Igshaan Adams - Blank Projects

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Igshaan Adams
Igshaan Adams
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Igshaan Adams
IGSHAAN ADAMS
Editing
Christine Cronjé
Jonathan Garnham
Hannah Lewis
Text
Ruth Simbao
Josephine Higgins
Jennifer Ball
Design
Christine Cronjé
Photography
Kyle Morland
Published by blank projects
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Tel: +27 (0)21 4624276
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ISBN: 978-0-620-66259-8
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© blank projects contemporary art gallery (pty) ltd, 2015
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First edition 2015:
/100
CONTENTS
IGSHAAN ADAMS
Selected works 2009 – 2015
In conversation with Jennifer Ball
13
‘SHOULD I JUST KEEP TELLING STORIES?’
The projections of self in the work of Igshaan Adams
Josephine Higgins
107
CLEANSING VIA THE SENSES AS EYESIGHT FOLLOWS THE SOUL
Igshaan Adams’ Bismillah performance
Ruth Simbao
117
CURRICULUM VITAE
133
IGSHAAN ADAMS
Selected works 2009 – 2015
In conversation with Jennifer Ball
13
IA:
It’s something that I find interesting: how environments shape us, how we absorb
whatevertheenvironmenthastoofferandeventuallybecomesapartofus...identity
formation. I did that first body of work about my domestic environment, around how
thataffectedtheformativeyearsofmylife.AndIalwaysreallywantedtoknow,sohow
didIgettobe...whatwouldhavebeen...howwouldIbeifIgrewupinadifferent
environment?
Page 12: Self-portrait, 2002
Oil on canvas, 90 x 60 cm
14
Jou ma se poes, 2009
Installation, dimensions variable
15
Jou ma se poes (detail), 2009
16
17
18
19
Jou ma se poes (detail front), 2009
20
Jou ma se poes (detail back), 2009
21
Hennie se kamertapyt (detail), 2010
Manipulated found floor vinyl, 107 x 135 cm
22
JB: Thereseemstobearecurringthemeoffamilyandcommunityinyourwork,particularly
intermsoftheirpositioninreflectionsonyourselfhood.Wouldyouagree?Oneearly
body of work that comes to mind is Vinyl, in which you collected pieces of flooring
fromthehomesofyourchildhoodneighboursinBonteheuwel.Couldyoutellmeabit
aboutthat?
IA:
Yes, soon after I graduated I decided to take sections of people’s homes, their vinyl
flooring,thetapyt,andjustcutoutsectionsandthenworkedontopofit.Iaskedthem
nottocleanit-theywereallquitedirty.Thisoneinparticular[Hennie se kamertapyt,
2010]hadapictureofalittlegirlinthere.Thereareallkindsofstuffburiedinthere.
Itwascakedwithfilthandgrime,becauseitcamefromaguywhowasparaplegic–he
usedtowetthebed.Hisbedroomwasalsothekitchen.Hewasreallypoorsointhis
particularoneyoucouldsmellurine,youcouldsmellfood.Iwoulddrawintothedirt
withHandyAndy,addsomedirtofmyownorhidethings.Youcouldseewhereitwas
walkedoffandwherethefurniturewasand,ofcourse,Ititledtheworkinreferenceto
whereIgotitfrom.SothiswasHennie–Ithinkhepassedaway–anditwasimportant
that the titles referred to the spaces that I’d gotten them from because I specifically
chosefamilieswhohadlinkstomyownstory.SoIwasinawaytellingmyownstory
throughtheirstories.Andtheworkdidfeellikeacollectivenarrative.Eachpiecehada
bitofastorywhenitcametogether.
23
Hennie se kamertapyt, 2010
24
Boeta Joe se voordeurtapyt, 2010
25
26
IA:
Itstartedwiththisdream…Iwasinawarehouse,aspace.Itwasverydarkandthere
wasacrowdofkids.TheywereallreallysadandIwasconcernedaboutthem.Iwanted
tomakesuretheywereokay.Asthekidsmovedpastme,Isawaman–anamazingly
beautifulman–radiatingpurelove.Afterwemadeeyecontact,weembracedandcried.
‘I’vemissedyou…I’velongedforyou,’hesaid.
Ireplied,‘Iloveyousomuch,butIdon’tknowwhoyouare.Whoareyou?’
‘Iamyou!’
Ithinkanotherunknownpartofmysoulmetmyowninthisdream.WhenIwokeup,I
couldn’tgetoverthisfeelingofabsolutelybeinglovedorhavingloveformyself.
I am you, 2010
Performance and installation, dimensions variable
I n s t a l l a t i o n v i e w a n d p h o t o g r a p h , S t e v e n s o n , C a p e To w n
27
IA:
I am youwaspartofanexhibitiontitledWhat we talk about when we talk about love .My
proposalcentredaroundtheSuficonceptof‘thereflection’–deeplyspiritual,mystical
ideasaroundlove.MymomandImadethistogether–amaze-like,concentricstructure
suspended from the ceiling which people could walk inside. I did a performance in
the centre, praying and chanting the holy names of God under this veil. If you listen
carefullyyoucanhearthesound.TheideaissimilartotheWhirlingDervishes,those
MuslimSufiswithbigdresseswhotwirlandspinaround.It’sjustadifferentformof
praying,ofchanting,ofannihilationoftheself.That’swhyItitledthepreviousworkI
am no more.It’sthisideaofpushingtheselfaside.SoIjustsatunderthisveilandreally
within that performance, within the chanting, you go into this state. You lower your
voiceandtheideaisthatyougetthevibrationclosesttoyourheartsoyoucanactivate
thatheartchakra,Isuppose.Andtheprocessisaboutgettingthemindoutoftheway,
justexperiencingandfallingintotheunknown.
I wore only white because white is the closest colour to transparency. That’s how it
feltinthatmoment:Iwasabsolutelytransparent.InIslam,youhavethefivepillarsof
Islamandthefifthoneisthat,ifyouhavethemeans,youarerequiredtodohajj (the
pilgrimage to Mecca) at least once in your lifetime. During hajj, there is a moment
whereyoustandonMountArafatwithonlytwopiecesofwhiteclothwrappedaround
youandeverybodylooksthesame,yourheadisshavenandtheysayyoucan’ttellthe
millionairefromthebergieonthestreet.Thereisthebeliefthatyouhavethismeeting
setupwithGodandatsomepointinyourlifeyouwillknowit’stherighttimeforyou
togo.Andsothismoment,standing,wearingwhitebecauseit’sclosetotransparency,
standinginfrontofGod,showingupforyourmeeting.Itwasareferencetothat.
