Tate Britain's Art Now programme reflects current developments in contemporary British art. It consists of up to five exhibitions a year which demonstrate the quality and variety of new art in the UK.
Current and forthcoming Art Now exhibitions
A group exhibition including paintings, sculptures and video by Helene Appel, Frank Auerbach, Glenn Brown, Richard Deacon, Brian Griffiths, Des Hughes, Simon Ling, Eduardo Paolozzi and Emily Wardill.
Delhi-based Raqs Media Collective has been producing innovative projects since 1992. The Surface of Each Day is a Different Planet is a newly commissioned film installation combining historical photographs found in London with recently shot video from Delhi and elsewhere.
Past Art Now exhibitions
Campbell's film Bernadette 2008 portrays the life of Bernadette Devlin, an Irish Socialist and Republican, political activist and the youngest female British Member of Parliament.
Stefan and Franciszka Themerson are considered to be the most important experimental film-makers in pre-war Poland. Their last three surviving films are presented in this Lightbox display.
A sheet or pasted together page of newsprint gives Tony Swain both the physical base and conceptual starting point for his evocative and dreamlike paintings. Swain has created new work for the Art Now space.
Art Now presents a series of works by British-born artist Hurvin Anderson. Anderson's paintings engage with the traditions of landscape painting and the history of abstraction. Born in Birmingham of Jamaican parents, his pictorial world has been shaped by his background, drawing on the influence of both regions.
Alongside their individual art practices, Rosalind Nashashibi and Lucy Skaer have been making collaborative works since 2005. Their two films Ambassador 2005 and Flash in the Metropolitan 2006 focus on the act of looking and the transformative potential of film. One of their most recent collabroations is an installation for this year's Berlin Biennale, which explores ideas of images-making and metamorphoses in two and three dimensions. Nashashibi and Skaer will be creating a new installation for the Art Now space.
For Art Now guest curator Ryan Gander has investigated ideas that have arisen in his own practice, including chance encounters and the playfulness of random occurrences. Gander has selected works from the Tate Collection and has also invited artists to engage with this selection and the notion of collecting.
Juneau Projects was established in 1999 by artists Phil Duckworth and Ben Sadler. Their work incorporates video, sound and performance-based installations that explore the desire to escape back to nature in the digital age.
Alan Michael is a painter who lives and works in Glasgow. He is interested in the idea of things colliding and works a puzzling and eclectic array of imagery into his canvases.
This exhibition brings together five artists whose paintings, sculptures and installations take found objects, images or substances as a starting point. The artists are Karla Black, Alice Channer, Dee Ferris, Anthea Hamilton and Katy Moran.
Breda Beban’s film installation The Most Beautiful Women in Gucha 2006 looks at the authenticity of documentary footage and how postproduction techniques can begin to turn it into fiction.
Seb Patane’s archive comprises found imagery, drawings, sound and occasional live elements which he orders and assembles into stylised and pared-down tableaux.
Art Now and commissioning agency Electra present a day of performance works that explore ideas of participation and storytelling, featuring Melanie Gilligan, Emma Hedditch, The Bohman Brothers, Olivia Plender and Janice Kerbel.
Goshka Macuga’s sculptural environments include unlikely displays of other artists’ work alongside disparate collections of objects thus blurring the roles of artist, curator and collector.
Christina Mackie is best known for her composite sculptural installations which unite disparate elements in a state of temporary synthesis. The large huts have been conceived especially for Tate Britain’s Sculpture Court.
Peter Peri's dark, intensely worked paintings and highly detailed drawings exhibit an almost alien logic that disorientates our understanding of perception.
Kate Davis's installations imbue the familiar and mundane with a sense of estrangement, carefully orchestrating our physical encounter with the work.
This event features a new performance by Sue Tompkins, a 'living sculpture' by Joanne Tatham and Tom O'Sullivan and new work by London-based artist Rory MacBeth.
Raqib Shaw’s extraordinary paintings captivate the eye with their rich colours and intricate detail.
This exhibition features Duncan Campbell's new work, Declan Clarke's video Mine are of trouble, and Emily Wardill's film Born Winged Animals and Honey Gatherers of the Soul.
