Matthew Barney REDOUBT 19 MAY – 25 JULY 2021

EXHIBITION GUIDE Matthew Barney: Redoubt

Redoubt is Matthew Barney’s most recent body of work and The Redoubt represents a major new direction for the artist, addressing A redoubt is a military term for a form of defensive fortification, themes as vast and varied as cosmology, ecology and the role often outlying and improvised. In military history, a national redoubt of artistic creation. The exhibition is centred around a feature- is an area with natural features, such as mountains, into which a length film and includes a series of imposing and intricate country’s army could retreat and regroup. More recently, ‘American sculptures cast from burned trees and over 40 engravings and Redoubt’ is the term chosen by some American survivalists for electroplated copper plates. The sculptures and engravings an area of the northwestern United States, including Idaho: refer to, and expand on, the filmic scenario, which explores a state which has some of the US’s most relaxed firearm laws questions of access rights and trusteeship of common lands and which is the location for Barney’s film. Over half of the land through the story of a wolf hunt. in Idaho is publicly owned and managed by branches of the US The film was shot in the snow-covered mountains of central government, such as the National Forest Service. This fuels local Idaho, near to where Barney grew up, and was inspired by concern among some residents about government overreach. his own memories of the bitter dispute between ecologists In some quarters, the colonial myth of an unsettled wilderness who supported the government-mandated reintroduction endures and specialist real estate companies offer off-grid of wolves to central Idaho in the 1990s, and the hunters and ‘defensible’ properties for survivalists relocating to the state. landowners who opposed it. A redoubt is a type of defensive military fortification, which has also recently become associated with the American survivalist movement. As the The American West title of both the film and the exhibition, it announces the The myth of the American artist’s interest in drawing on the mythologies of American West as a frontier originated culture as well as Classical and cosmic mythology to explore with the migration of land as a site of conflict and transformation. European settlers across the American continent in the 18th century. American landscape painting has typically depicted a wild and seemingly freely available landscape that could be tamed by the new settlers. Reflecting the interests of the colonisers, these paintings conveniently suppressed any indication that these lands had been inhabited by indigenous peoples for

Cover image: Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Gallery, New York and Brussels, and Sadie Coles HQ, London. Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Photo: Hugo Glendinning Gallery, New York and Brussels, and Sadie Coles HQ, London. Photo: Hugo Glendinning thousands of years. Representations Camouflage of frontier mythology in American Camouflage is worn by landscape painting was one of Barney’s the characters of the hunt starting points when making Redoubt. in Redoubt, particularly In the only part of the film shot away Diana, who is dressed from from the wilderness, Sandra Lamouche head to toe in Kryptek, (Bigstone Cree Nation), a contemporary a contemporary layered choreographer and dancer, performs a design that mimics foliage. hoop dance in an empty American Legion Barney has also abstracted building. This relatively modern dance the pattern in several of form is informed by a longstanding the engravings and sculptures. Camouflage has a complex cosmological worldview and is a pointed cultural history that dates from the countercultural movement reminder of the contested histories of in the US in the 1960s, when it was co-opted from military land occupation and colonisation. fatigues to become a symbol of opposition to the Vietnam War. In the decades that followed, camouflage was subsumed into Diana and Actaeon mainstream fashion, but more recently it has also become associated with right-wing anti-government paramilitary The narrative of Redoubt is loosely based on the classical myth of organisations. In the Idaho wilderness featured in Redoubt, Diana and Actaeon from Ovid’s Metamorphoses (8 AD). Actaeon is camouflage creates moments of invisibility between the a hunter who encounters Diana, the goddess of the hunt, while she figures and the forest, while at other times highlighting their is bathing in the woods, and she punishes him by transforming him silhouettes against the white snow. into a stag to be hunted down by his own hounds. Diana is played by Anette Wachter, an internationally competitive American sharpshooter. The Actaeon character, played by Barney himself, Wolves appears here as the Engraver, an artist in the employ of the US Forest Service, who observes and documents Diana and her hunt The film Redoubt is structured around a wolf hunt that in a series of engravings. Barney uses the myth to describe the takes place over six days – the length of time that a local bitter conflict between ecologists who supported the government- hunting outfitter told Barney it would take to locate and mandated reintroduction of wolves to central Idaho in the track a pack of wolves. Elusive and illusionary, the wolf 1990s, and the hunters and landowners who opposed it. is a central character in Redoubt. Wolves have important cultural significance for many of the indigenous peoples of

Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Gallery, New York and Brussels, and Sadie Coles HQ, London. Photo: Laura Nespola Gallery, New York and Brussels, and Sadie Coles HQ, London. Photo: Hugo Glendinning North America, are widely revered for spiritual reasons and efficient fuel, which allows flames to spread quickly at canopy respected as peak predators and pack animals. In European level. The charred trees that Barney has incorporated into mythology, they are generally regarded with fear and his large-scale sculptures were burned in naturally occurring suspicion. Attempts to eradicate the grey wolf led to the near wildfires, such as those started by lightning strikes, which extinction of the species in North America by the 1960s and are an important part of the renewal and management of its subsequent protection through the Endangered Species forest ecosystems. The adaptive ability of lodgepole pines to Act in 1978. In the 1990s, 56 grey wolves were reintroduced to regenerate from their own destruction links to the wider theme Yellowstone National Park and nearby areas of central Idaho, of metamorphosis in Redoubt. which in turn led to a significant reduction in the number of elk. The controversial policy was strongly opposed by local hunters, but supported by ecologists who advocated for the Metallurgy wolves’ positive effect on the local ecosystem. Copper and brass, an alloy of copper and zinc, feature prominently in Barney’s sculptures and electroplated Lodgepole pines engravings, which combine traditional The Sawtooth Mountain casting methods and digital region is home to dense technologies. In Redoubt, the Engraver evergreen forests of draws on the asphaltum-covered lodgepole pines. These copper with a sharp engraving tool. tall, narrow-crowned trees Using tanks of copper sulphate and are native to the inland sulphuric acid, the Electroplater then northwestern United States uses an electrical current to draw ions and are so called because from a copper bar onto the plates. This they were once used by indigenous people as lodge and tipi process has wide industrial applications such as the copper- supports. In Redoubt, the trees’ verticality connects the earth plating of bullets, but here it takes on the quality of alchemical to the sky, in particular during a scene when one of Diana’s experimentation. The United States is the world’s second- companions (the Calling Virgin) climbs a tall, burned pine. largest producer of copper. Copper deposits have been found Lodgepole pines are a fire-dependent species – the extreme throughout the Rocky Mountains and the metal was once heat of forest fires melts the resin that encases the cones, mined in the area of central Idaho where the film was shot. releasing the seeds – and their tall, thin trunks have evolved as

Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Matthew Barney, Kill Site: State five, 2018. Electroplated copper plate with cast copper wall Gallery, New York and Brussels, and Sadie Coles HQ, London. Photo: Hugo Glendinning mount. © Matthew Barney, courtesy Gladstone Gallery, New York and Brussels Contact improvisation Cosmic hunt In the absence of dialogue, Many constellations dance – and in particular a linked to animals such movement practice known as bears, deer or elk as contact improvisation have ‘cosmic hunt’ origin – shape the narrative myths in which the structure of Redoubt. creatures were hunted, Pioneered in the 1970s by wounded or killed, and the choreographer Steve transformed into constellations of stars. These myths have Paxton, it has roots in the languages of martial arts, sport evolved since the Paleolithic period, appearing in different and play. The technique uses dancers’ acute awareness cultures and civilisations around the world, notably amongst of their own bodies to explore the ways in which energy the indigenous people of North America. Lupus, meaning and balance can shift dynamically between performers. wolf in Latin, is one of the 48 constellations identified by These principles are key to the unspoken language of the Claudius Ptolemy in the 2nd century AD. In the film Redoubt, Virgins in Redoubt who switch fluidly between the roles of the Electroplater studies Lupus, building a model of the hunter and prey, maintaining contact through touch, sight constellation, and she acts as a conduit between the earth and sound in heightened states of awareness. In the role and the stars to transmit a new cosmic hunt myth at the wolf of the Electroplater, K.J. Holmes – a renowned teacher of hunt’s conclusion. improvisational and somatic movement – performs alone but draws on her own embodied knowledge to synthesise the gestures and movement of the other characters.

