• Laure Prouvost, who makes films and sets them within atmospheric installations
• David Shrigley, who’s famous for his illustrations but also works in photography and sculpture
• Lynette Yiadom-Boakye, who paints portraits of imaginary people
• And Tino Sehgal, who choreographs live performances he calls ‘constructed situations’.

It’s one of the youngest shortlists in recent years, showcasing artists from very international backgrounds. And their work is less self-consciously intellectual and perhaps more accessible than some of the work on the last few shortlists.

Penelope Curtis, director of Tate Britain and chair of the Turner Prize jury, told me: “You get David Shrigley’s cartoons which everyone loves in different ways. I think Lynette’s paintings, again, are very accessible and you don’t need to know that they’re imaginary portraits to enjoy looking at them.

“I think that Laure Prouvost’s installations are very sensitive and feminine and you can easily engage with those. And I think that Tino’s work is extraordinarily ambitious but, again, stretches the sense of what is art and what isn’t art?”

Tino Sehgal is a British/German artist whose work combines dance, performance and audience interaction. But it can’t be sold in any conventional sense and he doesn’t allow it to be photographed or filmed.

Lynette Yiadom-Boakye is the first black female artist ever to be shortlisted. Her oil paintings put black subjects at the heart of a tradition of European portraiture from which they’ve largely been excluded. And her fictitious characters tend to be strong and enigmatic, engaging the viewer’s imagination.

David Shrigley (above, Headless Drummer) is already well known for work in a variety of media which makes witty, wry and macabre observations on everyday life. But as he uses a deliberately limited technique to communicate his ideas as simply and directly as possible, he’s often been overlooked by the Art Establishment – until now.

And Laure Prouvost is a French artist living and working in the UK. She produces films and installations which can be surprising and sometimes unsettling – and aim to engage all the senses and emotions.

Earlier today I spoke to her in her studio in east London. She told me that she was excited about the Turner Prize nomination introducing more people to her work. “I’ve had a lot of chances to try and show my work but possibly in a smaller, tighter group of people already in the art world,” she said. “So suddenly you’re exposing and exhibiting yourself to a larger audience.”

In pictures: Turner Prize 2013 nominations

This year much of that audience will come from Northern Ireland – as the Turner Prize exhibition will be on show in Derry/Londonderry as part of the UK City of Culture celebrations. It’s the first time the prize has travelled outside England.

I spoke to Graeme Farrow, executive programmer of the UK City of Culture. “I’m delighted with the shortlist,” he said. “I think it’s a very diverse and open-hearted list. And I think it’s perfect for Derry. I think that people will really embrace it. I think that it will arouse curiosity and excitement and I think there’s a darkly humorous element which I think will play very well in Derry too.”

Another change this year is the absence of controversy, usually a Turner Prize trademark. It’s something which more sceptical members of the public might find disappointing – however popular the shortlist.

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Here was a man who embraced elements of melodrama and high emotion; one whose colourful sense of style was impeccable and instantly recognisable; one whose fictional world was populated by a cast of gay men, strong women, drag queens, prostitutes and transsexuals; one who wasn’t afraid to be influenced by pop culture as well as high art: and – perhaps most importantly – one whose irreverent sense of humour I found utterly hilarious.
 
Women on the Verge of a Nervous Breakdown, Tie Me Up! Tie Me Down!, High Heels…  Almodóvar went on to direct a string of frothy sex comedies set in his native Spain which together captured the spirit of the social phenomenon known as the ‘destape’ (or ‘lifting the lid off’), when Spanish society rushed to enjoy the new social and sexual freedoms which arrived with the end of General Franco’s repressive dictatorship.
 
But then, after the relative failure of Kika in 1993, there was a sudden shift of gear. People started to say that Almodóvar was repeating himself, that he’d run out of ideas and that the joke just wasn’t funny anymore.  How wrong they were. 
 
In 1995 The Flower of My Secret introduced us to a new Almodóvar, one who was prepared to take us much deeper into his characters’ emotional lives and one who displayed a subtlety and sensitivity which surprised many of his critics. 

