hello and welcome to the 2017 turner prize award ceremony, brought to you live from hull, the 2017 city of culture. in a few minutes' time, the biggest prize in british art will be awarded. i'm jane hill, here at the magnificent setting for the ceremony, hull minster. the turner prize is of course being exhibited here in hull because this is the city of culture for 2017. and i'm rebecca jones. i'm at the ferens gallery in hull, where the four nominated artists are exhibiting their work. i'll be giving you your own private view in just a few minutes‘ time. more from rebecca to come. taking us through the next half—hour of our special coverage is sarah munro, the director of the baltic in gateshead

and alistair hudson, soon to be installed as the new director of the manchester art gallery and the whitworth. welcome to both of you. a quick thought from each of you on this year's short list and what it has that eu? it is a very considered short list, one where all the artists show an element of handicraft and thoughtfulness and humanity. personally, iwould like to see more politics and a bit more over talking about what is going on in the world, which is there, but could be raised up a bit more. some people would say that is that quite strongly. sarah, your thoughts? again, it is a very considered short list. it absolutely represents what the british art scene is about just now, that sense of practices coming across different art forms,

different skills, ideas, knowledge, but also the way that artists are crossing borders. there is a real diversity with where people were born and grew up. it reflects where we are and where we are working. i like that quite politics that is within a lot of the work. lots to discuss. we will talk more in a moment. let's hear more about the work of two of the four short listed artists this year exhibiting at the fere ns artists this year exhibiting at the ferens art gallery not far from here. let's go to rebecca jones. ferens art gallery not far from here. let's go to rebecca jones. in my humble opinion, this year's turner prize is almost as much about politics and the world we live in today as it is about art, and i think if you look at the work of andrea buttner here, you will see what i mean. she is interested in poverty, so she has these eight giant woodcuts of wooded beggars with outstretched, beseeching arms. this entire wall is covered in

high—vis jacket material and on it, what appear to be three large, a bstra ct what appear to be three large, abstract pictures. but here, this is an enlarged fingerprint that has been left smeared on a smartphone screen. to help makes into for this, am joined by one of the co—curators of the exhibition this year, george vaizey. of the exhibition this year, george va izey. two very of the exhibition this year, george vaizey. two very different sorts of works. what is the link here? andrea buttner is interested in the value. we can see with these etchings, she takes everyday marks from iphone, scaled up and make them beautiful, focusing our attention on things we wouldn't look at. as well as wanting us wouldn't look at. as well as wanting us to look across at her work, andrea buttner also wants us to look down at it, so we have this piece of blue silk fabric which she has laid out on a low table. why is that? blue silk fabric which she has laid out on a low table. why is that7m is handmade silk made by benedictine

nuns, and we are looking down at it because we are enacting the representation of the beggar. so we are bowing down and there is a sense of humility and modesty too much of her work. thank you. i have a surprise for you now, especially for all of you who associate the turner prize with unmade beds and pickled cows, because i am going to show you some paintings. they are the work of hurvin anderson. do not adjust your set, because his landscapes are inspired by no less than co mforta ble. inspired by no less than comfortable. look at these lush, verdant comfortable. look at these lush, verda nt forests. comfortable. look at these lush, verdant forests. you can see the figure of a boy in the branches. hurvin anderson is the only man on the short list. his parents are from jamaica and he draws on his caribbean heritage in his work as well as his own life growing up in birmingham. this picture is called izzy tokyo to be black it is set in a barbershop —— it is called izzy tokyo to be black —— is it okayed to

be black. you can see black figures like martin luther king and muhammad ali. sacha craddockjoins me. we have two distinct works, the barbershop and the landscapes. what is his prime concern? as a painter, his concern is to paint what painters have headed for a long time, the interior or the exterior. we deal with a barbershop and there are portraits of famous people. here, we get less of a representation of famous people and here we get the space emptied out. so there is not necessarily narrative here, but more a sense of creating a place. the snippets that have been left are the only kind of story. the rest is reflective glass which is more abstract, a real stillness. but if we move over to

the landscape, here we have two, one more tropical. in the centre of the painting, you do not have someone showing off and making something gorgeous. in a way, it is dull. but what you do have is involvement from the outside going in with this railway track leading through a loser is space. —— loser in space. perhaps this is an amalgamation of many places for anderson, places he might know or imagine. not somewhere real, but an amalgamation, something to take us somewhere else. sacha craddock, more from you later. so those are the first two artists short listed for the turner prize, hurvin anderson and andrea buttner. thanks, rebecca. let's mull over some of that with sarah and