28
I am you, 2010
Performance and installation, dimensions variable
29
I am you, 2010
Bronze, 15 x 10 x 7 cm
P h o t o g r a p h : S t e v e n s o n , C a p e To w n
30
In Islam we speak about the thousand veils that separate us from the true reality and
therefore,onthispathofenlightenment,oneencountersaconstantunveiling–aprocess
ofseeingthingsthathasalwaysbeentherebutyouweren’tabletonoticeitbefore.Ithink
weallexperiencethattosomeextentduringourlives,thisconceptofbeingunveiled.
It’s a different thing understanding it intellectually and just really knowing because
you’ve experienced it. Carl Jung spoke about this idea of collective consciousness –
thatweareallbornwiththisreservoirofknowledgethatcontainseverythingthathas
everhappenedtohumanbeingsthroughouttime,andthroughoutourlivestherewillbe
momentswherewetouchonthisandforonce,forasimplemoment,thefaçadeofthis
apparentrealitycollapsesandyouareconfrontedwithtruereality–momentswhenyou
knowwithoutknowing.
31
IA:
TheSufisspeakaboutthe‘OceanofOneness’andthe‘Mirror’,thisinternalmirrorin
whichyoulookatyourspiritualjourneyortheroadtoenlightenmentashavingtoclean
thismirrorovertime.Soyou’remakingdhikr,praying,beingkind,doinggoodthings,
livingyourlifewell,withintegrity;theseareallthingsthathelpyoucleanthismirror
untileventuallyyouareabletoseeyourreflectionclearlywithinthismirror.
I am you, 2015
Black granite, life-size
I n s t a l l a t i o n v i e w, W a n å s K o n s t , K n i s l i n g e , S w e d e n
Photograph: Mattias Givell
32
33
IA:
Afriendofminegavemeacarpetwhichhehadbeenusingtoprayforoverthirtyyears.
The carpet was full of holes where his feet, his knees, his hands and his head went
soyoucouldseeallthosethings.Ijustexhibiteditasafoundobject.It’sanartwork
produced over thirty years and there’s noway youcanreproduceit.Butwhat Iquite
likedwasthatyoucouldseethelittledullpatchwheretheheadorforeheadusedtorest,
verysubtly.
34
I am no more, 2012
Found Islamic prayer mat, 124 x 58 cm
35
Listen, 2012
H e a t g u n - m a n i p u l a t e d f o u n d w a l l p a p e r, 1 5 0 x 1 1 5 c m
36
Self-portrait, 2013
I s l a m i c c h i l d r e n ’s p r a y e r m a t s a n d f a b r i c , 1 8 0 x 1 0 0 c m
37
38
39
In between , 2012
Prayer mats, incense, blankets and embroidered element, 524 x 320 cm
40
If that I knew, 2013
Quilted prayer mats and embroidered element, 366 x 320 cm
Installation view Rongwrong, Amsterdam
41
If that I knew, 2013
Quilted prayer mats and embroidered element, 366 x 320 cm
42
IA:
I called this exhibition Have you seen Him?, meaning ‘Have you seen God?’There’s
athirteenthcenturySufiMaster,MullahNasiruddin,whowascalled‘TheWiseFool’.
Peoplethoughthewascrazybuthewasactuallywiseorenlightened.Hewouldstandin
themarketplaceandaskpeople:‘HaveyouseenGod?I’mlookingforGod.IsHeinthe
cup?IsHeinthewater?IsHeinthetrees?Ican’tfindHim.’SothisiswhatIbasedthis
exhibitionon–theideaofconversationswithGodandthenatureofthosemessages.
43
69, 2013
String curtain and Islamic prayer mats, 238 x 135 x 138 cm
44
Scope, 2013
W ire, cotton thread and beads, 180 x 130 x 100 cm
47
49
La, 2013
Steel ring and string curtain, 168 x 59 x 35 cm
51
I am home, 2013
Round carpet, string curtain, wooden ring, wire, thread and silk roses
Dimensions variable
52
54
Far left: Self-portrait, 2013
Cotton on tattered prayer mat, fabric, gold plastic frame, 43 x 35 cm
Left: Melkbankie, 2013
Cotton on found fabric and found gilt frame, 74 x 64 cm
55
Eenheid, 2014
Q u i l t e d p r a y e r m a t s , a s s o r t e d f a b r i c s a n d e m b r o i d e r y, 1 6 2 x 2 0 0 c m
57
IA:
ThefirstfewmomentsIcouldn’tbreathebecausemyfatherhadwrappedittootight.
TherewereaboutsixlayersofclothovermyfaceandIcouldn’tbreatheandIwentinto
astateofpanic.AtfirstIwantedtojumpupanditwassoloud,sonoisyinthatspacethat
hecouldn’thearmescream“Daddy”,buteventuallyhedid.Heopenedupthelayersso
thatonlythetoplayerswerecoveringmymouthandmynose.
Afterhavingbeenwrappedupinthispositionforsolong,whenIcameupIreallyhad
a feeling of being clear and renewed, emptied out. I definitely experienced that some
partofme,somethinghaddied–maybesomethingIusedtoidentifywith.Icouldfeel
thatdeathofawholepartofmyself,itfeltlikeanewbeginning.Ididn’texpectthat.I
experiencedwhatwouldhappentomybodywhenIdiedandIfeltasifIhadputtorest
acertainaspectofmyrelationshipwithmyfather.
JB:
WhatI’vepickeduponisthatyourperformancesaresuchanexperienceforyou,even
moresothanwhatyouintendforthemtobeforanaudience,whichisaveryhonestway
ofdoingsomething.
IA:
Yes,exactly.Ireallygotit:thepowerofperformanceistomakeitrealandnotscripted
andit’snotaboutpretending,ithastobereal.