Films like All About My Mother, Live Flesh, Talk to Her, Volver and Bad Education revealed the mature Almodóvar to be a master filmaker adept at manipulating the conventions of genre, building structurally ingenious narratives, and creating satisfying and moving masterpieces – although I was relieved to see that they still contained flashes of that irreverent humour which had first seduced me in the 80s.  The transition was a triumph and Almodóvar went on to win every major film award in the world. 
 
But now he’s shifted gear again.  His new film I’m So Excited is a raunchy and riotously funny sex comedy very much in the vein of his early hits.  There’s none of the darkness or seriousness of his last film, the brilliant The Skin I Live In.  Instead, I’m So Excited is peppered with reminders of some of the light, breezy comedies which first introduced him to the public and several references to the heady, uninhibited atmosphere of Spain in the 1980s.  So what’s going on?  Intrigued to find out more, I headed out to interview the great director – and you can see it all online later - and on Channel 4 News tonight.

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And now for the first time, the programme also includes several films telling the story of older gay men and lesbians.

French documentary Les Invisibles introduces us to 11 gay men and women over the age of 70. The film Lesbiana catches up with key players in the lesbian feminist movement of the 70s. And Bette Bourne: It Goes with the Shoes tells the story of the now 70-something actor and drag performer who founded influential theatre company Bloolips.

Writer and co-director Mark Ravenhill told me why he wanted to make the film: “I think Bette himself is just an incredibly strong, funny, willful, difficult person who fascinates me,” he said.

“So it’s a very individual story but also along the way you do get a sense of the much wider history of what it was like to grow up gay during the war and then going through to the 50s and how repressed and tight that society was, and yet gay people still found a way to have fun in that context.

“And then gay lib, and then the whole drag commune movement he was part of, and the way he reinvented drag, and now he’s in his 70′s and that experience of being an older gay man, which you very see very rarely represented.”

Of course, this higher visibility for older characters on screen keys in to a trend across the film industry – as evidenced in The Best Exotic Marigold Hotel, Amour, Quartet and, most recently, Robot and Frank.

But it’s particularly interesting that the trend is now filtering through to the London Lesbian and Gay Film Festival, as the gay community is often criticised for being obsessed with youth.  And of all the different minority groups in contemporary Britain, gay men and women rarely grow up with parents from that same minority – so often have little sense of their cultural history.

Ian McKellen has just finished filming Vicious, a prime time sitcom for ITV1 about a gay couple in their 70s. I spoke to him about how he hopes gay viewers will respond to the series.

“I’d like gay people to know something about their history and I’d like them perhaps if they watch Vicious to not take them as models as to how to behave because they’re a pretty cranky couple who get by on being horrible to each other, although quite clearly they love each other.

“But there’s something heroic about survival, and there are plenty of older people around who’ve seen everything, you know. Who, when they were first making love, were breaking the law, for example. And then going through the terrible years when people were dying of Aids-related diseases and so on. There’s a fascinating history to tell.”

That history is present at the London Lesbian and Gay Film Festival in documentaries such as the Oscar-nominated How to Survive a Plague, which tells the story of Aids activists who took on the American government and healthcare industry in the 80s.

Festival programmer Emma Smart told me that she hopes this year’s programme will introduce younger generations of lesbian and gay film fans to their shared cultural history.

“You can only grow as a community and be a strong community if you understand where you’ve come from and the battles that have been fought,” she said.

“And I think this is why the festival this year is so significant, because we have got those documentaries about the movements that happened and the people that were in them telling their stories.  Because it’s so vitally important to tell everybody where we’ve come from, and some of our younger audiences just won’t know because they’ve grown up in a different generation where it’s actually much easier to come out and more accepting in society. So if they don’t know our past, how can they secure our future?”

Of course, the absence of older gay characters on screen in the past may have mirrored their low visibility in society. And as it becomes easier for each new generation to come out, there’ll be more openly gay men and women heading towards old age – and perhaps one day telling their stories at the cinema.

The BFI London Lesbian and Gay Film Festival runs until 24 March.

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Today it was announced that the new Literature Prize would be renamed the Folio Prize, after its sponsor The Folio Society.

For many, the new prize will be a direct rival to the Man Booker, which two years ago was accused of dumbing down when its judges – led by Stella Rimington – announced they were looking for “readability” and not just artistic excellence.