Matthew Barney, Redoubt, 2018. Production still. © Matthew Barney, courtesy Gladstone Matthew Barney, Redoubt, 2018. Video still by Peter Strietmann. © Matthew Barney, Gallery, New York and Brussels, and Sadie Coles HQ, London. Photo: Hugo Glendinning courtesy Gladstone Gallery, New York and Brussels, and Sadie Coles HQ, London. Film

The feature-length film, Redoubt, traces the story of a wolf hunt Redoubt, 2018 that takes place over six days and nights in the frigid wilderness Runtime: 2 hours 14 minutes of Idaho’s Sawtooth Mountains. The film is an interpretation of the Film screenings start at: myth of Diana, the goddess of the hunt, and Actaeon, a hunter Wed – Sat: 11.05am, 1.20pm, 3.40pm who encounters her while she is bathing in the woods and is Sun: 10.05am, 12.20pm, 2.40pm punished by being transformed into a stag and hunted down. The film can also be viewed online via the film streaming Diana, played by real-life sharpshooter Anette Wachter, is platform MUBI. See your e-ticket for details. dressed in a kind of military camouflage associated with anti-government survivalist groups, and is accompanied in her pursuit of the wolves by two dancers who move in concert. Barney appears in the film as the Engraver, a ranger for the Credits US Forest Service. He observes the hunter and makes a Written and directed by Matthew Barney series of copper engravings that he brings to a remote trailer Produced by Matthew Barney, Sadie Coles, and Barbara Gladstone where the Electroplater subjects them to an electrochemical Director of Photography: Peter Strietmann transformation. In a nearby town, the Engraver encounters the Music composed by Jonathan Bepler Hoop Dancer, whose intricate choreography is the catalyst for Editor: Katharine McQuerrey the wolf hunt’s dramatic conclusion. Producer: Mike Bellon Production Design: Kanoa Baysa In the absence of dialogue, dance is a prominent language Art Direction: Jade Archuleta-Gans in the film, and the characters’ movements often seem to Diana: Anette Wachter anticipate and rehearse the events that follow. Enhancing the Calling Virgin: Eleanor Bauer ambient sounds generated from the snowy landscape and the Tracking Virgin: Laura Stokes Electroplater’s fizzing chemicals, the multi-layered musical Electroplater: K.J. Holmes score by Jonathan Bepler gives the film an otherworldly Engraver: Matthew Barney dimension. Throughout the film, the camera shifts back Hoop Dancer: Sandra Lamouche and forth between the third person and the perspective of Choreographer: Eleanor Bauer different characters, exploring the dynamics of seeing and Additional choreography by Laura Stokes, K.J. Holmes, being seen as much as the myth of Diana and Actaeon. and Sandra Lamouche All hunting scenes in Redoubt were staged using special effects. Trained animals were provided by professional handlers, who monitored their safety and the conditions on set. Wild animals were filmed in their natural habitats. Biography Exhibition credits