59
Please remember II, 2013
P e r f o r m a n c e , C e n t r e f o r A f r i c a n S t u d i e s , C a p e To w n
60
Please remember II, 2013
P e r f o r m a n c e , C e n t r e f o r A f r i c a n S t u d i e s , C a p e To w n
61
62
63
IA:
…weprojectontotheworldallthetime,butpeopleprojectontousandatsome
pointthoseprojectionsalsobecomepartofus.
64
Plate 7 (Neoscope series), 2014
Islamic burial cloth, fabric, thread, 195 x 130 cm
65
68
Found fabrics and brass-plated rail, 260 x 345 cm
69
Old South African flag, fabric, thread, frill, 122 x 150 cm
70
Found table cloth, fabric, thread, 120 x 118 cm
71
F o u n d s e a t c o v e r, f a b r i c , c l e a r t h r e a d , 1 0 2 x 2 0 0 c m
72
Found fabric, thread, brass-plated rail, 120 x 152 cm
73
Plate 2.5 (Neoscope series), 2014
Manipulated found cloth, 215 x 145 cm
77
Mattress fabric, glue, silk leaves, thread, 190 x 155 cm
80
Found tablecloth, tassels, wire, sponge, beads and artificial flowers,
a p p r o x . 1 6 0 x 1 8 0 c m d i a m e t e r, d i m e n s i o n s v a r i a b l e
81
Bead necklaces, wire and cotton thread, approx. 120 x 40 x 40 cm
82
83
84
Metal rod, wire and silk leaves, approx. 120 x 70 x 60 cm
85
NotesonParda
The woven works indicate Adams’ conceptual and material development from the
Neoscope seriesintermsofavisibleshifttowardsnon-figurativerepresentationofhis
continuedinquiryintothecoreofself-consciousness.ThetitlePardareferstoaveilor
fine material covering worn by Islamic women, as prescribed by Sharia law.The veil
becomes synonymous with ideas around lenses and inherited meaning. Like the lens,
the veil conceals and distorts information, creating blind spots and slips, binding and
shapingperception.
In Parda 1, a loose rendering of an inkblot has been sketchily stitched into a tightly
wovencanvas;someofthedarkthreadshangloosely,unravelingtowardsthebottomof
thecomposition.Thelinearformreadscartographically,depictinginfinitepaths,which
cross over each other and sprawl across the woven surface. Subtle traces ofAdams’
processofthreadingandthenunthreadingthelowerhalfoftheinkblotemergeassmall
recesses in the tight woven pattern. This evokes a sense of revisiting, rewriting and
remapping, which in turn reflects the indefinability and inconclusiveness of selfhood
thatAdamsengageswith.
86
Parda I, 2014
Woven nylon rope and string, 114 x 85 cm
87
Parda II, 2014
88
Mukhannath, 2014
Found chair frame and found cloth bunting, 75 x 80 x 60 cm
89
ForParda IIandParda III,Adamscontinuedtoworkcollaboratively;similarlytothe
way he engaged with familial frames of reference in earlier works, in these woven
tapestrieshegivesagencytohislong-standingrelationshipswithagroupofwomenhe
mentoredforseveralyearsatthePhilaniArtCentre.AstheresidentartteacherAdams
assistedtheseunemployedwomeninusingsilkscreen,paintingandweavingtechniques
to produce commercial craft work, enabling them to sustain themselves financially.
These works were made in collaboration with the women, giving expression to the
sharedhistoriesandpersonalnarrativesthathavedeeplyaffectedAdams.Thisunfolds
materiallythroughtheintricatelywovendetailingandinturntheperformativeprocess
ofweaving,whichresonatesasameditativewritingorinscribingofthesehistories.The
presence and influence of these family and community relationships is tightly woven
intothemulti-facetedphilosophicalquestionsAdamsasksaboutlookingat,seeingand
perceivingtherelativeselfthroughvaryingmeansandmodes.
JenniferBall
2015
90
91
Parda III, 2015
92
Parda IV, 2015
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94
Self-portrait, 2015
Woven nylon washing line, string-beaded necklaces and string
200 x 150 cm
95
Surat Al’Ikhlas (front), 2015
Woven nylon washing line and string, 250 x 250 cm
Photograph: Monique Pelser
96
Surat Al’Ikhlas (back), 2015
Woven nylon washing line and string, 250 x 250 cm
97
Ayatul Kursi 1 (front), 2015
Woven nylon washing line, string-beaded necklaces and string, 230 x 180cm
98
Ayatul Kursi 1 (back), 2015
99
Ayatul Kursi 2 (front), 2015
100
Ayatul Kursi 2 (back), 2015
101
B i s m i l l a h h i r- R a h m a n n i r- R a h i m ( f r o n t ) , 2 0 1 5
Woven nylon washing line, string-beaded necklaces and string, 150 x 150 cm
102
B i s m i l l a h h i r- R a h m a n n i r- R a h i m ( b a c k ) , 2 0 1 5
Woven nylon washing line, string-beaded necklaces and string, 150 x 150 cm
103
104
HVY
Josephine Higgins
107
Listen (detail), 2012
H e a t g u n - m a n i p u l a t e d f o u n d w a l l p a p e r, 1 5 0 x 1 1 5 c m
108
Josephine Higgins
In my practice I am concerned with my two environments, both external and
internal, and the constant exchange of information between the two; I project
onto the world, so too I internalise the world’s projections on me ... I find myself
playing different roles within this drama, belonging to different orders all at once;
I am born Muslim and raised by my Christian maternal grandparents. I am openly
homosexual and classified as ‘Cape Malay’ (of mixed race) in the Apartheid South
African system. Navigating my way around the expectations imbedded within the
stereotypes of my social roles, I continue to search for new understanding, new
ways of seeing my combination of identities.
Adams’engagementwithhybrididentityandhissupposedlydisparateroleshasformedthe
foundationofhiswork,yethisinterestextendsbeyondpersonalnarrativeandhistories.
Exploringthecomplexitiesofbeing,throughanincreasinglyabstractapproach,Adams
reflectshis‘...needtounearth,unmaskandunveilthemysterieshiddenwithinthedepthsof
theSelf,beyondrace,class,religion,sexualorientation,andgender.WhoamI,beyondmy
identity?”