“It’s true that two years ago there were certain pronouncements by Booker judges which seemed to confuse the message about what the Booker’s priorities really were,” Andrew Kidd, founder of the new prize, told me, adding:

“And that did stimulate some pretty lively debate. What we decided was that rather than just harping on about this, if we do feel there’s a prize where the parameters are clear, where the way it functions is clear, what its priorities are clear – rather than just wishing something else was that way, why not create it?”

The new prize will be different to the Man Booker in that, rather than accepting submissions from publishers, it will consider books selected by an academy of over 100 critics and writers.

But Jonathan Taylor, Chairman of the Booker Prize Foundation, isn’t convinced by the new system:

“I fear it’ll lose something at the edges,” he said. “It’s been very noticeable with the Man Booker Prize in recent years that a lot of very fine work has come from new very small publishers.

“There’s also very good work coming out of Africa… Who’s going to notice that? Who’s going to notice the products of the little publishers? And if someone does, and I very much hope they will do, will there be a sufficient consensus within the academy to ensure that those books come through? It’s the quirky edges which I think may be lost.”

One of the writers sitting on the academy is Sebastian Faulks. “Some prizes, in order to generate publicity for themselves, tend to bring in celebrity chefs or ‘interesting’ judges’,” he told me, “And I think what the Folio Prize will do is have the same tenor, feeling, criteria every year by which it’s reaching out to its readers.”

I asked Andrew Kidd whether this a prize for readers, or critics who just want to show off their intelligence.

“It’s absolutely a prize for readers,” he replied, “The true measure of this prize’s success will be the thousands and eventually millions of new readers brought to these books which they might not have otherwise found.”

At the moment there are three major literary prizes open to authors writing in English.

The Women’s Prize, formerly the Orange Prize, honours the best work of “accessible” fiction written by a woman anywhere in the world.

The Costa rewards “enjoyable” work in five different categories – Novel, First Novel, Children’s, Poetry and Biography – as well as one overall winner which is crowned Book of the Year.

And the Man Booker goes to a single “intelligent” novel and is open to writers from the Commonwealth, Ireland or Zimbabwe. It’s still the most prestigious prize – for now at least.

But there’s already considerable overlap between the prizes.

Last year, Hilary Mantel’s Bring Up the Bodies won both the Booker and the Costa Book of the Year- and has just made the longlist for this year’s Women’s Prize, announced today.

I asked Sebastian Faulks if he thinks there’s room in the market for so many prizes – or is there a danger that people will lose interest? “I always take the Italian restaurant principle,” he said, “Two Italian restaurants next to each other don’t kill off trade, they bring in more. And I don’t think the Folio Prize is intended as a criticism of other literary prizes; it’s intended as a complement to them, in both spellings of that word.

“I think prizes, the argument is a rather boring reductive one, anything that brings attention to books is a good thing. But the fact that it’s a boring and reductive argument doesn’t mean it’s invalid.”

The shortlist for the first Folio Prize will be announced in February 2014, with the winner revealed the following month. Other writers hoping to win the £40,000 prize money might be relieved to hear that by then Hilary Mantel won’t be eligible.

All evidence suggests that every human civilisation has produced and enjoyed the narrative arts – so surely they must have a social function, which has evolved over the millennia? 

 
It was fascinating to chat about this recently with one of my favourite authors, Judith Kerr. 

Forty five years after the publication of The Tiger Who Came to Tea, the popularity of her most famous book shows no sign of waning – and children’s fiction is one of the few areas of publishing which is continuing to grow. 

All this despite the huge changes to childhood – and all the new pressures placed on children. 
 
But Judith Kerr thinks that, although the world in which children live is completely different to the one she was born into nearly 90 years ago, the experience of being a child is pretty much the same. 

 ”I mean, they do different things,” she told me, “They all have these electronic things, my grandchildren have, God knows what, ipads, whatever they are, but they’re much the same.

“They like hearing stories… I think it’s a way of finding out about the world. It’s a way of finding out what other people are like, of making sense sometimes of what’s happening to oneself. 

“You read something and think, he had the same experience and it was alright in the end – or not as the case may be.  I think that’s what it is really. 

“You’re on your own and there’s the world, the whole world.  And it could be threatening or full of possibilities and you want to get in touch with it I think.”

