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Searle, Adrian

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2 articles of this author have been cited in the European Press Review so far.

The Guardian - United Kingdom | 04/12/2007

A well-deserved Turner Prize

Art critic Adrian Searle is delighted to inform us that the British artist Mark Wallinger has won the 2007 Turner prize for contemporary art. "He showed his three-year old film, Sleeper, in Liverpool rather than new work. Sleeper, which had the artist pondering the world in a bear suit, has gained an unexpected resonance this past week. But he won for more than 20 years of paintings, sculptures, videos and films, which have displayed both enormous variety and an utter consistency. ... Wallinger has over the years taken Jesus, Tommy Cooper, the 1966 World Cup, the first world war, racing, poetry, passion and unseemly goings-on inside a pantomime horse as his subjects, in his examinations of Britishness and national identity, wealth and breeding, religion and politics. His work is as accessible and funny as it is deadly serious. ... 2007 has really been Wallinger's since State Britain, his copy of Brian Haw's one-man anti-war protest camp in Parliament Square, opened at Tate Britain last January."

The Guardian - United Kingdom | 16/01/2007

(S)tate Britain, an anti-war exhibition in London

London's Tate Britain is hosting an exhibiton of anti-war art by the artist Mark Wallinger entitled 'State Britain' until August 27th. Adrian Searle comments. "Is State Britain a protest, a readymade, a simulation or an appropriation? It is all these things - an installation, an institutional critique, an example of relational aesthetics. It touches all bases, without becoming tedious or hectoring. ... Many artists, from Hans Haacke to Daniel Buren, Cildo Meireles to Allan Sekula, have made work which offers a critique of the institution that houses it, and the structures, financial and ideological, that support it. What State Britain offers is a sort of portrait of British institutions at a time of war, of the lip service government pays to dissent, on the attacks being made on our freedoms in the name of security, on the impotence of protest and of art itself as a form of protest. How rich this work is, and how saddening our state."

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