Inhisfirstpubliclyexhibitedwork,Jou ma se poes(2009), Adamsinstalled a‘typical’Cape
FlatssittingroomattheAVAgallery,CapeTown.Thetitleoftheworkisaderogatory,yet
occasionallyplayful,slangtermstereotypicallyusedbyandassociatedwithso-called
‘coloured’cultureinCapeTown.Emphasizingthedomesticityandspecificityofthespace
further,Adams’grandmotherperformed,watchingre-runsof7de Laan.Onthewalls,Adams
109
hungrepresentationsofhimselfinvariousnamelessguises,includingayoungwoman
avertinghergaze,apensiveMuslimyouthandacontourportrait,constructedwithatangleof
loosestitches.Adams’adoptionof‘craft’methodssuchashand-andmachine-stitchingand
theuseofsewing,fabriccollage,quiltingandembroiderynotonlyreflectshismother’s
backgroundasaseamstressandhisstrongidentificationwithwomen,butalsocomplicates
genderstereotypes.ThereisagencyintheconstructionofAdams’identityhere,asdifferent
rolesareplayedandvariousrealitiescoexistandintermingle.Identity,inAdams’work,is
underlinedasfluidandunstable,asopposedtomonolithicandexclusive.
Duringhismid-twenties,Adams’spiritualismwasrenewedwhenhefellinlovewiththe
mysticismofthetexts,storiesandinterpretationsofSufiIslam;anewwayoflookingatthe
world,ofknowledgeandunderstanding,basedonhischildhoodupbringinginIslam.
DescribedbysomeasthespiritualessenceofIslam,Sufismprovidesinsightintotheinternal
andexternalrealitiesofdailylife.ImportantlyforAdams,Sufismalsopresentsanunseen,
chimericalworldofdisorderandcreation,seeminglybeyondlanguageandrepresentation.
In between(2011),anenigmaticinstallationconsistingofrowsofindividualIslamprayer
mats,illustratestheimportanceandinfluenceofthis‘unseen’worldinAdams’work.The
matsaresewntogetherandlaidoutonthefloortofaceMecca.Unusedandaged,cheapand
expensive,thematerialsareplacedsidebyside,encouragingthemergingofmultiple
contexts.Adamscollectsthesematsalonghistravels,buyingsomeandborrowingothers
fromfriendsandfamily.Havingbornewitnesstotheritualprayersoftheirformerowners
–hoursofstanding,bowingandprostration(Sujud)inhumilitybeforeGod–thematsare
fadedandworn,bearingsubtletracesloadedwithmemoriesandmeaning.Theobjects
becomesacredastheyprovideacontainedphysicalandmentalsitetocommunicatewith
God.Uponenteringtheinstallation,theaudiencewasrequiredtoremovetheirshoes;a
simpleyetsurprisinglyhumblingact.Toprovidecomfortfortheviewer,Adamsaddeda
layerofthickblanketsunderneaththemats,andburnedfrankincense.Inmanyways,viewers
wereinvitedtoperformforAdamsashecreatedaspacewherewhoeverenteredhadan
opportunitytoreflectinsilenceontheirownselfandexperiences.
Josephine Higgins
110
ThevaryingcoloursandpatternsofthetraditionalprayermatsinIn betweenareinterjected
bythesinuousformofalargesnake,constructedbyinlayingcontrastingprayermats,ina
curiousmixofcamouflageandconspicuity.Thesnakefunctionsasanantagonisticsymbolin
thesacredenvironmentoftheinstallation;thedisruptionsignalsaninnerbattle.Openly
homosexualsincetheageofnineteen,theconflictacknowledgesAdams’struggletoreconcile
Islamwithhissexuality,andhislivedexperiences.
ReminiscentofIn between,If that I knew(2013)representsapronedogisolatedamongstthe
architecturalandpatternedelementsofacarpetofprayermats.InIslam,dogsareconsidered
impureanimalsandarecommonlynotallowedinpeople’shomesundertheIslamiclegal
tradition.However,therearealsonarrativesintheQuranthathighlightthevalueoftheloyal
companionshipofdogs.TheseambivalentnarrativessubtlyreflectAdams’beliefthatthereis
roomforinterpretationintheQuran,reinforcedbytherisingvisibilityofindividualsand
groupscallingforanuancedexaminationandre-readingofIslamicsources.Whendiscussing
thisambiguity,Adamsidentifiedanumberofnarrativesandprogressivescholarswhotrouble
andcomplicatethestoriesandinterpretationsmostoftenusedtocondemnhomosexuality.
ThisincludesthecontroversialstoryoftheProphetLutandhispeopleinSodom,aswellas
narrativesofMukhannathun,effeminateifnotsometimestransgendermenwholivedoutside
thepatriarchalheteronormativesexualframework,whowereacceptedinthetimeofthe
Prophet.ForAdams,‘superimposingtheimageofthedogontheHolyCityisanactof
claimingastakedespiterejectionandridicule’.ItwasonlylaterthatAdamswouldseethis
workasaself-portrait,wherehisfeelingsofsegregationandalienationbegantoshift
towardsaquietrebellion.
Thecombinationofprayermats,representationsofselfandapurposefullyincomplete
aestheticdrawslinksbetweenIf that I knewandSelf-portrait(2013aand2013b).Adams’
tenuousandhalf-formedself-representationssuggestaprocessofbecomingandof
transformation.Asevidencedinthesensitiveanddetailedformofthedog–createdthrough
stitching,embroidering,erasingandworkingintothesurface–thereisacomplexbalance
betweenconstructionanddestruction,andanemphasisonlayeringinbothmediumand
‘Should I just keep telling stories?’
111
referencesinAdams’processes.Althoughcontested,Islamictraditionforbidsimagesof
animatebeingsinthehome,whichincludesdogs;theimagesaretobeblottedorcoveredat
theveryleast.TheselimitationsarelinkedtothefableinwhichtheangelGabrielbreaks
conversationwiththeProphetMuhammad,explaining‘Weangelsdonotenterahomein
whichthereisadogorapicture.’