One of the play’s central themes is that we’re all ruled by our imaginations. As the character Theseus says, “The lunatic, the lover and the poet are of imagination all compact”. Over the years, directors have taken this as their cue to re-interpret the play, casting the characters as everything from circus performers to punks. And now it’s the turn of puppets.

“The play is about the imagination,” Tom Morris told me.

“It’s about people who fall so crazily in love that they do foolish things. And they end up in an environment where not only their shapes change but their hearts change. And the play keeps coming back to this subject of the imagination. And the language of puppetry seems a very freeing language to play into those themes.”

Adrian Kohler, Artistic Director of Handspring, agrees with him that puppetry and the play are a good fit – but for very different reasons.

“It’s such an elemental play,” he told me.

“It’s all about nature and nature going wrong and climates altering and, because in a way the fairy energy is all upside down and fairies are fighting with one other, it sort of talks about the world we’re in today. We don’t understand what’s happening to our planet, the climate is changing. So it feels like that’s the subject we want to address and a non-literary medium like puppetry helps us develop into areas of the play which aren’t necessarily there in the text but are there in the content.”

Earlier this week I visited rehearsals in Bristol and saw the puppets for the characters of Oberon, Titania – and a bumble bee. You can see others in this gallery here. And Adrian Kohler explained to me the theatrical rules of Handspring’s approach to puppetry. First of all, the audience is encouraged to look at the puppet and not the actor operating it.

“The training that the actors have been given from us is that when they’re working a head they always look at the head and talk to the head and the head looks at the audience or at the other character,” he told me.

“And if they break that eyeline, if they look at the other character or the audience, nobody will look at the head. The head becomes part of the picture but their body is also very much part of the action. So you’re seeing both.”

In possibly its most radical twist on Shakespeare’s play, the new version of A Midsummer Night’s Dream includes several puppets which don’t even have a head – at least not in a form we’d expect. Puck, for example, is played by a collection of tools and kitchen utensils operated by three actors. As they’re brought together and then moved apart, Shakespeare’s sprite is made to adopt a series of different forms, such as a bird, a dog, a snail and even a jellyfish. All of which, the actors argue, plays into the characterisation of Puck as a shapeshifter – in keeping with Shakespeare’s original text.

But even though many of the characters are played by puppets, Tom Morris denies that he’s directing an entirely light-hearted take on one of Shakespeare’s best-loved plays.

“We do go into the dark side of love in the play,” he told me.

And we go into the dark side of sex. The play is very very sexy in its writing, the people in it are mad with desire, the lovers are mad with desire for each other. Theseus is mad with desire for Hippolyta and in the middle of it the Queen of the Fairies is mad with desire for a donkey. So we’ve tried to make a really sexy production as well… You’d be amazed how sexy a puppet can be.”

The play opens at the Bristol Old Vic tonight. Perhaps hoping to manage expectations, the creative team say they don’t imagine it’ll be a huge commercial hit like Warhorse – however sexy the puppets. But from what I saw in rehearsals it’s bound to be a creative success – and a huge hit with lovers of both puppets and the theatre.

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Dmitrichenko, pictured below, was arrested in Moscow yesterday after a series of police raids.  Two other men – the attacker and the driver of a getaway car – have confessed to acting as his accomplices.

On 17 January this year, Sergei Filin was left with severe burns when a masked attacker threw sulphuric acid into his face outside his home.  As he later told journalists from his hospital bed:  “I understood that something was wrong and I turned back to run.  But he outran me.  I was wearing a hoody and he splashed me with acid.”

Filin is currently in Germany undergoing treatment to repair damage to his face and restore his eyesight.  It’s hoped he’ll be back at work in time to accompany the Bolshoi on their tour to London’s Royal Opera House this summer.

Many of the Bolshoi’s British fans will be gripped by the latest news to emerge from Moscow.  But it’s important to point out that here in the UK, ballet has a very different status to the one it enjoys in Russia.  There, it has enormous popular appeal and principal dancers often become mainstream stars, all of which can add to the pressures placed on those working for a company like the Bolshoi – and help create a climate of corruption, rivalry and intense in-fighting.

In recent years several artistic directors have left the Bolshoi; Filin’s predecessor quit after erotic photos of him were leaked online.  Last month ballerina Svetlana Lunkina extended a leave of absence to stay in Canada – because of fears for her safety if she returned to Russia.  As she told journalists: “I cannot go back at this time because there were actual threats and there were letters, blackmailing letters in nature, that threatened my entire family.”