Matthew Barney (b. 1967, lives and works in New York City) is Senior Curator: Cliff Lauson among the most prominent American artists of his generation. Assistant Curator: Katie Guggenheim His films and related bodies of drawing and sculpture have been Curatorial Assistant: Alyssa Bacon exhibited internationally for three decades, to wide acclaim. Curatorial support: Tarini Malik, Marie-Charlotte Carrier and Phoebe Cripps Barney’s early works featured his own body in live General Managers: Aoife Leach and Urszula Kossakowska performances and video installations that tested the limits Senior Registrar: Imogen Winter of athletic physicality, such as the ongoing series Drawing Installation Manager: Juliane Heynert Restraint (1987-). The Cremaster Cycle (1994-2002), a series of Senior Technicians: William Clifford and Jacopo Sarzi five feature-length films that draw on biology, biography and Audio visual: ArtAV Ltd. mythology to explore the process of artistic creation, further Exhibition graphics: Nina Jua Klein established Barney’s reputation as an artist and filmmaker of Build: Sam Forster Ltd. international renown. Lighting: Lightwaves Ltd. In 2010, Barney embarked on a new body of work, including Film streaming partner: MUBI outdoor performances and sculptures made from cast Matthew Barney Studio: Mamie Tinkler, Kanoa Baysa, Jade metals, which culminated in River of Fundament (2014). Archuleta-Gans and Andre Ponticello This nearly-six-hour-long operatic film was co-directed with Exhibition guide designed by Southbank Centre Design Studio Barney’s long-standing collaborator, musician and composer Jonathan Bepler, and concludes at the Salmon River in the Matthew Barney: Redoubt was originally organised by the Yale Sawtooth Mountains, Idaho; the setting of Redoubt, Barney’s University Art Gallery. latest film and current body of work. The exhibition is generously supported by Sadie Coles HQ, London; Gladstone Gallery, New York and Brussels; Cockayne - Grants for the Arts and the London Community Foundation; MUBI; and Regen Projects, Los Angeles. This exhibition guide has been made possible with the support of J&M Donnelly. Talks and events

Tuesday 1 June Thursday 17 June July, various dates Hayward at Home: Online Matthew Barney In Relaxed Hours: Matthew Picturehouse Presents Resources for Children & Conversation Barney & Igshaan Adams Matthew Barney Families Hear the artist discuss his A time to visit the exhibition Revisit, or experience for the Extend your gallery visit back practice and the current for anyone requiring a calmer, first time, some of Barney’s to your home with our online exhibition with Hayward Gallery more relaxed environment. previous films, including the art-making resources and Senior Curator, Cliff Lauson. Hayward Gallery, 11am – 1pm, renowned Cremaster Cycle activities designed by children Zoom, 7pm, £5, Free for members Ticketed. Visit the website (1994-2002). for children. and students but booking essential to book or email customer@ southbankcentre.co.uk for more Picturehouse cinemas, tickets Online, Free information on sale Monday 31 May. Visit the Wednesday 16 June & Picturehouse website to book – Thursday 8 July picturehouses.com Monday 28 June Schools’ Mornings Choreographing Redoubt Primary and secondary Join us for a conversation with schools are invited to book dancer and choreographer, for special schools-only Eleanor Bauer, and writer, visiting hours, tailored to fit Filipa Ramos about Matthew the needs of visiting classes Barney’s latest film. with support from our Creative Zoom, 7pm, £5, Free for members Learning Team. and students but booking essential Hayward Gallery, 11am – 1pm, Free for primary schools; Free for secondary schools in Lambeth and Southwark; £5 tickets per pupil for all other secondary schools; ______Accompanying teachers attend free. Booking essential. Email [email protected] with the subject Hayward Gallery A large print version of this guide is Schools Mornings for more information and to book available in the Hayward Gallery foyer. Igshaan Adams KICKING DUST 19 MAY – 25 JULY 2021