alistair. sarah, iwould some of that with sarah and alistair. sarah, i would like to pick up on what the turner prize is doing for hull. in your previous role, you were instrumental in getting the turner prize to glasgow. what does it do for a city when you get this prize out of london and to different audiences? it means a huge amount. in glasgow, we could have worked with any of the four artists that were short listed, but that way of working and collaborating with tate and the brand, the visibility enables it to have this resonance that goes out to huge numbers of people who would not normally consider coming into a gallery or an art institution. so it democratises the sense that they can go in and have an opinion. for me, one of the most important thing is that diversity of the audience. they are encouraged to have different

opinions. they can like things or disagree with things. it gives the centrestage to thinking about artists and their role in society and culture. alistair, the head of hull 2017 described this as a serious short list for serious times. so i am struck that you felt it was not political enough. but do you think that this is a more serious year? certainly, all the artists on the short list are considering politics and social concerns. but they are operating within the canon of the art world or a world, and there are many art world and many ways of working. it is bizarre to me in some ways that the artists who are describing the issues of the world are not actively buying to make things happen and change things. but they are all making an attempt in one way or

another. very interesting. alistair and sarah, thank you. let's hear more about the other two short listed artists. back to rebecca. the turner prize may have come to hull this year, but that inside this specially constructed cinema and you are immediately transported to gaza. this film is the work of rosalind nashashibi. at the age of 44, she's the youngest artist on the short list this year. she was born in croydon, but her father is palestinian. herfilm croydon, but her father is palestinian. her film gives croydon, but her father is palestinian. herfilm gives us a glimpse into daily life in gaza. so we see people eating, singing, children playing the streets. and she merges documentary material that she merges documentary material that she has shot with stage scenarios. the curator george vasey is back with me. why did rosalind nashashibi wa nt to with me. why did rosalind nashashibi want to make a film set in gaza? she was invited by the imperial war museum a few years ago to go to gaza. she made a film that wanted to

look at the effects of the political situation on the people of gaza. every so often, the film looks into animation, why? she had to leave early because the israeli bombardment and animation allowed her to finish the film, but also articulate the sense of heightened reality that she encountered. thank you for your time. this is one of two film is being exhibited by rosalind nashashibi. the other is set in guatemala and explores the relationship between a mother and daughter who live in a big house with a large, overgrown garden. and they are both artists, and receive they are both artists, and receive the daughter dragging the large ca nvases the daughter dragging the large canvases through the foliage. i suppose both films taken together give us an insight into two very different parts of the world. let me show you the work of the oldest artist on the short list, lubaina hamid. she was born in zanzibar, but

110w hamid. she was born in zanzibar, but now lives and works in preston. her chief preoccupation as an artist is black identity and the representation of the people in art. look at this dinner service, which she has painted over to tell the story of the abolition of slavery. here, the centrepiece of her exhibition is this large, theatrical stage set, peopled by these large caricatures. you can see margaret thatcher flirting with ronald reagan. and the whole scene is being survey by this imposing black figure. the curator sacha craddock is back with me. lubaina hamid is a very political artist. talk us through what she is trying to say and do here? she is a truly political artist. here, and do here? she is a truly politicalartist. here, she is making a two—dimensional painting by

hogarth, marriage a la mode, which isa send—up hogarth, marriage a la mode, which is a send—up of 18th—century court life, into a three—dimensional stage. this was made in 1986, and as you said, we have all these different characters. we have a concentration of courtly folly of people of influence at any one time. so we have all these different things. it is painted in a perfunctory way. it is not as though lubaina hamid wants to say this is valuable art, it is more that she wants to say something quickly. the most important thing is the fact that people are changing place within the painting. so instead of going from the black people being servants, at the front we have this amazing young woman who looks as if she has changed circumstances. she is reading philosophy and finding out about her origin. she is

representing what lubaina hamid wanted to do, which is to represent young black women artists like herself at the time. so there you have it, and lubaina hamid. before that, rosalind nashashibi. you have 110w that, rosalind nashashibi. you have now seen the work of all four artists short listed for the prize. the question is, who will win? and that question will be answered in the next few minutes. we are building up to the exciting part of the evening. the award will be announced by goldie. let's hear first from maria balshaw, the director of tate. ladies and gentlemen, i am maria balshaw, director of tate. in a moment, i will be introducing our special guest, goldie mbe, to reduce the winner of this year's turner prize —— to introduce the winner. a star musician and a huge advocate of british creativity, goldie is also a visual artist in his own right and a massive champion of the role that