The Bolshoi’s official line is that there’s no rivalry between Filin and Dmitrichenko.  But this is disputed by some insiders who say that Dmitrichenko is close to Nikolai Tsiskaridze, a principal dancer who recently tried to usurp the company’s director and has since been accused of creating a “poisonous atmosphere” in the theatre.  And according to Russian state television, Dmitrichenko’s girlfriend and fellow dancer Angelina Vorontsova clashed with Filin after losing out on leading roles.

Someone who knows about the atmosphere at the Bolshoi is Russian dancer and former Royal Ballet principal Ivan Putrov, who was rehearsing in the Moscow Theatre less than two weeks ago.  As he told me:  “Just imagine you join a company, you might be more talented than others, yet there’s almost 100 soloists and everyone needs their place under the sun in the Bolshoi Theatre.  Everyone fights for their role, all want to be in the best shape, there’s so much to do so it’s a great attraction for dancers to join the Bolshoi Ballet.  And of course it’s natural that you would fight for this.  And you’re a bad dancer if you don’t.  But there are more people than any other company in the Bolshoi and there’s more rivalry.”

Many who work at the Bolshoi Theatre have responded to the news of Dmitrichenko’s arrest and confession with disbelief.  Doubt may still remain because confessions are common in Russia but are often followed by complaints of mistreatment.  If convicted, the dancer faces up to twelve years in jail.  He had been due to make his next appearance on the Bolshoi stage on 16 March. The fight is now on to replace him.

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And then of course there’s the triumphant twin tour de force that is his Angel of the North in Gateshead and Another Place on Crosby Beach in Merseyside.  All of which prompt a measured, almost meditative reflection on the human being’s place in the wider world.

But the recent show in Bermondsey seemed to represent a step forward in Gormley’s practice.  Whereas in the past his work had tended to revolve around a largely representational approach to the human body, now he was abstracting that form and re-imagining it as an architectural space.  Out went the life-size human figures we’d all learned were modelled on his own body and in came a series of hollow “tankers” which almost dared us to imagine what was going on inside.

Whereas his pre-Bermondsey body of work had always led me to look outwards from my own body and examine my place in society, here he was working in the opposite direction and inviting me inside the human body and into the dark pit of emotions we all recognise from within ourselves.  The show was a tremendous success – and a huge hit with the public.

So I jumped at the chance to go and chat to Gormley in his studio in King’s Cross in London – and to witness him continue to develop this new approach to his exploration of the human body in work being created for forthcoming shows in Belgium and Salzburg.

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The exhibition includes two majestic outdoor fibreglass wind sculptures as well as drawings, photography and film work displayed in the indoor galleries – not to mention several large scale installations featuring figures clothed in Shonibare’s signature batik fabric.  The fabric is Indonesian in origin but manufactured in Holland and the UK for the African market, something which allows the artist to play around with notions of cultural purity – a message he doesn’t think is lost in rural Yorkshire.

“Yorkshire is part of Britain and the whole story of Britain and empire is based on the history of colonialism,” he told me.  “It may not be here physically or obviously but in the wealth that people have generated and the trade that people have been involved in.  The whole banking system, Lloyds of London, all of this has been underpinned by those kind of colonial adventures.  So it’s actually here, maybe you can’t see it obviously, but it’s in the buildings, it’s in the wealth generated by families over generations.”

Some of the most attention-grabbing work in the new Yorkshire show is Revolution Kids, two stuffed foxes holding blackberries and replicas of Colonel Gaddafi’s golden gun – and inspired by the London riots and the Arab Spring.  I asked the artist why he chose to work with the figure of the fox, which is open to such wildly different interpretations – from a sly, feral beast to the cute, cuddly character you find in children’s cartoons.

“The fox is also right at the centre of class war in this country,” he pointed out. “With the whole issue around fox hunting.  And then isn’t it interesting if the fox turns around and bites?  With a gun?  I couldn’t think of a better form of rebellion than that.”

