Igshaan Adams

Igshaan Adams
Kicking Dust

Kunsthalle Zürich
Limmatstrasse 270
CH-8005 Zürich

Tel: +41 (0) 44 272 15 15
Fax: +41 (0) 44 272 18 88


Exhibition organised by the Hayward Gallery, London in association with Kunsthalle Zürich.

South African artist Igshaan Adams' cross-disciplinary practice combines aspects of weaving, sculpture and installation whilst exploring concerns related to race, religion and sexuality. Drawing on the material and formal iconographies of Islam, his intricate textile works also reference the socio-political histories of creole communities.

This exhibition is on view at the Hayward Gallery London from 19 May–25 July 2021. There the exhibition was realised as a single immersive environment. Each work, and the exhibition as a whole, is composed of multiple patterns. These explore the potential of woven material to reflect the multiplicities of Adams’ own identity and of broader cultural interchange.

Curated by Tarini Malik (Hayward Gallery) and Daniel Baumann (Kunsthalle Zurich)


film produced in partnership with Nowness, Hayward Gallery and Kunsthalle Zürich. Igshaan Adams: Kicking Dust is on display 19 May–25 July 2021 at Hayward Gallery and 5 February–22 May 2022 at Kunsthalle Zürich. Courtesy Hayward Gallery and Kunsthalle Zürich.


"Igshaan Adams has a tremendous gift for delicacy and a poet’s understanding of time, of how it can erode and mark our daily lives. The queer South African artist was raised in Bonteheuwel, a former segregated township in Cape Town, and his intricate, handwoven tapestries rely on the materials of that world—plastic, beads, rope, shells, the patterns of linoleum floors—to evoke a sense of home, and of the faith that he found there. (Adams is a practicing Muslim.) In his current show at the Casey Kaplan gallery, on view through July 30, the artist pairs his textiles with tumbleweeds of wire, a physical manifestation of apartheid, in a series titled “Getuie (Witness).” (“Getuie VIII” is pictured above, with the tapestry “A Night Journey on a Winged Horse.”) South Africa’s history informs the melancholy tone of Adams’s exhibition, but he has us look up at the stars, too, in such supremely beautiful works as the blue, worn, and iridescent “Veld Wen,” which gives the exhibition its name." —