Stupart’s research is centred on an urgent demand for a feminist and queer art practice and its manifestation in the contemporary climate, including the contemporary art world. Ecologies of abjection, desire, and language are central to their work, which includes and is constituted by writing, performance, curating, sculpture, drawing, and installation.
Their practice-based PhD in Fine Art ‘Becoming Object: Positioning a Feminist Art Practice’ was examined by Katrina Palmer and Claire Makhouf Carter, and awarded by Goldsmiths, University of London with no corrections in 2016. The thesis project is comprised of a novella, public exhibition, and written dissertation. This project considers new possibilities for the object as a site of emancipation from and resistance to neoliberal models of subjectivity. In particular, it proposes new queer and feminist object positions and practices as potentially rupturing the matrices of taste, labour, identity, and subjectivity as they are reproduced in both the material form (the institutional display and trade of art objects) and thematic content of contemporary art, particularly in ‘the West’.
Expanding on their research into queer, mutated, and outsider bodies, they are currently working on a long-term project titled After the Ice, the Deluge, looking at the melting polar ice caps through a lens of post-apocalyptic science fiction and queer corporeality. Elements of this research have been published and exhibited in London, Germany, and Glasgow, and they will visit the Arctic in Summer 2019 in collaboration with the Arctic Circle annual expeditionary research program.
SOLO EXHIBITIONS
2017: I Want to Show You a Body, residency and exhibition in Tate Britain’s Learning Gallery
2016: A Dead Writer Exists in Words and Language is a Type of Virus at Arcadia Missa, London
December 2009 – 2010: Who’s Abject Now Bitch? or crime scene consistent with a particular double homicide at YOUNGBLACKMAN, Cape Town
2007: Don’t Let the Sun Go Down on Me at blank projects space, Cape Town
SELECTED RECENT GROUP EXHIBITIONS
2018: Still I Rise: Feminisms, Gender, Resistance at Nottingham Contemporary
Magic Circle at Kunstraum Niederoesterreich, Vienna
Hummadruz at Newlyn Art Gallery, Cornwall
‘some men have mistaken me for death’ as part of the Queer Futures program at Mimosa House, London
Something III be Scared of at No.w.here, London.
2017: Class Languages at District, Berlin and Kunstverein Dusseldorf.
Something II be Scared of at Syndicate, Cologne
2016: COVEN at Transmission Gallery, Glasgow
2015: Something to be Scared Of at a.m Gallery, London
How to Sleep Faster at Arcadia Missa, London
2014: Rematerialising Feminism at The Showroom, London
Shady Dealings with Language at Matt’s Gallery, London
Layers Thaw at Minerva, Sidney
2013: Happiness Now? At Guest Projects, London
All My independent Women Video Lounge, Leeds University, Leeds
Bodies of Silence at Platform, London
2012: A Shot to the Arse at the Michaelis Gallery, Cape Town
2011: The Night Show at Goodman Gallery, Cape Town
2010: Vex and Siolence at YOUNGBLACKMAN: A Three person show with Stuart Bird and Belinda Blignaut, Cape Town
Localities: Fact and Fiction at the Museet for Samtidskunst, Roskilde, Denmark. Curated by N’Gone Fall & Sanne Kodof Olsen
Swallow My Pride at blank projects space, Cape Town. Curated by Margaret Stone
2009: Nation State at Goodman Gallery and Goodman Gallery Cape, Johannesburg and Cape Town
2008: Fresh Meat at Whatiftheworld/Gallery, Cape Town. Curated by Robert Sloon
Readymade at Iziko Gallery, Cape Town. Curated by Bettina Malcomess
2007: Spier Contemporary at the Spier Estate, Johannesburg Art Gallery and Durban Art Gallery (2008). Curated by Clive van den Berg and Jay Pather *Winner of the Spier Contemporary Art Award