This sense of rebellion runs through much of the work in the new show – and is a key element in Yinka Shonibare’s identity as an artist.  When he accepted his MBE in 2005 he surprised many by incorporating it into his professional name.  “I’m very anti-establishment as well as wanting to be a part of it,” he explained to me. “So it’s a constant contradiction.  I’m the rebel within; I don’t want to be on the outside screaming, I want to be on the inside causing mayhem.”

Causing mayhem in the exhibition is a series of flying machines operated by aliens.  Again, the concept of the alien is an emotive one – with several different interpretations.  I asked Shonibare what the word “alien” means to him.

“Well alien to me is about science fiction,” he explained.  “It’s also the illegal immigrant.  And also at the moment immigration is such a huge topic …  And whenever you get any kind of economic crisis, the alien is the one that has to deal with all the blame and everything for coming over here and taking our jobs and all that.  So in a way it’s a way of making light of a very difficult and serious issue.”

I wondered whether it would be too simplistic to read into the flying machines operated by the aliens some kind of response to the artist’s own physical disability; he contracted a rare neurological disease in his late teens which has permanently affected his mobility.

“No,” he told me.  “In a way the two things might seem unrelated but immigration for economic reasons is aspirational, isn’t it?  So even the fantasy for a disabled person to have more freedom or more movement is also aspirational in a way.  So there’s a kind of connection.”

Almost six months to the day since the Paralympics opening ceremony, we spoke at length about the way the Games have changed attitudes towards disabled people – and helped focus attention on their abilities rather than disabilities.  We also discussed changing attitudes towards African artists, who for years were expected solely to produce ‘ethnic’ art; the Totem Paintings displayed at the Yorkshire Sculpture Park were partly created as a cheeky response to this.  But Shonibare feels that he’s lucky not to have been held back in life by either his physical disability or his ethnicity.

“In a way, art has been my vehicle for flight from all of those difficulties you talk about, physical disability…  I find that it’s been almost like my escape key.  I’ve experienced things that I would never have experienced if I wasn’t an artist.  And I think I’ve been really fortunate in that I haven’t been judged in any other way really; people have looked at my work and judged me on that.”

Ultimately, it’s this joy in his work which most struck me about Shonibare – and which makes such an impact in his excellent new show.  As you walk through the indoor and outdoor spaces, at every turn you’re confronted with evidence of the artist revelling in the power of art to liberate, empower and uplift.  And you leave infused with your own sense of joy at being invited to accompany him on his flight.

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Searching for Sugarman, a documentary telling his story, has now rebooted his career all over the world.  He was even too busy playing a gig to attend last night’s Oscars, where the film picked up the award for best documentary.

Other winners on the night included Ang Lee as best director, Anne Hathaway as best supporting actress and Jennifer Lawrence, who was so eager to collect her award for best actress that she fell up the stairs. 

The British charge was led by Adele, who won best song for Skyfall, and Lincoln star Daniel Day Lewis, who became the first man ever to win three Oscars for best actor.

But the big winner of the night was Argo, which took best picture – picked up by producer, director and lead actor Ben Affleck, rounding off what has to be one of the most incredible comebacks ever recorded in the film industry.

Meanwhile, far away from Hollywood another winner has been celebrating Argo’s success.  Cumbrian clothing company The Sporting Lodge designed an olive green waterproof canvas holdall used by Ben Affleck’s character in the film. 

The Westmorland retails at £225 and the company’s experienced a huge boost in online sales across its range.

But not everyone’s benefitted from Argo’s win at the Oscars.  The film claims that six American diplomats caught up in the Iranian hostage crisis of 1979 were turned away by the British before finding shelter in the Canadian ambassador’s residence. 

But Martin Williams, first secretary commercial in the British embassy in Tehran, says that this isn’t true. 

“We picked them up at first but I’m sure anybody else would have done so as well,” he told Channel 4 News. 

“I’m sure if they had called the Canadians the Canadians would have picked them up. 

“But the thing that I was upset about regarding the film is that there is the throw away line in it saying that the Brits turned them away.  Now that’s not actually true and he didn’t need to say it.  It would have been just as good a story if he’d said, well the Brits weren’t able to provide the sufficient security or something like that.”

For decades, British involvement in the incident was kept quiet for fear of offending the Iranians.  Only now is the story emerging – ironically in response to the inaccuracy of Argo.  Perhaps adding more winners to the list of those who’ve benefitted from Oscar glory.

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