ThisprohibitioninthehomeisparticularlyinterestinginrelationtoAdams’continual
interestinthedomestic:scenes,materialsandmethodsofthefamilyandcommunityas
home.Thisisanaspectfurtheredbythetitleoftheexhibition,Have you seen Him?(2013),
ofwhichIf that I knewformedapartatblankprojectsinCapeTown.Theexhibitiontitle
referencesthefabledsayingsandhappeningsofa13thcenturysatiricalSufi,Mullah
Nasiruddin,whowassometimeswise,sometimesafool,andsometimesboth.Theexhibition
embodiedNasiruddin’shumorousyetphilosophicalsearchesforGodandunderstandingin
theeveryday.ForAdams,‘alltheworksinthisbodyareconversations:betweenGodand
myself,momentsandexperiences.Theseconversationsareoftenargumentativeand
conflictual,yetintimateandattimesreassuring.’Thiscomplexandlayeredwebof
references,emotionsandconversationsissuggestedinAdams’abstract,hangingsculptural
forms,suchasLa(2013).Constructedfromaninterweavingofstringcurtains,steelringsand
glue,Laisfragileandtenuous,andspeakstoAdams’attempttountanglethechaosand
confusionofeverydayexperiences.Mirroredhereisanunexpectednessandalternativeto
conventionexpressedbythewit/wisdomofNasrudin.
Anemphasisonintuition,interpretationandabstractionbringsustoAdams’Neoscope series
(2014),whichcentresontheworkofHermanRorschach,theSwisspsychiatristand
psychoanalystfamedforcreatingtheprojective‘inkblot’personalitytest.1Thetest,basedon
1
The Neoscope series (2014) originated from Adams’ participation in the annual workshop
Sommerakademie im Zentrum Paul Klee in Bern. In 2014, the invited curator, Raimundas Malasaskas,
presented the theme ‘HR’. Whilst referencing ‘human relations’, the theme centres on the work of
Herman Rorschach.
Josephine Higgins
112
subjectiveresponsestotenofficialinkblotplates,aimstouncoverthesubject’scognitionand
personality,includingtheirpersonalandinterpersonalperceptions.Adams’Plates 1-10,each
basedonspecificinkblotimages,arere-imaginedthroughself-projection,andtransformed
intowall-hangingbannersandtapestriesthatcombinematerialsrangingfromfamily-owned
curtainsandburialclothstofoundtablecloths.Adamsexhibitedthisseriesunderthetitle
Parda,whichreferstoacurtain,veilorpieceoffabricthatobscuresandconceals.InIslam,
pardaalsoreferstothelawunderwhichwomenarerequiredtocovertheirfacestoprotect
theiridentity.Paradoxically,theveilisalsoasymbolofenlightenment,asearchforanswers,
astheProphetMohammad’steachingstatesthatthereare70000veilsoflightanddark
separatingindividualsfromGod.
Parda II(2014)isoneofseverallarge-scalewall-basedtapestrieswovenfromcommon
nylonrope(madefrommulti-colouredsyntheticwastematerial)andstringincludedinthe
exhibition.TheseriesoftapestriesresultedfromAdams’long-standingrelationshipwitha
groupofwomenworkingatthePhilaniCentreinKhayelitsha,CapeTown.AlthoughAdams
hasonlybegunexploringtapestryasamedium,Parda IIatteststothemesengaged
throughoutAdams’careerthusfar,whileillustratinghisshiftawayfromtherepresentational.
Multi-colouredandtightlywoven,thepiecepointstohoursoflabourandcollaboration.
Occasionaldisturbancesanddisruptionsoccurintheformofanoutpouringofthreads,
similarinshapetotheendsofcurtainties.Thetangledmergingofcolourandvarious
contextsisreminiscentofAdams’prayermats,aswellastheconversationsandwebsof
Self-portraitureandpiecessuchasLa.Thereisalsoafeelingoftheincomplete,asthe
underlyingframeworkoftheweavingisleftexposedinthebottomhalfofthework.Again,
identityishighlightedasacontinuousconstruction,butinthisworktheshiftistakenfurther;
amovefromstitchingtoweavingismirroredbyamovefrompersonaltosharedidentity.The
tapestriesweavetogetheranabstractnarrativeofpersonalexperiencesandhistories.
‘Should I just keep telling stories?’
113
ThesubtletiesandnuancesofAdams’increasinglylayeredpiecessuggestthattheveryterms
ofidentitylimitallofthemanyinstancesthatAdamsisexploring;insteadofapoliticsof
identity,Adamsengagesbeingandselfhood.Inamoveawayfromamorerepresentational
styleofworking,Adamsevadestheverystereotypesandreductivecategoriesthatareso
limitingtohumanthought,communicationandexperience.
SOURCES
Kuggle, S.S.H. 2003. ‘Sexuality, Diversity, and Ethics in the Agenda of Progressive Muslims’. In Safi, O. (ed.).
Josephine Higgins
114
116
Ruth Simbao
117
Page 116: Bismillah, 2014
Performance, National Arts Festival, Grahamstown
Photograph: Rachel Baasch
118
Ruth Simbao
Our senses are the tool our body uses to negotiate and move through the world;
by their very nature, they orchestrate with others and our environment … Artists
who harness more than our eyes and ears encourage us to wake up, to be alert
to the world around us, and to interact actively with the objects and creatures
around us. It is an invitation to live, to feel, and to be part of a larger community.
DiBenedetto1
BENEATH
Theaudienceclimbsdownanarrowflightofsteepstepsintothedarkunderbellyofthe
1820SettlersNationalMonument–thebasementofalargebuildingthatcommemorates
theBritishSettlers’arrivalintheEasternCape.Toreachthebasement,viewerspassamply
proportionedarchitecturalgesturesoftributeandvalidation,includinghighceilings,
polishedbanistersandsymbolsofBritishpatriotism.Thebasementstepsarehiddenbehind
ayellowwoodstructurethatisdesignedtolooklikescaffolding,symbolisingtheongoing
processofbuilding,inthiscaseexplainedas‘thenotionthattheworkoftheEnglishspeaker
inSouthAfricacontinues’.2Therectanglesanddiagonalsofthiswoodenconstruction
‘representthecrossesoftheBritishFlag’.3
TheindoorMillstoneFountain,whichisthe‘symbolicheartoftheMonument’issurrounded
bythewords,‘Thatallmighthavelife,andhaveitabundantly’.4
119
Bismillah, 2014
Photograph: Ruth Simbao
120
BeneaththisgrandtributetotheBritishSettlers,totheEnglishlanguageandtothe
abundanceoflife,unravelsanaccountofdeath.
