Casey Kaplan
TRACING EMERGING ARTISTIC PRACTICE IN SOUTH AFRICA
By Houghton Kinsman
22 September 2014
With planning underway for the Zeitz Museum of Contemporary African Art and on the back of the announcement of Johannesburg as one of Phaidon’s 12 Future Art Cities, there is an air of creative enthusiasm around South Africa. As one of the most established art markets on the continent, events like these, in addition to Cape Town’s role as the 2014 World Design Capital, have meant increased attention on and discussion around the countries creative exploits.
One of the most exciting aspects to emerge from this discussion has been the continued growth of contributions from young creative practitioners to the cultural and artistic climate of South Africa.
As young artists/curators, presenting critical thoughts on and notions of what it means to artistically form part of a new post- Apartheid country, Athi Patra-Ruga, Julia Rosa Clarke, Haroon Gunn Salie, Portia Malatjie and Husan and Hussein Essop – who recently received the prestigious Standard Bank Young Artist award, are but a few notable names characterizing this new generation of creatives that have received both the acclaim and exposure that their respective practices deserve, ultimately embodying South Africa’s youthful creative potential.
Yet, they are only the beginning.
Hence, we have highlighted three more emerging artists to find out more about their work, as a means to develop a more coherent understanding of their contributions to new artistic directions and most importantly, the trajectory of emerging South African practice in the 21st century.
IGSHAAN ADAMS
MAKING SENSE OF HYBRID IDENTITIES
Utilizing a multidisciplinary approach, which includes sculpture, performance and mixed media, Adams is interested in exploring the impact of race and sexuality on hybrid identity. Coming from a diverse religious and cultural background, having been raised by Christian grandparents as a liberal, homosexual Muslim, Adams uses Islam and South African “coloured” culture as a departure point to make sense of religious, racial and sexual liminality in South Africa.
Aside from his work, Adams is also heavily involved in community-based enrichment and upliftment programs. He was employed at the Philani Health and Nutritional center as an Art teacher, facilitating art-based income generating programs and has facilitated workshops for abused women and underprivileged youth at the South African National Gallery and the Backdrops NGO in Cape Town.
Adams is represented by blank projects in Cape Town and has had exhibitions at Stevenson Gallery Cape Town; Rongwrong Gallery, Amsterdam; Ithuba Arts Gallery, Johannesburg and recently completed a residency at IAAB/Pro Helvetia, Basel, Switzerland. He was also included in the Business Day’s Wanted magazine as a Young African Artist (YAA), thanks to his continued contributions to emerging South African practice.