Set in the small town of Parres this trilogy of films explore the construction and break down of pictorial illusion by deliberately making visible the processes of film and painting.
For her new exhibition, From hard to soft, Karin Ruggaber has created wall-based sculptural objects from a variety of tactile materials including silk, concrete, wood and felt.
For the Sculpture Garden, Richard Hughes has created a three-dimensional replica of the lens flare that flashes across the image when filming in strong sunlight, a phenomenon steeped in nostalgic sentimentality.
Jamie Shovlin’s work questions the way in which we map and classify the world around us in order to understand it. For Art Now, Shovlin has created new work which uses the conventions of museological display and wildlife documentaries.
This is exhibition in the Art Now Lightbox series and presents film and video work by Suky Best & Rory Hamilton, Craig Mulholland and Stephen Sutcliffe.
Silke Otto-Knapp is a painter who works in the often-marginalised medium of watercolour. Unlike traditional watercolourists Otto-Knapp works on canvas, which allows her to repeatedly wash down her images, reworking them layer by layer, and therefore create pictures of great translucency and delicacy – effects enhanced by her recent use of silver and gold pigments.
In Martin Westwood’s installation, fade held, we are confounded by a multitude of images and forms that appear at once both familiar and strange. Scanning the room we register everyday scenes of retail, advertising and business, each populated by customers and company professionals engaged in moments of exchange or transaction.
Ranging from three-dimensional models of the rods and cones of the eye to large-scale screenprints and traditional portrait painting, Michael Fullerton's works explore the processes involved in the recording and transmission of information.
Italian born Enrico David produces sculpture, painting and installation, but drawing is his usual starting point. His body of work to date shows a complex and constantly evolving personal culture of aesthetics.
This is the fourth in the Art Now Lightbox series which focuses on artists' film and video. Featuring work by Inventory, Damien Roach, Matt Calderwood and Steven Claydon.
Andrew Grassie is a painter whose works engage with complex ideas. Grassie’s starting point is a re-examination of the fundamental question of what to paint. He turns this question on its head, producing paintings which present a series of compelling propositions about painting itself, recording and representing scenarios such as the circumstances of their own production or display.
‘The Visit’ is a two-part video installation in which repeated scenes of a mysterious figure pacing in an empty landscape are contrasted with a series of conversational exchanges between a group of young women.
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Thorpe has created an installation which positions landscape collages - made from a rich variety of materials including paper, wood, glass, dried flowers and slate – alongside sculptural objects.
Claire Barclay’s carefully composed environments comprise multiple elements which often respond directly to the specifics of a given space. They combine hand-crafted objects with those manufactured to her own specifications and more improvisatory elements constructed in situ.
Muntean/Rosenblum’s work appropriates adolescent figures from fashion or lifestyle magazines, transforming them into strangely compelling scenes which question the possibility of spirituality in contemporary society.
These grand canvases betray Nigel Cooke’s anxious preoccupation with the heroic ambitions of artists of the past, invoking a tradition of landscape painting which celebrated the sublime power of space.
Ian Kiaer brings together two ongoing projects inspired by the landscape paintings of the sixteenth-century artist Pieter Brueghel and the working spaces of the philosopher Ludwig Wittgenstein.
Lucy McKenzie creates, curates and collaborates, and skillfully mixes high art and history with pop culture, creating a unique discourse between past and present.
David Musgrave creates understated yet poignant works which demand a level of scrutiny and contemplation rarely encouraged in most forms of contemporary culture.
Roger Hiorns makes works of art whose particular aesthetic lies somewhere between the representational and non-representational, and so disrupts our expectations of the boundaries between them.
Mark Titchner is fascinated by the myriad systems of belief that permeate contemporary culture. He often revisits defunct and outmoded philosophies, especially those born out of an avant-garde idealism which has long since waned.
The opening scenes of Zarina Bhimji’s Out of Blue reveal the breathtaking landscape of Uganda. However, almost immediately this luscious vista is disturbed by the murmur of voices and the crackle of flames. The film shows various places which suggest elimination, extermination and erasure.