Theconcealedbasementisdimandshadowy.Thedustfromtheunpolishedrocksthat
protrudefromtheearthhangsthicklyintheair.Asubtlesmellofincenseassumesenhanced
impact,assightlagsbehindsmellwhileeyesslowlygrowaccustomedtothedark.
Viewershuddletogether,hushed.Infrontofthem,inwhatlookslikeacavernousstone
grave,liesabodyonsimplewhitecloth.Thebody–thatofIgshaanAdams–isaboutto
bepreparedforburial;anactconsideredtobeacommunalobligation(fard al-kifayah)in
Muslimlegaldoctrine.
B-ismi-llāhi r-raḥmāni r-raḥīmi.
InthenameofGod,theMostGracious,theMostMerciful.
BLIND SPOT
The blind spot is … neither a visible absence (a darkness), nor a constructed
absence (a hole papered over by extrapolating from visible objects), but an
invisible absence: an absence whose invisibility is itself invisible. This is not
the dark grey annoyance that is suffered in actual partial blindness, nor is it the
oblivion of the fixed stare, but something different, another kind of blindness,
where we believe we see but do not.
JamesElkins5
IgshaanAdamsperformedBismillah(2014)aspartoftheBlind spotperformanceart
programmeattheNationalArtsFestivalinGrahamstown,asmalltowninanareastill
Cleansing via the senses as eyesight follows the soul:
121
strangelyreferredtoasFrontierCountry.Blind spotwasaseriesofsite-collaborative6
performancesthatconsideredwaysofnotseeing,drawingfromthenotionofablindspotthat
createsanabsenceofvision.Justaswithscotoma,whenthebrainmakesupcertaindetails
thatareactuallynotthere,intermsofwaysofseeingandthinkingabouttheworld,ignorance
andprejudicecreateculturalorcognitivebiasesthatrelyonfarcicalinformationandskewed
perspectives.AsElkinsemphasises,though,ablindspotgoesbeyondvisibleabsence–it
is invisibleabsencethatregisterstheinabilitytorecogniseone’sblindness.Intermsof
metaphorsofsight,Bismillahentersthespiritualrealm,searchingindeathfortherecognition
ofblindness.Intermsofsite,performanceandplaceinteractintertextually,ignitingideasof
blindspots,where‘spots’refertolocationstoo.
In Bismillah,IgshaanAdamsperformswithhisfather,AmienAdams,whotenderlywashes,
driesandperfumeshisson’sbodyasifheweredead.Inthiswork,Igshaanmovesbeyond
sightinmultipleways,playingwiththerelationshipbetweenseeingandnotseeing,
concealingandrevealing,andbetweentangibleandintangibleworlds.Indoingso,hedraws
onsound,touch,smellandmetaphorsoftaste,engagingnotonlywiththesensesofthebody,
butthesensesofsitesandcommunitiestoo.
Explaininghispractice,Adamssayshenavigatesbetweenthreeenvironmentsthatblur
theboundariesbetweenthevisibleandtheinvisible:theexternalworld,theinternalworld
andthemythicalworld:‘SufiIslamoffersmeaframeworktoexplore…athird“unseen”
world.Amythicalworldofchaosandparadoxesbeyondlanguage,superimposedontoan
existenceofsocialstructuresanddisciplines’.Inmuchofhiswork,Adamssubtlyraises
questionsaboutourpossibleblindspotsregardingourphysical,emotionalandspirituallives,
butrevellingincomplexityandevencontradiction,herefusestoprovidesimpleanswers.
Bismillahisnotaboutadidacticimpulse;itisaboutintimateknowledgeandexperiential
growth.ItisnotsimplyaperformanceaboutcodesofIslam,butisaself-reflexivefamiliarity
withdeathevenwhendeathisnotliterallythere.Itisaboutapersonalprocess–acleansing
–andinitspalpablepoweritcarriesreceptiveviewersthroughaprocesstoo,onewhich
exceedstheirsightandtheirmentalwaysofseeing.
Ruth Simbao
122
THE FAILURE OF SEEING
When the soul is taken, the eyesight follows it.
Qur’an7
Bismillah(2014),whichevolvedfromthe2012performancePlease remember II,isinformed
bytheartist’sexperienceoflosinganauntwhowasstillalive,butduetoadrugaddiction
wasineffectdeadtohim.Ascaronthiswoman’sfootwastheonlyremainingsignofthe
personheonceknew.Bysightherecognisedwhatsignalledhisrelative,butthisvisual
reminderfailedhimashisfullexperienceofherhadpassedaway.Merelyseeingdoesnot
necessarilyallowonetoknowinamoreintimatesense.Inordertosee–especiallytosee
clearly–somedistanceisrequired.Buttotouchistobeclose.Tounderstandistoconnect.
Inthisperformance,touchbecomesapointofintimatefamilialknowingasIgshaan’sfather
lovinglywashesthebodyofhisson,whereassight–thesightofascarthatmightelicit
mentalorevenemotionalrecognition–ultimatelyfailed.
IntheMuslimprocessofpreparingabodyforburial,theeyesofthedeceasedoughttobe
closedassoonaspossible.Sightaccompaniesthesoul;itisasspiritualasitisphysical.
Importantly,preparationforburialisusuallyhidden,andwhatisseen,feltorsmeltby
thepersonperformingthisdutymustremainasecret:‘HewhowashesaMuslimand
concealswhathesees(i.e.badodors,appearance,andanythingloathsome),Allahgrants
himforgivenessfortytimes(orforfortymajorsins)…’.8Generallymalestakeonthe
responsibilityofwashingmales,andfemaleswashfemales.Theonlyexceptiontothisruleis
inthecaseofhusbandandwife,orsmallchildren.Thereisnoaudience.
Bismillahisanuncomfortableanddisconcertingperformancetoexperience.Notonlydoes
itbringtheaudiencepalpablyclosetowitnessingdeath,butitalsohoversbetweenwhatis
123
allowedandforbidden;whatisdesiredandreviled.Whiledeathholdsthepowertopush
thelivingaway,duty,respectorthedesiretomanagetheunmanageablecoaxesthelivingto
performthistenderritual.
