Skip to main content

Alberta Whittle Announced for Venice 2022

 

 

Alberta Whittle is announced today as Scotland’s official representation at the 2022 La Biennale di Venezia. Whittle’s Glasgow International curated exhibition is set to take place at the Arsenale Docks, S. Pietro di Castello as part of the 59th Venice Biennale.

 

The announcement by Creative Scotland on behalf of the National Lottery and Scottish Government backed Scotland + Venice partnership comes at the end of a remarkable year for the Glasgow based artist. During 2020, Whittle was one of ten artists to be awarded a Turner Bursary. The Glasgow School of Art graduate also received this year’s Frieze Artist Award and a Henry Moore Artist Foundation Award.

 

Born in Barbados in 1980, Whittle’s work in film, sculpture, print, performance and installation is often made in response to current events, and frequently draws on her research into the African diaspora and the decolonisation of Western histories.

 

Whittle’s work has been shown in group and solo shows around the world. In 2018, she was the recipient of the Margaret Tait Award, and in 2019 Dundee Contemporary Arts hosted How Flexible Can We Make the Mouth, Whittle’s first solo show in a major UK exhibition. This was followed at the end of 2019 by Transparency, a two-person show with Hardeep Pandal at Edinburgh Printmakers. 2021 will see Whittle show work at British Art Show 9, Liverpool Biennial and Glasgow International amongst other events.

 

Whittle is the tenth Scotland + Venice representation, and follows Charlotte Prodger in 2019 and Rachel Maclean in 2017. Her work was previously seen in Venice in 2015 as part of the Johannesburg Pavilion. 

 

Of today’s announcement, Whittle said: “After living in Scotland for nearly all of my adult life, I was thrilled to hear the news that I would be representing the country at the Venice Biennale. With so many urgent conversations on health, grief, refusal, race and healing at the forefront of my mind, now is the moment to ask questions about how we can unlearn and be more actively reflective on a personal level as well as collectively.  I’m looking forward to using this opportunity to develop new work in these charged times.”  

 

www.scotlandandvenice.com

www.albertawhittle.com

 

Scottish Art News, December 2020

 

ends

 

 

Labels:

Comments

Post a Comment

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...
Post a Comment
Read more

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...
2 comments
Read more

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...
Post a Comment
Read more