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New Contemporaries 2010 is very proud of the democracy that it promotes in exhibiting film and video work. Utilising the web as a free-to-access and uncensored exhibition space, we have shown, do show and will continue to show the work of established, international artists alongside younger, emerging artists.

Democracy is inherent within the remit of New Contemporaries. Being entirely independent of the art school system, the organisation can (and rightly does) claim to be one of the most democratic open-submission exhibitions in the UK.

This year's New Contemporaries selection includes the largest amount of artists working in film and video than in the exhibition's sixty-one year history. have invited a selection of this year's artist-filmmakers to highlight some of the most exciting moving image talent to have emerged into the professional art world in recent time.

Agnieszka Kucharko, Edward Thomasson, Greta Alfaro, Jessica Harris, Kristian de la Riva and Sophie Eagle represent the diverse cross-section of artists and styles of practice that is archetypal of the type of exhibition in the UK gallery system currently. Edward Thomasson's staged site performances counterbalance the adroit technical expertise that Jessica Harris has wonderfully created in her linguistic translation of the rain. Her work, in fact, is indicative of an interesting technical trend occurring in the moving image, as are the observations of Greta Alfaro's camera - almost timeless in its exploration of natural behaviours. Agnieszka Kucharko and Sophie Eagle present us with what seem to be endlessly auto-destructive efforts, a social counteraction against Kristian de la Riva's graphically - and cartoonishly - violent acts one (perhaps is forced?) to commit to oneself. spoke to the participating artists one morning at the ICA, home this year to the full New Contemporaries London exhibition. At a time when government support for the arts has been subject to one of its most drastic cuts, how are these artists approaching their professional practice and what considerations are they having to take, where previously they may not have? New Contemporaries may be one of the best elevations for these artists but, in fact, is the UK now the right place for them to grow? Supporting this exhibition is a series of films made from those conversations.