Incertainculturalhistoriesofvisualisingdeath,atensionoftenexistsbetweensubmitting
totheinevitabilityofdeathandwantingtocheatitthroughvariousformsofrepresentation.
Forcenturiesdeathmasksrecordedfacialfeaturesbycastingamouldtakendirectlyfrom
thedeceased’sface.9IntheVictorianera,post-mortemphotographerssometimesstagedthe
recentlydeceasedasiftheywerealive,openingtheireyesandproppingthemuponchairs
nexttolivingrelatives.10
Thisimpetustoretainsomeaspectofpresencethroughrepresentationdoesnotexistinthe
contextoftheIslamicburialpreparation.Whatisseenshouldbehidden.Whatisvisible
mustbeletgo,justasthecorporealorgansthatdotheseeinginthephysicalworld–the
eyes–mustbeshutaseyesightfollowsthesoul.IntheperformanceofBismillah,Adams’
eyespowerfullyrevealbothdeathandlife.Makingnoforcedattemptto‘actdead’,Adams
calmlykeepshiseyesopen.Heblinkswhenheneedstoblink.Likehisaunt,heisbothdead
andalive,butperhapsunlikeher,heissimultaneouslyblindandsighted–consciouslyso.
Deliberatelygraspingatdeathhebecomesawareofhisownblindness.
SOUND
B-ismi-llāhi r-raḥmāni r-raḥīmi.
Asisrequiredinthisdeathritual,AmienAdamsperformsthisrecitationinaquiet,serious
voice.Noloudmourningispermissible.Hislowvoiceandthenear-silenceoftherestof
thetwenty-minuteperformancecreateapainfulexperienceforviewers.Anunspokencode
Ruth Simbao
124
suggeststhattheymustallkeepstill,andtheoccasionalshufflecreatesastir.Viewersfeel
theheavinessoftheirbreath.
Thereisnobackgroundmusic.Novoiceover.Justtheoccasional,almostinaudible,soundof
water;ofthetowelwipingdryalimb;ofafewfootstepsasIgshaan’sfatherwalksaroundthe
bodyofhisson,andofthesubduedgroansofthebuildingasfestival-goersmoveabovethe
basementobliviousoftheritualofdeathbelow.Theaudienceistrappedbythesparseness
ofsound.Thereisnoleavingthisscene,whichhasbecomepart-mortuary,part-graveside.
Unlikeanearlierversion,Please remember II,thisperformancedoesnottakeplacein
agalleryspace.Noartworksthatwouldlegitimisethedesiretowalkawaysurroundthe
performance;thereisnothingonwhichviewerscanresttheireyesinthereassurancethat
whattheyseeisonlydepiction.
Evenifviewersclosetheireyes,theyare‘forced’towatch;it’sasiftheyseevia the tension
ofthealmostinaudiblesound.
TOUCH
Nearlyeverythingthattheaudiencehearsistouch.Literally.
Awethandtouchesafoot.Atowelrubsanarm.Clothmakescontactwithskin.
Atsomepointit’sasifdeathpushesbackattheviewers’eyes,forbiddingthemtophysically
see,andtheyregardthescenebeforethemthroughtheactsoftendertouchthatalmost
inevitablyracethroughtheirminds.Somepicturethemselveswashingtheirsons,dryingtheir
daughters,orperfuminglovedones.Theybegintofeeldeath.
Inthisritual,thedeceasedbodymustbehandledwithrespect,withgreatcareandwith
gentleness.Igshaan’sfatherisattentive.Contained.Dutiful.Hewasheshissonwithsoap.He
rinses.Hedries.Heturnsthebodyover.Hewashes.Herinses.Hedries.Then,oncehehas
125
Bismillah, 2014
126
Bismillah, 2014
127
completedthemethodicalritualofcleaningthebodyhefinallyrelinquishestheintimacyof
skin-on-skintouchandshroudsthebodywithwhite,modestsheetsandagreenburialcloth,
whichisembroideredingoldwiththenameofAllah.Sometimesinthisritualapartingis
madeintheshroudneartherightsideoftheface,allowingittotouchtheearthdirectly.It
is makrooh11toburythedeceasedinacoffin,andtheearthfeelsthebodyasitabsorbsthe
remains.
SMELL
Duringthewashingofthebodytheorificesofthenostrils,earsandmouthareclosedoff
withcottonwooltopreventwaterfromenteringthebody.Afterwashinganddrying,perfume
suchascamphorisappliedtotheforehead,thenose,thepalmsofthehands,theknees,and
thefeet.InBismillah,AmienAdamsplacespiecesofcottonwoolintoIgshaan’snostrilsjust
beforehefoldsthewhitesheetoverhisface.
Immediateanxietyisfeltintheaudience.Drawnsoclosetotheexperienceofwitnessing
‘real’death,theslippagebetweenbeingdeadandalivethatisobservedinIghsaan’swrapped
bodytransferstothebodiesoftheviewers.Thereisaneedtobreathe,toprolongthesmellof
perfumethatremindsviewersthatitisnottheywhohavedied.Thereisaneedtokeeptheir
orificesopen,tokeepsensing.
Harnessingmorethanoureyesandourears, Bismillah‘isaninvitationtolive’.12
AsAmienAdamspullsthelastsheetoverthefaceofthe‘deceased’,thetensionmounts.He
beginstotieaknotabovethehead.Securingdeath.Viewersbreatheheavily,asiftokeep
atbaythe‘lastbreath’ofthebodytheyseedisappearingbeforethem.Theireyesfixonthe
chestbelowtheshroud.Itgentlymovesupanddowninitsowndeterminationnottolose
concentration,nottopanic.Therising-fallingchestreassuresonlookersthatthe‘factness’of
‘mere’representationdoesnoteludethem.Thisimagemustnotslipaway.
Ruth Simbao
128
Then,inaudibletosome,thesimpleword‘Daddy’isunexpectedlyheard.Wrestlingwith
thedualurgetosimultaneouslyexperiencesomekindofdeathandtostayalive,Igshaanis
overwhelmedbytheperfumetrappedbeneaththeclosedsheetsandinvoluntarilywhispers.