EXHIBITION GUIDE Igshaan Adams: Kicking Dust

Igshaan Adams’ art combines aspects of weaving, sculpture Islamic Design and installation while exploring concerns related to race, Patterns and motifs that religion and sexuality. draw on Islamic geometric The exhibition’s title Kicking Dust references the ‘Rieldans’: design appear in a number of a dance from the Northern Cape which Adams witnessed as Adams’ tapestries, such as a child. Described as ‘dancing in the dust’, it is thought to be the octagram (‘Rub el Hizb’) one of the oldest indigenous dancing styles in southern Africa. in Oor die Drimpel (Over the The cloud-like sculptures suspended from the gallery’s ceiling Threshold) and the star-like resonate with the image of dust erupting from the earth as cross in Versperring (Barrier). dancers kick the ground. These tapestries are inspired by symbolic motifs used in The overall exhibition, according to the artist, ‘centres around Islamic iconography, which the the idea of the imprints that we collectively leave behind as we artist formally deconstructs, move through spaces, both private and public’. Building on this borrowing and reinterpreting sense of movement and of journeying, the artist has created different patterns for his pathways through the gallery with the placement of his floor weave. Through the use of weavings. These pathways are mapped from improvised these symbols, Adams refers to the Islamic belief that the footpaths, also known as ‘desire lines’, on the borders of sacred art of geometry can purify the mind and soul, and can different townships that were formed during the apartheid era. lead the viewer to a greater and more profound understanding The pathways appear to cross over one another, indicating that of underlying realities. people of different races and religious beliefs have repeatedly traversed into each other’s districts, in spite of the state’s efforts to separate them. Alluding to the seemingly invisible routes that connect people of different cultures, Kicking Dust recounts a layered story of conflict, resistance, resilience and collaboration.

Cover image: Igshaan Adams, Cloud V, 2019. © Igshaan Adams. Courtesy of the artist Igshaan Adams, Versperring (Barrier), 2020. Photo: Mario Todeschini. © Igshaan Adams. and blank projects, Cape Town Courtesy of the artist and Casey Kaplan, New York Sufism Desire Lines The Afrikaans titles of The pathways through tapestries Oor die Drimpel, the weavings on the Versperring and Om die Hoek gallery floor are meant translate respectively to ‘Over to evoke ‘desire lines’. the Threshold’, ‘Barrier’ Also known as ‘free-will and ‘Around the Corner’. ways’, these are paths These titles evoke a sense that pedestrians take of transition and of being on intuitively rather than a journey. They also reflect following set routes. the artist’s sense of his ‘in- The character of these pathways reflects Adams’ field research, between’ cultural position as as well as satellite imagery that the artist collected of actual a Muslim raised by Christian desire lines in the suburbs of Cape Town. In the 1960s these grandparents, queer within a neighbourhoods, known collectively as the Cape Flats, were widely homophobic society, formed as part of the apartheid government’s racial segregation and being of mixed ethnicity. efforts. Black and ‘Coloured’ communities (the latter was a Over the years, the principles of Sufism (a mystical form of classification denoting people of various mixed ethnicities) were Islam that emphasises the importance of the ‘inner self’ in forced into parts of the city that were deemed undesirable. the search for God) have become central to Adams’ thought Today these areas retain their demographic divisions, with process. He talks about how his weavings can also be read Bonteheuwel home largely to Coloured communities, and as self-portraits, and are part of his ongoing journey of self- the neighbouring area, Langa, housing Black South Africans. definition and discovery. Adams’ installation replicates a section of footpaths that Sufism also rejects any preoccupation with the classification appear to cross over one another on the border of these two of things, which is particularly apposite to the history of areas. Despite a history of hostility between the townships apartheid. Sufis believe that the heart can be trained to look that was largely incited by the state in order to divide the at the world in a different way; Adams’ art similarly creates a population, residents have repeatedly walked over the border, space where allusions to multiple realities and classifications creating pathways that bridge the two communities. can coexist.

