tate Britain.

TateShots: Turner Prize 2014, Ciara Phillips

Turner Prize nominee Ciara Phillips discusses her fascination with the serendipitous nature of the printing process in this intimate film shot whilst at work at the Glasgow Print Studio.

TateShots: Turner Prize 2014, Duncan Campbell

Turner Prize nominee Duncan Campbell discusses understanding certain histories through objects and his filmmaking process in this film shot his studio and the Glasgow School of Art.

Turner prize 2014 shuns painters and sculptors for art of film and video

Film pieces by three nominees add up to two hours of screen time at 30th edition show, alongside first printer in shortlist.

The Turner prize show: voices, videos and erotic tickling sticks

Has the Turner prize lost its power to shock? No thanks to James Richardss sphincter shots. But its Tris Vonna-Michells spellbinding spoken-word travelogues that deserve to win.

Turner Prize 2014: 'there's only one real artist here'

Only one man should win the £40,000 Turner Prize says Richard Dorment.

Turner Prize 2014, Tate Britain, review: Frustratingly timid

The single moment of wonder in this year’s Turner Prize exhibition comes in James Richards’ film installation, Rosebud (2013). A flickering black and white series of images on a large monitor show what appears to be a budgerigar perched on a hand, res

Tracey Emin: Where does that girl go? Where does that youth go?

At 51, and on the eve of a major new exhibition, Tracey Emin talks to Rachel Cooke about mortality, motherhood and why she is so driven.

Ai Weiwei takes his place among the greats amid the opulence of Blenheim

Modern chinoiserie and myths of east and west meet in a chaotic, hilarious, liberating vision of history gone mad.