Alberta Whittle, Installation view of
How Flexible Can We Make the Mouth at Dundee Contemporary Arts, 2019
Alberta Whittle, Between a Whisper and a Cry, 2019, Single-channel video, 37'16''
Alberta Whittle, Celestial Meditations II, 2017, C-Type print, Dia-sec mounted on aluminium, 61 x 91.4 cm
Alberta Whittle, Installation view of
How Flexible Can We Make the Mouth at Dundee Contemporary Arts, 2019
Alberta Whittle, Mammmmmmmmywata Presents Life Solutions International, 2016
HD video, 3'57''
Alberta Whittle, Secreting Myths, Woodblock print, 2019
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Alberta Whittle is an artist, researcher and curator. She was chosen for the Margaret Tait Award for 2018/9, the Turner Prize 2020 bursary, the Henry Moore Foundation artist award 2020 and the Frieze Artist Award 2020.
Her creative practice is motivated by the desire to manifest self-compassion and collective care as key methods in battling anti-blackness. Oscillating between cutting humour and sensitive poetics her work ranges across media and across continents. Recent projects include Fragments of Epic Memory, AGO, Toronto; We are History, Somerset House, London; Sex Ecologies, Kunstal Trondheim; Life Between Islands, Caribbean-British Artists 1950s - now, Tate Britain, London; British Art Show 9; Life Support: Forms of Care in Art and Activism, Hayward Gallery Touring. In 2022 she represented Scotland at the 59th Biennale di Venezia. Solo and duo exhibitions include Right of Admission Retrospective, joint solo with Farieda Nazier, University of Johannesburg Gallery (2021); No Mudder Country Here, Grand Union, Birmingham (2020); Business as Usual, Tyburn Gallery, London (2019); How flexible can we make the mouth, Dundee Contemporary Arts (DCA) (2019); Useless (with Emilio Bianchi), Pig Rock Bothy, National Gallery of Scotland, Edinburgh (2019); The Polity of Φ (with Deniz Uster), Glasgow Project Room and Intermedia, the CCA, Glasgow (2016); The Cradle (with Dean Hutton), Goethe On Main, Johannesburg, South Africa (2015); Right of Admission (with Farieda Nazier), ROOM Gallery, Johannesburg, South Africa (2014); badmanabadman, Bridgetown Gallery, Barbados (2010). Group exhibitions include Jupiter Rising, Jupiter Artland, Scotland (2021); Right of Admission, University of Johannesburg (2021); The Ghost Ship and the Sea Change, Göteborg International Biennial for Contemporary Art (2021); Art Night London (2021); In The Castle Of My Skin. MIMA, Middlesbrough (2021); Viborg Kunstal, Denmark (2021); Liverpool Biennial (2021); Glasgow International (2021); An Infinity of Traces, Lisson Gallery, London (2021); An apology, a pill, a ritual, a resistance, Remai Modern, Saskatoon, Canada (2021); SuperRoom: Ecosystems of Relations, Superdakota, Brussels (2021); A Miraculous Noise, Viborg Kunstal, Denmark (2021); The Portrait in Focus, Alma Zevi, Venice (2021); Here be Dragons, Copperfield, London, UK (2020): In the Castle of My Skin, Eastside Projects, Birmingham (2020); Kaleidoskop, Karlsplatz, Vienna, Austria (2020); Glasgow Short Film Festival, Glasgow, Scotland (2020); LUX, London (2019); The Imagined New, University of Johannesburg, Johannesburg, South Africa (2019); Without Tides, an invitation, Edinburgh Printmakers Workshop (2019); 13th Havana Biennial, Wilfredo Lam Center, Havana, Cuba (2019); Stalking the Image: Margaret Tait and Her Legacy, GoMA, Glasgow (2019); Another Country, The City Arts Centre, Edinburgh (2018); Displaced, Travelling Gallery, Scotland (2018); There’s something in the conversation that’s more interesting than the finality of (a title), The Showroom, London (2018); Inner city, GOMA, Glasgow, UK (2018); REGURGITATE, [SPACE], London (2018); TRANS, University of Johannesburg Gallery and The Bag Factory, Johannesburg, South Africa (2018); Another Country, Alice R Rogers & Target Galleries, St. John’s University, Minnesota, USA (2018); Self Service, CCA Glasgow, UK (2017); You never stand in the same water twice, ROOM 113, Newcastle, UK (2017); WOMXN, De Balie, Amsterdam (2018); ANTE, Suede Gallery, Edinburgh (2017); Between democracies 1989-2014: Memory and commemoration, Dom umenia and Kunsthalle Bratislava, Bratislavia, Slovakia (2016); Rum Retort, The Tobacco Warehouse, Greenock, UK (2016); Hidden Door Festival, Hidden Door, Electric City, Edinburgh (2016); Between Democracies 1989-2014: Memory and Commemoration, Constitution Hill, Johannesburg, South Africa (2015); Johannesburg Pavilion, 56th Venice Biennale, Venice (2015); Embodied Spaces, FRAMER FRAMED, Amsterdam (2015); Finite Project Altered When Open, David Dale Gallery, Glasgow (2015); Residencies 14, Royal Scottish Academy, Edinburgh (2014); Where We’re At! Other Voices on Gender, BOZAR, Brussels (2014); International Artist Initiated, David Dale Gallery, Glasgow (2014); Transforming Spaces, National Art Gallery, Bahamas (2014); Stop Making Sense, The Bag Factory, Johannesburg, South Africa (2014); Woman, Object, Corpse, Centre for African Studies, UCT, Cape Town, South Africa (2013); CARIFESTA XI, Paramaribo, Suriname (2013); Streets of Gold, Museum of London, London (2012); Loopings, Greatmore Studios, South Africa (2012); Split, Arratia Beer and Sommer und Kohl, Berlin (2011); Pop Up Cocktail Bar and Love Club, The Motorcycle Showroom, Bristol (2011); The Secret Confession, Edinburgh College of Art, Scotland (2010); NWSP 10 years, Collective Gallery, Edinburgh (2010). Her work is part of The Scottish National Gallery of Modern Art, Glasgow Museums Collections, The UK Arts Council Collection, St Andrew's University, The Contemporary Art Research Collection at Edinburgh College of Art and McManus Museum in Dundee. Whittle is currently a Research Associate at The University of Johannesburg. She was a RAW Academie Fellow at RAW Material in Dakar in 2018 and her writing has been published in MAP magazine, Visual Culture in Britain, Visual Studies, Art South Africa and Critical Arts Academic Journal. To view the most recent group show with the gallery including work by Alberta Whittle click here |