Igshaan Adams, Oor die Drimpel (Over the Threshold), 2020. Photo: Mario Todeschini. Igshaan Adams, Detail of Kicking Dust, 2020. © Igshaan Adams. Courtesy of the artist and © Igshaan Adams. Courtesy of the artist and Casey Kaplan, New York blank projects, Cape Town Dust Bonteheuwel Floating like clouds For a number of years Adams of dust just above the has been tracing pathways floor weavings, these made inside people’s homes in hanging sculptures reflect the township of Bonteheuwel, Adams’ enduring interest mapping how bodies move in the ways in which through domestic spaces. human exchanges can In his wall-based tapestries, transform interior and he transcribes these pathways exterior spaces. Dust, into the weave by combining partly made of organic differently coloured and residues (pieces of hair, textured rope, fabric skin, clothing and soil), and beading. constantly accumulates Included in each composition and circulates in the environment because of human motion, are motifs traced from gathering alongside footpaths and in the corners of people’s linoleum flooring (‘tapyt’ in Afrikaans) typically found in homes. For the artist, dust is a reminder of presence: a human these homes. These have been collected by the artist, who trace that holds the memory of a specific time and location. calls these tracings and remnants ‘documents’: personal These sculptural dust clouds are inspired by the Rieldans maps that are inscribed upon an environment through wear dance performed by the Nama people of the Northern Cape (a and presence. dance that Adams witnessed many times as a child). The Riel is a courtship ritual where clouds of dust erupt from the ground as dancers kick the dry earth in circular movements.

Igshaan Adams, Cloud V, 2019. © Igshaan Adams. Courtesy of the artist and blank Igshaan Adams, Agter Om (Around the Back), 2020. Photo: Mario Todeschini. © Igshaan projects, Cape Town Adams. Courtesy of the artist and Casey Kaplan, New York women that would come on the dusty ground as they Interview through our community. dance, creating these clouds. It was important for me It’s this act of disturbing with Igshaan to learn how to weave so the surface that I am I could help the women interested in: specifically, Adams with other skills: drawing, to imagine and animate the March 2021. Hayward Gallery and understanding colour. dust particles as they move curators Tarini Malik and Ultimately, the focus was on through space. Marie-Charlotte Carrier (HG) improving the quality of the I used different materials like met with Igshaan Adams (IA) products to make them spiralling wires and beads to to discuss his background and more saleable. do this, and to give a sense of the drama of the dance. how he came to make art. HG: It’s interesting to hear how much your experiences The exhibition itself centres as a young person seem around the idea of the HG: The exhibition for was helping. The aim was to have really shaped your imprints that we collectively the Hayward Gallery is to empower these women relationship with making leave behind as we move presented as a single through craft skills and to art. Kicking Dust refers in through spaces both private installation consisting of help them produce products part to a dance which you and public. I feel like the woven textile works that that they would then sell witnessed as a child. Could Rieldans is a way for me to take unique forms. How is it to tourists. The centre was you describe the influence bring more attention to that that you came to weaving, started back in the 1980s; these dances had on you? disturbance of the surface. and how did you learn? it still has quite a presence IA: The Rieldans is a courtship within poor communities. HG: You’ve also spoken in the IA: I became interested in dance performed by the past about being raised at a weaving when I got a job as The mothers in this centre Nama people of the Northern young age by your Christian Resident Artist at Philani Child really taught me a lot. They Cape. My grandparents are grandparents and yet Health and Nutrition Centre in taught me how to start and Nama and like many other practising Islam. How does Khayelitsha, a large township finish a woven carpet. I had teenagers in the area they navigating your faith, and on the Cape Flats. It was my done some weaving before: danced the Riel. Youngsters the inherent complexities first job after graduating as a child I remember I would dress up as their elders, around that relationship, from Ruth Prowse School of try to copy the woven baskets which brings an element reflect in your work? Art in 2009. I was employed we used at home. We would of humour to the whole IA: So at some point in my to work with the mothers of exchange our old clothes for experience. The couples life, I was introduced to a the children that the centre woven baskets made by Black deliberately kick their feet

