Tell us what you think and as a thank you, we will enter you in a prize draw to win a £10 Amazon.co.uk gift card!*

*Restrictions apply, see www.amazon.co.uk/gc-legal

Start survey

Evie Gurney

MA work

4717

4717 was a collections-based curatorial project developed over six months in collaboration with the RCA and LUX. We sought to challenge the expected notions of archive, collection and display by transforming the gallery into a site of active production for ten days, exploring ideas of identity, narrative, individuality, subjectivity and collectivity through film, live performance, sculpture, sound and digital art. 

Taking Ursula Mayer’s Gonda (2012) as a starting point, this rich and multilayered work became a catalyst for new commissions from Anne De Boer, Libita Clayton, Ines Camara Leret & Jesse Cahn Thompson and Jade Montserrat. Experimenting with forms of collection, transformation, dispersion and memory, 4717 was an exhibition of multiple voices and multiple practices interwoven with the audience's sensory experience.

The changing exhibition space and the activities it hosted were broadcast via a video live-stream. The link to this live-stream has been acquired by LUX as their 4717th work, making it the first live moving image work in their collection. The link 4717.org.uk lies dormant alongside a set of instructions until it is reactivated by other parties interested in producing further iterations of the project.

Info

  • MA Degree

    School

    School of Arts & Humanities

    Programme

    MA Curating Contemporary Art, 2018

  • What do you collect and why?

    As an institution, the museum rests on a hinge of time. Preserving objects from destruction with the passing of the age in which they existed and proposing them as valuable in the present moment and the potential future. 

    By detaching an object from its place in the world do you deny its autonomy, condemning it to a sterile existence behind glass? Or by repositioning it in a different time and place, do you increase its impact through the enduring authority of the pedestal?

    Our museum culture is based on the idea that possession is an essential form of knowledge. But there are some things that we 'know' that do not have material form. Could alternative approaches to cultural cognisance bring new perspectives and challenge the dominance of spectator-ownership in our institutions?

  • Degrees

  • BA Fashion Communication & Promotion, Central Saint Martins, 2003