artists play in the world. at tate, oui’ artists play in the world. at tate, our mission is to promote public understanding and enjoyment of british modern and contemporary art. we wa nt british modern and contemporary art. we want as many people as possible all around the uk to have opportunities to see and engage with the greatest art of today. that's why every other year, the turner prize is staged in a different city outside of london. tonight, we are in the gorgeous hull minster, celebrating the turner prize, which has been hosted by hull as their year as has been hosted by hull as their yearas uk has been hosted by hull as their year as uk city of culture. huge congratulations and thanks are due to the team at hull 2017, the ferens art gallery and hull city council for staging the exhibition, which has engaged and inspired people of all ages across the city and those

visiting the capital of culture. there have been 90,000 visitors, we have heard, already to the exhibition. we at tate are hugely proud of being part of making art pa rt proud of being part of making art part of the daily life of this fine city and through this, shifting perceptions about hull now and for the future. to everyone watching at home, you have only until the 7th of january to see the exhibition here at the ferens art gallery. so come if you haven't already. i would like to offer my sincere congratulations to offer my sincere congratulations to ourfour to offer my sincere congratulations to our four nominated artists, hurvin anderson, andrea buttner, lubaina hamid and rosalind nashashibi. i would also like to thank ourchairof our nashashibi. i would also like to thank our chair of ourjury, alex farquharson, directorat thank our chair of ourjury, alex farquharson, director at tate britain, and his jury farquharson, director at tate britain, and hisjury colleagues. this year, we opened the prize up to

artists of all ages, recognising that artistic breakthrough and the most exciting work made in any year can happen at any point in an artistic career. the turner prize celebrates the best of british contemporary art in all its diversity and variety. this year's show is no exception, with painting, video, sculpture, ceramic, installation and print all featuring. i think everyone that has and will visit will find something that they love, something that challenges them and something which makes them see the world in a different way. as hull said when we opened the turner prize here, whatever you think, you are right. it now gives me great pleasure to introduce goldie to announce,

finally, the winner of the turner prize 2017. applause. good evening, ladies and gentlemen, boys and girls. i'm really pleased to be here in hull, because i was here 20 years ago, partying and raving in dirty underground clubs. and it's crazy to see how this city has developed. and especially in a year where you guys have been given this cultural city award and great things have been happening here ever since. for someone things have been happening here ever since. for someone like myself who is always surrounding myself in art, i have always had mentors who are artists that gave me guidance. i was really chuffed when i was asked to come here and be at the ceremony and to announce this year's winner of that turner prize. i have been at

the ferens art gallery all afternoon, looking at each of the artists' work thoroughly. it is one of those things when you are looking at an artist's work, i get inspired. and i think all of you who have been there and people who will be visiting will be just as inspired. it's a strong line—up. the work is very diverse. i think you are all winners, in my eyes. art and artists can offer a winners, in my eyes. art and artists can offera mirror of winners, in my eyes. art and artists can offer a mirror of society. it can offer a mirror of society. it can show us how fragile we are and how strong we are also. and there is no right or wrong, it's about the art. it is subjective and all of that. with all the confrontation we are having in the world right now and the pressure of society, it's good that this country is digging deep and the artists are going further to reflect on their social views and political concerns in a

way which is really upfront. we need more art to do that, to challenge perceptions. i have my own favourites, we all do. and you are about to find out who is this year's turner prize winner. so... the winner of this year's turner prize is lubaina hamid! good evening. thank you, panel. first of all, that the people who have stopped me in the streets of preston and hull to wish me luck, thank you, it worked. thank you to the teams at the harbour in blackpool and belmont and longbridge for taking such care. thanks of

course to the university of central lancashire for giving me enough rope to develop the making history is visible project. i know dozens of strong, clever artists and curators, mostly women, and have talked to one 01’ mostly women, and have talked to one or other of them everyday. i them dearly. thank you to matt burchill for being amazing artists and clever assistance and the kindest men i have ever known. thank you to the hollybush gardens gallery for giving me both time and space. to the art and cultural historians who cared enough to write essays about my work for decades, thank you. you gave me sustenance in the wilderness years. thank you to susan for never allowing me to give up or throw away my work and to patricia for helping us my work and to patricia for helping us both. thanks to my mother, for letting me do what i wanted as a teenager as long as i came home by

10pm. i quickly learned to squeeze thank you to richard'blisssfof me thank you to rioha'rd'blisssfof me carry - finally, thank you to rioha'rd'blisssfof me carry. finally, thank helping me carry on. finally, thank you to artist and photographer ingrid pollard for being a dear, sweet friend, even though i love to show off and dance into the early hours. thank you. lubaina hamid, congratulations, winner of the turner prize 2017. you are live on bbc news. what does this mean? it's amazing. it's a complete shock to me. i didn't predict it.

