The Turner Prize is always exciting due to the vast differences in each exhibitor’s work and this year it is no different in both discipline and voice. This year saw the opening of the Tate Tank and one wonders if that may have had some sort of influence on the choice of nominees for this years exhibition. Or perhaps the Tate Tank and Turner Prize are rather following the popularity of different art forms in the last decade.

            The show begins with Paul Nobson’s pictorial storytelling of “Nobson Town” which he has been growing since its creation 1996. The first impressions are very formal, marble statues and monochrome drawings are laid out traditionally and doesn’t instantly command the space but rather draw you in for a closer inspection. The large drawings of buildings in Nobson are spawned from roofs that camouflage typography spelling out the piece’s name. The world becomes fascinating and technically awe-inspiring yet there’s a constant distance. The images seem to reflect Japanese zen gardens or American rocky desert but are just different enough to create a disconnect, emphasised by the playful monochrome rainbow. There’s a specific surreal world that Paul Nobson has obsessed over with careful construction. Wild organisms that look like turds live in this world, some with saddles waiting to be ridden, and for the first time Nobson’s turds become a physical marble spectacle reclining centrally in the room.

            A small room of photos introduces us to Luke Fowler. A series of photos in sets of two show us Fowler’s interpretation of the world, sometimes depressing and sometimes comical. Fowler suggests that “through every portrait is a self portrait” and this is certainly evident in his photography, which show subjects other than himself with a clear narrative relating to himself, as well as his film in his choice of editing – portrayal and thought projected in a pseudo-cinema. Like Paul Nobson before him, both are archivists and storytellers, recording their thoughts.

At 93 minutes long, Fowler’s film exploring the life of psychiatrist R. D. Laing refuses typical documentary format yet sticks to the length and archival form not entirely different. There is a definite vibe of the frustrated filmmaker at hand. The narrative rotates endlessly with a clash of image and sound that can be funny and revealing. Initial perceptions are challenged and contrasted through his meticulous editing. Occasionally however the film starts to feel a little “Tree of Life” and becomes unclear and flowery, albeit a decrepit autumn leaf.

            Elizabeth Price’s exhibit seems relaxing first compared to the previous film due to a casual seating arrangement and a little more light in the room. A more traditional video art screening setup. However a rigidly designed propaganda-esque filmic collage of church and death and dance kick starts. The rhythmic editing builds to a chorus of dancing and doom recounting the deaths of people stuck in a Woolworths in the 60s. The clapping beat withers out at the feverous climax and becomes unnerving like a fire. The typography however is precise and juxtaposed with the material it is always treated at an arms length and quite cold. What message is put across here is unclear and ambiguous but the experience is like a brief trip down the rabbit hole.

            Performance art makes its first appearance ever at the Turner Prize this year. Spartacus Chetwynd’s imagination is on full display. Nothing is held back; a lot of energy with ramshackle construction. From the paper print outs defining the space, to the pagan like dance and earthy costumes, a bold and unrefined pace separates this from the rest of the show. There is a lot of instinct and raw attitude that the other pieces have largely polished away. What you make of it will probably depend on your take on performance generally and the necessity of personal input – there’s no observers in this last exhibit.

            The entire show dabbles in madness and the experience seems to get more and more so as you flow through it. From imagined worlds to internal exploration to brainwashing to ritual. It explores different types of artwork in each room, even within each exhibitor. But it’s not so much the radical differences that will make it hard to judge who will win and who should win but rather the even caliber of the exhibits. There is a lot to sink one’s teeth into and many will leave as mentally knackered as we were, but it is certainly interesting and (as is not always the case) we are interested to see who will be judged winner.

Turner Prize 2012 runs at the Tate Britain until 6^th January 2013, and the winner will be announced on December 3^rd by Channel 4. For information on exhibition times click here.

James George and Milly Nicholson