Igshaan Adams: Courtesy of Igshaan Adams and Mario Todeschini, Cape Town different side of Islam that HG: A spirit of collaboration the works. Can you tell us their innate characteristics to I’d never seen before. This is another guiding principle about this way of working? articulate a particular quality kind of mystical side, the Sufi in how you work, and within the work. The women that I have side, really changed me and as an example you have worked with over the years Inevitably, each of the weavers’ my life. It changed how I saw previously collaborated with reflect my roots within the creativity pushes through my lived experiences, and members of your family in craft sector. Since graduating – similar to if one were to how I look at the world around performance pieces – again art school, I have been ask someone to handwrite me. But more importantly, very connected to your working with various groups your biography. It’s a visual because of Sufism, I feel like experiences growing up. of women. I think I just language, and the same I was also able to really reset IA: I am deeply interested really became used to that applies to me as I weave. a lot of my internal world, in trying to piece together structure of working with a and the framework that was Finally, I wanted to add that things that had happened to team of crafters around me. created in my early childhood. throughout this pandemic, me in my earlier life. So, in I would say the term things have shifted so There was a paradigm shift terms of collaborations with collaboration, in this regard, dramatically and there has in this introduction into my family members, it was is used quite loosely because been no market for the local mysticism and because of an attempt to understand they are essentially like crafters. So I started a that, I’ve always approached who I was and who I am, and technicians. But I agree programme where I work any difficult subject matter, why, you know. My family life that collaboration happens with a handful of crafters like the conflict with my has influenced how I see and due to the personalities from the local flea market in sexuality, my queerness, respond to the world. that surround me. At the Cape Town who all happen to in relation to these beliefs. It has become increasingly moment, there are four be refugees. I work with them I’ve tried to deal with these clear through the years women working permanently to develop skills and enhance subjects in a way that that my family, with whom I with me as weavers. I know the products that they have feels respectful and not shared my domestic space each of them so well, and already produced, teaching controversial. and who were my role models each of them has differences them weaving techniques. This My belief in God and that essentially, would shape my within their personalities. to me feels like a new form of there is a particular path own behaviour. Those people I think the individuality of collaboration that is directly that leads to enlightenment became very important in weaving is similar to one’s associated with my studio. I’m shapes my work. It is terms of being a mirror to handwriting. That personality still exploring this new way important for me to always myself, or a place to go and will be evident in the way of working, but I am also very remain honest, and deal with look for answers. each person approaches the excited about it. difficult subject matters in weave, the choice of materials HG: For Kicking Dust, you a personal way and to be and techniques. It becomes An extended version of this collaborated with a group of unafraid. To be real about it. possible for me to draw on interview is available to read on refugee women to produce the Southbank Centre website. Biography Exhibition Credits

Igshaan Adams (b. 1982) lives and works in Cape Town, Curated by Hayward Gallery Assistant Curator: Tarini Malik South Africa. Born in Bonteheuwel, a township in Cape Town, Curatorial Assistant: Marie-Charlotte Carrier Adams draws upon his background to contest racial, sexual Senior Technician: Nick Davies and religious boundaries. His cross-disciplinary art practice Technical Support: Chloe Brooks and Jacopo Sarzi includes performance, weaving, sculpture and installation. Registrar: Alice Peters Installation Manager: Juliane Heynert Adams uses a range of materials and surfaces in his works, Installation Technicians: Maarten van den Bos, Yulia including thread, beads, wire, linoleum, cotton twine and Kalinichenko, Brigitte Parusel, Cait Whitaker fabric. His interest in material is both an intuitive process and Exhibition graphics: Nina Jua Klein a formal inquiry into how various materials behave and evolve Build: Sam Forster Ltd. in different contexts. Lighting: Lightwaves Ltd. He says: ‘I’m interested in the personal stories recorded on the Igshaan Adams Studio: Nocawe Jamani, Busisa Mahlahla, surface. What is recorded is not necessarily always a factual Phumeza Mgwinteni and Zandile Ntleko (Weavers). Morné Roux account but can be what is imagined – a combination of myth- (Studio Manager) making and meaning-making.’ Exhibition guide designed by Southbank Centre Design Studio Adams has been the subject of nine solo exhibitions, including at SCAD Museum of Art (Savannah), Akershus Kunstsenter Igshaan Adams: Kicking Dust is generously supported by Wendy (Oslo), blank projects (Cape Town) and Casey Kaplan (New Fisher & A4 Arts Foundation, LOEWE FOUNDATION and The York). He has also participated in numerous group shows, African Arts Trust. Additional support has been provided by both locally and internationally, including Who Are We Are blank projects, Cape Town and Casey Kaplan, New York. Who (2020) at the BRAUNSFELDER (Cologne), Allied with This exhibition guide has been made possible with the support Power (2020) at the Pérez Art Museum (Miami), Mapping Black of J&M Donnelly. Identities (2019) at the Minneapolis Institute of Art, Material Insanity (2019) at the Museum of African Contemporary Art Al The Hayward Gallery would also like to thank Catherine Maaden (MACAAL, Marrakech), and In This Imperfect Present Humphries, Antony Webster, Josh Ginsburg, Emily Epelbaum- Moment (2018) at the Seattle Art Museum. Bush and the Rennie Collection, Vancouver. Igshaan Adams is represented by blank projects, Cape Town and Casey Kaplan, New York.

