Nnena Kalu has won the 2025 Turner prize – working with her has inspired my work and academic research
The 2025 Turner prize has been won by Nnena Kalu. It’s a historic win and a groundbreaking moment in the prestigious prize’s history.
Kalu is the first learning-disabled artist, the first artist with limited verbal communication, and the first artist whose practice is facilitated through a specialised studio (ActionSpace, established to support artists with learning disabilities) to win the prize. Her win is both extraordinary and overdue – a pivotal moment for inclusivity in British art and for the visibility of learning-disabled artists.
Kalu’s practice is defined by repetition, rhythm, and layering. She builds sculptural forms by tightly wrapping materials into pulsing, tactile structures, and her drawings accumulate depth through swirling, vortex-like motions.
After more than two decades of working, her recognition has accelerated. There have been acquisitions by Tate and the Arts Council Collection. She secured representation with gallerist Arcadia Missa.
She also presented to wide acclaim at Barcelona’s Manifesta 15 gallery in 2024 and Liverpool’s Walker Art Gallery in 2024 to 2025. These accomplishments have all contributed towards her Turner prize win.
I first met Kalu in 2018 when I curated her work in a group exhibition in North London. I worked with her longtime ActionSpace facilitator, Charlotte Hollinshead who helped Kalu to develop her individual arts practice and deliver an extensive range of commissions, projects, events and exhibitions.
Learning of Kalu’s interest in responding to existing architecture, we set aside a structural pillar in the gallery. When they arrived on site, Kalu began wrapping it with tape, film and string. I watched as the form accumulated colour, tension and movement. I was completely hooked.
Over the years, I continued to curate her work – including her first American exhibition in 2020 – and wrote about her practice in my book Nonconformers: A New History of Self-Taught Artists. As I spent more time with her, one question began to preoccupy me: how should curators address Kalu’s position as a learning-disabled artist when she cannot narrate her practice or its relationship to her identity in conventional communication terms?
This question has since become the centre of my PhD research at Kingston University. I now work closely with Kalu and ActionSpace to explore new, more expansive forms of curatorial and interpretive practice – including approaches that acknowledge facilitation, and support structures without diminishing artistic agency.
Kalu’s nomination in April unexpectedly became a critical case study for my research. Watching how the prize, its partners, and the media represented her offered a rare and highly visible window into how institutions handle practices that do not fit standard models of authorship or communication.
Some of the most promising work came from Tate’s Body in Rhythm, Line in Motion film – a short artist video that accompanies each Turner nominee. What stood out was how clearly and transparently it acknowledged the supportive ecosystem around Kalu.
Named contributors spoke from their specific positions – facilitators, curators, and long-time supporters – describing what they observe in her process rather than speculating about intention. The video foregrounded the sounds of her making, the rhythm of her gestures, and the material build-up of the work as legitimate ways of understanding her practice.
If the Tate film offered examples of progress, excerpts of wider media responses revealed how much work remains. Some commentary simply misunderstood the context. A high-profile columnist dismissed the shortlist as “the soppiest ever” and described Kalu’s work as “academic” – an odd accusation for an artist who works entirely through processes developed instinctively at ActionSpace, which were not informed by an art historical discourse.
More troubling were moments when journalists framed Kalu’s disability as a reason to lower artistic expectations. One critic, speaking on BBC Front Row, remarked: “As an art critic, I found it very disappointing; as a human being, I feel I have to support it.”
This kind of response strips learning-disabled artists of agency. It assumes they cannot be both disabled and ambitious, disabled and professional, disabled and excellent. It conflates access with charity, facilitation with compromise, and disability with lack.
Kalu’s career, and now her Turner Prize success, demonstrate precisely the opposite.
Her win is an extraordinary milestone, but it is not an endpoint. The structures surrounding learning-disabled artists remain precarious. Supported studios like ActionSpace are essential cultural infrastructures, yet they operate with limited resources. Curators and institutions are still learning how to communicate about practices that do not fit familiar narratives of artistic intention or authorship.
The Turner Prize has cracked something open. It has made visible what many of us working in this field have long argued: that excellence emerges in many forms, that facilitation can be a creative engine rather than an obstacle, and that disabled artists are central, not peripheral, to contemporary art.
What comes next, how we talk about this win, how institutions respond, and which structures are resourced, will determine whether this moment becomes symbolic or genuinely transformative.
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Lisa Slominski does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.