Buthestaysstill,containedinthetransitionalspacebetweenlifeanddeath,between‘I’and
‘not-I’,betweenthe‘transformed’andthe‘untransformed’.Thepsychoanalyticspacethat
ababyexperiencesbetweenmotherandchild,between‘not-I’and‘I’,isacritical,creative
spacethatgivesbirthtoatransformedhumanbeingwithanessentialsenseofself.13 In a
spiritualsense,thisiswhereIgshaanlingersduringBismillah,as‘not-quite-dead’,‘not-fullyalive’.
CLEANSING THROUGH TASTE
Every soul will taste death.
Qur’an14
IfBismillahweremerelyanattempttoperformarepresentationofdeath,thentheutterance
of‘Daddy’mightbereadasamistake,asabreakingofcharacterthatwouldjoltviewers
backintothepresent-nessoftheirfullaliveness.Buttheperformanceisaboutslippage.
Aboutbeingdeadandalive.Aboutdyinginordertolive.It’saboutpullingviewerscloser
tothewhisperofdeath,thesmellofdeath,thetouchofdeath.Ratherthaninterruptthe
performance,theutteranceseemstopullviewerscloser.Somewereunawareoftheactual
father-sonrelationshipuntilthispoint;someweregrippedbythepanicinIgshaan’svoice.
Throughanorchestrationofthesenses,theviewersalmosttastetheclosenessofdeath.
129
Incontrasttohisexperiencewithhisauntinwhichavisualtriggerfailstogenerate,forhim,
vivacity,inBismillah,eventhough‘dead’himself,theintensepreparationforburialleaves
Igshaanfeelingremarkablyrenewed.
Cleansed.
BENEATH
Viewerswalkbackupthestairs,someshaken,andpasstheMillstoneFountaininscription:
‘Thatallmighthavelife,andhaveitabundantly’.Thesewordsofreassurance,however,are
hiddenfromview.Trappedbeneathatemporarystagesetupforthefestivaltheirsupplication
forlifeismuted,andbeneaththis,belowtheinscriptiononthefloor,adeathtookplacethat
theseverywordswereblindto.
Invisibleabsence.
Ruth Simbao
130
1
Di Benedetto, S. 2007. ‘Guiding somatic responses within performative structures: contemporary
live art and sensorial perception’. In Banes, S. and Lepecki, A (eds). The senses in performance.
London: 133-4.
2
The Grahamstown Foundation. 2015. Available at: http://www.foundation.org.za./index.php?pid=23.
(Accessed March 2015.)
3
Ibid.
4
The Grahamstown Foundation. 2015. Available at: http://www.foundation.org.za./index.php?pid=25.
(Accessed March 2015.)
5
Elkins, J. 1996. The object stares back: On the nature of seeing. New York: Simon and Schuster.
6
I use this term in place of site-specific art to indicate that a performer does not simply respond to an
existing site, but that performer and site create meaning together. Significantly, site has agency too.
7
‘When the Ruh (spirit) is taken out, the eyesight follows it’. See Mission Islam: ‘The Mysteries of the
Soul’. Available at: http://www.missionislam.com/knowledge/mysterysoul.html. (Accessed January
2015.)
8
Aisha, B. ‘Funeral Rites and Regulations in Islam’. Available at:
http://www.missionislam.com/knowledge/funeral.htm. (Accessed January 2015.)
9
Schuyler, J. 1986. ‘Death masks in Quattrocento Florence’. Source: Notes in the History of Art 5(4): 1.
10 Enoch, N. 2013. ‘Post-mortem photography’. Mail Online, 29-30 January. Available at: http://www.
dailymail.co.uk/news/article-2270169/Post-mortem-photography-Morbid-gallery-reveals-Victorianstook-photos-DEAD-relatives-posing-couches-beds-coffins.html. (Accessed February 2013.)
11
‘Makrooh in Arabic means the opposite of liked or loved. In the terminology of sharee’ah it means that
which the Lawgiver asks us not to do, but not in a definitive manner. It may be said that it means that
for which the person who does not do it out of obedience will be rewarded, but the one who does it
will not be punished.’ Available at: http://islamqa.info/en/9084. (Accessed March 2015.)
12
Di Benedetto, S.: 134.
13
See Winnicott, D.W.W. 1971. Playing and reality. London: Tavistock Productions.
14 Surat al-‘Ankabut: 57
131
CURRICULUM VITAE
133
BIOGRAPHY
1982
BorninCapeTown,SouthAfrica
EDUCATION
2015 -
MFACandidate,RhodesUniversity
2009
DiplomainFineArtwithaDistinctioninMixedMedia,RuthProwseSchoolofArt
SOLO EXHIBITIONS
2015
Parda,blankprojects,CapeTown
2013
Have you seen Him?,blankprojects,CapeTown
2013
If that I knew,Rongwrong,Amsterdam
2011
In between, Stevenson,CapeTown
2010
Vinyl,AVAGallery,CapeTown
SELECTED GROUP EXHIBITIONS
2015
Barriers,WanåsKonst/TheWanåsFoundation,Knislinge,Sweden
2014
next thing you know,blankprojects,CapeTown
2014
No fixed abode,TheNewChurchMuseum,CapeTown
2014
Bismillah,performanceattheNationalArtsFestivalincollaborationwithAmien
Adams,theartist’sfather.Grahamstown,SouthAfrica
2014
Between subject and object,MichaelisGalleries,CapeTown
2013
Three Abdullahs,CentreforAfricanStudies,UniversityofCapeTown,CapeTown
134
2013
This is the thing,blankprojects,CapeTown
2012
When form becomes attitude,blankprojects,CapeTown
2012
Ingekluer, beyond the borders,AVAGallery,CapeTown
2012
A century of self,TheCopyShop
2011
What we talk about when we talk about love,Stevenson,CapeTown
2011
Slices of life,InfectingtheCityPublicArtsFestivalinCapeTownCBD
2010
Swallow my pride,blankprojects
2010
Greatest hits2009,AVAGallery
RESIDENCIES
2014
SommerakademieimZentrumPaulKleeinBern,Switzerland
2013
IAAB/ProHelvetiaresidency,Basel,Switzerland
135

Igshaan Adams - Blank Projects

Transcription

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