you sounded very composed. i'm not sure i believe you are shocked. you sounded very composed. i'm not sure i believe you are shockedlj you sounded very composed. i'm not sure i believe you are shocked. i am shocked. i am very struck that you thanked, as you put it, those who supported you in what you called wilderness years. i was talking to someone wilderness years. i was talking to someone involved in the prize earlier today who said he felt it was time to recognise people who had been overlooked for a long time. is that how this feels to you? well, i was overlooked by critics and press, but i was never overlooked by art historians or curators or other artists. so it's like being in the public eye, yes but people have helped me develop my work and i was never overlooked. you tell stories and you talk about needing to tell stories that aren't told enough or not ever told. that is a key theme of your work. i am struck by that because it seems that you have been exploring that seem very fruitfully for decades. is this the art

establishment only just for decades. is this the art establishment onlyjust catching up with you? some of the art establishment are catching up, yes. the time is sometimes right for something. do you know what i mean? yeah. and going forward, does this affect your work? you are a professor of contemporary art as well. does it affect what you say to your students? they might take more notice of me, i guess, when i walk ina room! notice of me, i guess, when i walk in a room! it is like when people win the lottery, they say it won't make any difference. it will not make any difference. it will not make any difference. it will not make a difference to the kind of work i make, but it will make a difference to the people who have supported me all these years. it sounds like a cliche, but i have won it for them. lubaina hamid, congratulations. turner prize winner

of 2017. i will let you get back to your friends and family. enjoy your celebrations. so that is lubaina hamid, the winner of the turner prize 2017. ceremony row and alistair hudson were talking to me earlier. —— sarah munro and alistair hudson. it seems invidious to ask whether that was the right choice, but i have to. we are delighted. we are doing a show, and we are absolutely thrilled. this is an artist whose work, let's be honest, artist whose work, let's be honest, a group of 1980s black artists in britain, their story was not told and it was not possible in that era. now in this year, with shows around britain where it is now current,

this question around the 80s and where we have got to its hugely current. but i am struck by that in the sense that there will be people watching this who say, isn't the turner prize meant to be about work in the previous year? is this now about looking further back? in the previous year? is this now about looking further back7m in the previous year? is this now about looking further back? it is about looking further back? it is about this year now. lubaina has shown her work across britain in the '805 shown her work across britain in the '80s black art show in middlesbrough. she has had a solo show. only this year as she had gallery representation. this is a black artist in britain who has been working for over 30 years who has onlyjust had gallery representation. it is a significant moment and one in which a lot of balances have been redressed. so this is about this year now, not 30 years ago. does that then influenced artists working in britain today, and what does it do for the viewing public, those of us who want to see this work? artists make work over a

long time and a small number of those rights and get that moment. this is about institutions taking responsibility and being much more aware of those who are in and out, about exclusion and inclusion. she is also making great work now. all will be exciting for lubaina now is to be, in a way, floyd, and moving onto the next —— she is freed. i'm excited to see where this goes for her now. a very exciting year. alistair and sarah, lovely that you could be with us for our special coverage of the turner prize 2017. you can see the work of lubaina hamid and all the short listed artists, of course, at the ferens art gallery here in hull. it is available to see until the 7th of

january. we leave you on our special coverage with the work of this yea r‘s coverage with the work of this year's winner, lubaina hamid. the uk's next named storm is approaching, the worst effects of which will be felt in northern scotland on thursday. in the meantime overnight, it turns breezy across the uk, especially in north—west scotland, which is wet throughout the night. but patchy light rain and drizzle towards wales and western england, and temperatures hold up overnight with plenty of cloud around. there will be some brighter breaks tomorrow, especially to the east of higher ground. it gets windier through the day across the uk, with rain becoming more widespread in scotland and northern ireland, although aberdeenshire should stay dry. much of england and wales will stay dry and for many of us, double—figure temperatures. the wind is the main story on wednesday night into thursday. gales develop across western areas. but from storm caroline, the worst effects will be felt in northern scotland on thursday, where the gusts could reach 80 mph

and we are expecting some travel disruption as a result. we'll keep you updated. tonight at ten: an official review says the manchester bombing — which killed 22 people earlier this year — could have been stopped. the bomber, salman abedi, had been a subject of interest to m15, and opportunities to stop him were missed. a report by a former independent reviewer of terrorism legislation says the intelligence should have been acted upon. having received that intelligence, m15 should have opened an investigation and who knows what that investigation would have found. fact is, they didn't. we'll have details of the official review into the attack in manchester and those in london. also tonight... theresa may, discussing brexit with the spanish prime minister, says the uk is close to a deal to move on to trade talks. a decision by the international

olympic committee, to ban russia from competing at next year's winter olympics, after allegations