CURATION
2017 DEEP ANGER TRUE LOVE TENDER CARE at the Horse Hospital, London.
2007: FINDING UCT: Narratives, New and Old in the UCT Permanent Collection at the University of Cape Town’s Centre for African Studies Gallery (with Clare Butcher)
CONFERENCES and PUBLIC LECTURES
2018
‘Virus’ at Public Feelings, Dissident Acts symposium at Goldsmiths, London
‘a spell to bind all male conference panels’ at 4S: Society for Social Science annual conference in Sydney (forthcoming)
Visiting artist in the Goldsmiths Curating MFA Public Seminar Series, University of London, London
Visiting artist, ‘Contested Spaces’, a program of the Goldsmiths, University of London and Tate Galleries Critical Pedagogies MA course
2017
‘A Spell to Protect Each Other’ (with Travis Alabanza), Witchy Methodologies, at the ICA, London
Artist talk as part of the Transmission Lecture Series The Mutable Artist at Sheffield Hallam University, Sheffield
2016
Presentation and panel discussion at Feminist Practice eventwith Griselda Pollock, at Camberwell Arts College, London
‘Spells as reistance’ at Moving Performances: exploring the politics and spaces of voice and unruly emotions at University of Oxford, Oxford
2015
Performance event and panel chair at the ICA’s FOMO: a conference around contemporary digital media and politics
2014
Performance event as part of Hito Steyerl’s exhibition at the Institute for Contemporary Art, London
‘A Thing Like Us and Them’ at Shimmering World conference at University of Manchester, Manchester
Response to Sara Ahmed’s Feminist Killjoy lecture at Goldsmiths College, University of London, London
‘These Associations’ at World Ornamental Forum at the Kirchner Museum in Davos
2013
‘Trigger Warning’ at Affect, Memory and the Transmission of Trauma conference at Goldsmiths College, University of London, London
‘Chris Kraus and the Empathetic Exchange of Objects’ at Aliens & Anorexia: A Chris Kraus Symposium at the Royal College of Art, London
‘Chris Kraus, Kathy Acker and the Empathetic Exchange of Objects’ at Contemporary Experimental Women’s Writing conference at University of Manchester, Manchester
2012
‘Slutwalk and the Street’ at Return to the Street Conference at Goldsmiths College, University of London, London
SELECTED RECENT PUBLICATIONS
2018
‘She was dead to begin with’, Jerwood Visual Arts.
‘I WANT TO SHOW YOU A BODY’ (sole author, teachers resource), London: Tate.
‘On Violence’ in On Violence, Sharon Kivland and Rebecca Jagoe (eds), London: MA BIBLIOTEQUE pp 235 – 240.
‘What developments in cybernetics are applicable to the “kitchen” as you like to call it?’ in Alembic, London: RES Gallery (forthcoming).
‘Kathy Acker’ in The Bodies that Remain, Emily Beber (ed), London & New York: Punctum Books and University of California Santa Barbara (forthcoming).
‘Athi-Patra Ruga’ in adjective, issue 3, pp 69 – 72.
‘CANCELLED’ (catalogue essay) in Marlie Mul: Cancelled, Glasgow: Glasgow Museum of Modern Art, pp 14 – 24.
2017
‘Didacticore’ in Texte Zur Kunst (English and German translation). December 2017. volume 27, issue 108, pp 70 – 73.
‘Rib’ in FLARE – Magazine of Photoforum Pasquart, issue 1, pp 24 – 30.
‘some men have mistaken me for death’ (catalogue essay) published on occasion of Zoe Kreye’s Make our Own Air, London: [SPACE], available online:
http://www.spacestudios.org.uk/exhibition-programme/zoe-kreye/linda-stupart-on-make-our-own-air/
2016
Virus (novella), London: Arcadia Missa Press. London.
‘Hito Steyerl in Hito Steyerl’ (English and German translation) in Parkett. Vol. 97, pp 182 – 194.
‘How do you visualise a woman in the 21st century?’ in Loose Associations, London: Photographer’s Gallery, pp. 67 – 72.
2015
‘Walking the Street: Slutwalk and the Street’ in Return to the Street, Sofie Fuggle and Tom Henri (eds), London: Pavement Books, pp 100 – 116.
‘Her Blood Runs Rose’ in Folles De Leure Corps/Crazy About Their Bodies. Edited by Sharon Kivland on the occasion of her exhibition at CGP. MA BIBLIOTEQUE
‘Chris Kraus and the Empathetic Exchange of Objects’ in You Must Make Your Death Public: selected writing on Chris Kraus, Mira Mater (ed), London: Mute, pp 87 – 103.
‘Rematerialising Feminism’ in Rematerialising Feminism, London: Arcadia Missa Press, pp 20 – 30.
2014
‘National Velvet’ in Eros: Woman Edition , London: Eros Press, pp 10 – 14.
2013
‘Untitled’ (catalogue essay) in Oh Wicked Flesh! Joseph Noonan-Ganley (ed), London: South London Gallery, pp 23 – 30.
2012
‘Friday’ in Idioglossia: an Art Writing Glossary. Joseph Noonan-Ganley (ed), London: Hato Press.
‘Old Wounds, Fresh Meat: A Year in South African Art’ in Art Review, September 2012.
‘Entanglement: A Love Story Set at dOCUMENTA 13’ in Art South Africa, Vol 5: issue 3, pp 52 – 56.
