Kim Gurney’s art practice responds to disappearances of different sorts and makes restorative gestures. She works in three inter-related ways: studio practice, public space interventions, and critical discourse.
Kim’s studio is part of an artistic collective called SideTrack Studios in Salt River, Cape Town. She participates annually on group exhibitions and has held three solos. Kim has written extensively on ideas around public space and collaborates with other artists on site-specific interventions, primarily through a nomadic platform called guerilla gallery. Kim also engages in critical discourse around contemporary art, with a special interest in how art can speak beyond itself to engage with other fields and practices - as a kind of visual journalism.
Kim has four degrees, two of them awarded with Distinction, spanning fields of Journalism, Contemporary Art and Cultural Geography. Her PhD looked at different notions of value by following artistic process in studio environments as well as accession trajectories into a private collection, and proposes a public interest model transfigured from ecosystems literature.
The albums below are entry points into particular bodies of artwork. This includes: mixed media lamentations for people forcibly ‘disappeared’ by repressive regimes - Appendix from South Africa’s Truth Commission final report and Indice from Brazil’s Truth Commission final report; largescale paintings about scorned urban space and transformation, Shapeshifters; visualising statistics of ecological vulnerability, Red List; sculpting and performing a defunct instrument from archival dimensions into a sound art installation, Honey Hunters, later incorporated into a video artwork Pulse; and surfacing other invisibilities during financial crisis through word play, Mother of all Firewalls.
This TV interview by Northern Visions was filmed on the occasion of delivering a keynote address to a symposium on performance art, called Being in Public, held at Belfast School of Art: ‘In Focus’ programme.