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Elisabeth Del Prete

MA work

Turn The Tide

At a time when nationalist agendas and a renewed belief in the nation-state is gaining ground, freedom of movement across countries is increasingly threatened. Whilst geographical border controls are intensified to reduce the flow of people from one place to another, decreased financial regulations enable capital to circulate easily across the globe, accelerated via secondary routes such as financial offshore centres and tax havens. Within this context can the offshore company offer a model to investigate ways of thinking and experiencing citizenship differently? 

Turn The Tide is an offshore company operating from a temporary boardroom in the Dyson Gallery at RCA. In this office environment members of the public are invited to take ownership of the company by participating in a series of public board meetings. Through a series of live discussions Turn The Tide aims to establish a fluid space to explore how new, more flexible models of citizenship can be reached through sharing the company’s ownership. Meetings are participatory and open to everyone who visits the Turn The Tide boardroom. Taking place throughout the duration of the project these events are divided into two phases. Each session begins with a collective reading meeting minutes – the script explores ideas and experiences of liquidity, capital, citizenship and geographical borders, from diverse perspectives, drawn from a range of existing material including theoretical texts, film dialogue and interviews. This is followed by a debate between individuals attending the meeting, to discuss the launch of Turn The Tide’s liquidation process, and strategies to share the company ownership more broadly. Each meeting is transcribed live and printed copies of these new minutes are given to all participants who attend the event. This document acts as a bearer-share: turning the individual into a permanent share-holder and company owner. With this process, Turn The Tide activates real collective space dedicated to the production of a shared knowledge.

With Eva Barto, Julie Béna, Jesse Darling, Martti Kalliaia, Christopher Kulendran Thomas, Aron Kullander-Östling and John Menick


  • MA Degree


    School of Humanities


    MA Curating Contemporary Art, 2017

  • Programming as an expanded curatorial practice

    My research interrogates the way in which public programming has become a form of curatorial innovation over the past two decades, having this format developed specifically into a site of knowledge production around political urgencies. By drawing on two case studies, Documenta 11, curated by Okwui Enwezor, and 'Infrastructure', a project by freethought at the Bergen Assembly 2016, my dissertation focuses on the way in which discursive and performative elements of knowledge production facilitate audience participation and modes of access into political problematics.


    Over the past year I have directed, a programme of contemporary art projects and exhibitions, currently taking place in the upper floor of the homonymous restaurant in Marylebone. Guest curators and artists are invited to contribute to the programme by responding, complicating and negotiating with its context, which acknowledges the role of art exhibitions as entertainment and attractions. 

  • Degrees

  • BA History of Art, Goldsmiths College, 2008
  • Experience

  • Associate specialist, Postwar & Contemporary Art, Christie's, London, 2010–2014; Associate director, Bernard Jacobson, London, 2014–2015; Contemporary art specialist, Wright, New York, 2015–2016