Matt Franks is one of a new generation of British sculptors whose work is made from mass-produced industrial plastics and everyday throw-away materials, and includes a wide range of references to high art and popular culture.
Journeys, both literal and metaphorical, are an important element of Ori Gersht's art and his recent work has developed through a series of trips made to places of significant historical interest to him.
Goodwin works with both still and moving images to investigate the way we interact physically and psychologically with urban spaces. In Closer (video installation) , Goodwin moves through the city after dark filming solitary individuals seen in brightly-lit buildings.
Lucy Gunning presents a new work entitled Intermediate II, an installation which brings together both sculpture and video.
The exhibition explores the impact of commercialisation on the Internet, an issue that has greatly concerned online artists over the last five years. The rapid growth in the use of the Net - partly business, and particularly finance-led, and partly brought about by the unified interface of the World Wide Web - has not only given artists a large potential audience for their work, but has also profoundly changed the character of the online community.
Through this series of images, Åsdam examines the psychological and sociological impact of the architecture of the city and how it controls its unseen inhabitants.
Dion's work incorporates aspects of archaeology, ecology and detection. He is fascinated by the principles of taxonomy, the systems of classification by which people have sought to bring order to the world.
Simon Callery does not want his paintings to be understood, rather he wants them to be perceived, sensed in the same way that the play of light or a textured surface is sensed in the world beyond the gallery.
Shown here for the first time in Europe, Unland is a series of three recent sculptures by the Colombian artist. For the artist the title evokes the continuing displacement caused by the violence of the civil war in Colombia.
Consider what it is like to travel through an underpass, such as you might find in any city in the western world. It is an experience that most of us have had, at some time or another.
Bustamante has described the works as a 'walk through the world', a series of personal encounters with different sites on different continents.
Fiona Banner is fascinated by the near impossibility of containing action and time in a prescribed form. She is best known for making hand-written 'wordscapes' that retell in her own words entire feature films or events.
Sophie Calle is fascinated by the interface between our public lives and our private selves. This has led her to investigate patterns of behaviour using techniques akin to those of a PI, a psychologist, or a forensic scientist.
All of Graham Gussin's work engages in some way with the human experience of the infinite. He is conscious that our perception of the world is manipulated by a complex layering of mass communications and consumer culture.
Paul Winstanley paints from photographs, generally ones he has taken himself. It is during the process of transcription from two dimensional photographic surface into paint that the final picture emerges.
Oxford Street is a place where different people mix; tourists, shoppers, day trippers, workers and locals. There are grand department stores, chains and down market retail outlets.
The sound of helicopter blades, of high altitude turbulence, even perhaps of gunfire, seems to ricochet off the walls as a mass of beating wings cascades across the screen.
Prendergast's City Drawings are based on contemporary maps of the world's capital cities. However, she deliberately by-passes systems of orientation and classification, divesting her source material of its coded information..
An installation comprising 33 figures in terracotta, metal, wick, paraffin and flame. 12 figures representing the Apostles surrounded by a multitude of 21.
Tacita Dean has often worked within the framework of cinema. In Foley Artist she principally uses sound, rather than pictures or dialogue, to convey a story, and to evoke its mood and setting.
Graham made 'Hypermetropia' in early 1995 while working in Japan on a five year project, entitled 'Empty Heaven'. This larger body of work was exhibited and published in the autumn of 1995.
'Hypnodreamdruff' begins as a dream related by Tricia, flatmate to Emma and Pauline. Tricia describes a night-club called The Hungry Brain which is a meeting place for around a dozen characters.
Two jackets hang on the door to Balka's studio in Otwock, near Warsaw. Salvaged from a derelict site and no longer worn, they still denote a human presence, a domestic space.
Since Portrait de famille (Family Portrait), 1991, I have been directing my attention towards a vast and perplexing field of investigation which embraces the questions of reproduction and heredity, of the origin of being.
Emotional Detox is a series of sculptures made of lead and cast from Marc Quinn's own body. Detoxification is shown both as an overpowering physical convulsion to rid the body of poisons, and as a psychological battle.
Matthew Barney's work combines sculpture, performance and video. In installations he has been making over the past five years, he introduces references from diverse cultural activities.