Igshaan Adams: Kicking Dust will travel to Kunsthalle Zürich in February 2022. Talks and events

In The Green Room: Wednesday 16 June & Malatjie, led by writer and Igshaan Adams x Igshaan Adams in Thursday 8 July cultural theorist Ashraj Jamal. Scalabrini Women conversation with Schools’ Mornings The event is held on the Igshaan Adams collaborated Tarini Malik Primary and secondary National Youth Day in South with five craftswomen from Ahead of Kicking Dust’s schools are invited to book for Africa: a day commemorating the Scalabrini Centre of Cape opening, Igshaan Adams special schools-only visiting the youth from the Soweto Town to create a series of bags met the exhibition’s curator hours, tailored to fit the Uprising of 1976. Tickets will be and other woven pieces for the Tarini Malik to discuss his needs of visiting classes with free of charge to all students Hayward Gallery Shop. The inspirations as an artist. support from our Creative of any age, level and locality. vision of the Scalabrini Centre The talk was recorded live Learning Team. Zoom, 6.30pm, £5, Free for members is to foster the integration of and is free and available Hayward Gallery, 11am – 1pm, and students but booking essential migrants and refugees from on the Southbank Centre Free for primary schools; Free for across Africa into local society. secondary schools in Lambeth and Thursday 17 June YouTube channel. Southwark; £5 tickets per pupil Adams, who has a long history Online, Free for all other secondary schools; Relaxed Hours: Matthew of skill-sharing with various Accompanying teachers attend free. Barney & Igshaan Adams groups of women weavers, Tuesday 25 May Booking essential. Email A time to visit the exhibition [email protected] uses materials from his studio Instagram Live from with the subject Hayward Gallery for anyone requiring a calmer, that are often found in his Igshaan Adams’ studio Schools Mornings for more more relaxed environment. artworks for these products. Join Hayward Gallery curator information and to book Hayward Gallery, 11am – 1pm, Profits will be shared directly Marie-Charlotte Carrier Ticketed. Visit the website with the craftswomen. Wednesday 16 June to book or email customer@ and Igshaan Adams for an Kicking Dust panel southbankcentre.co.uk for more informal conversation and an information discussion ______exclusive tour of the artist’s studio in Cape Town. A panel discussion exploring Hayward at Home: Online Igshaan Adams’ approach Resources for Children & Hayward Gallery’s Instagram, to materiality, and how it 4pm, Free Families A large print lends itself to an exploration Extend your gallery visit back @hayward.gallery of identity, specifically race, version of this to your home with our online religion and sexuality. The Cape art-making resources and guide is available Town-based panellists include activities designed by children scholar Dr Ala Alhourani, for children. in the Hayward curator Josh Ginsburg and Online, Free academic and curator Dr Portia Gallery foyer. Matthew Barney: Redoubt

Lower Galleries Entrance Exit Matthew Barney: Redoubt Screen Igshaan Adams: Kicking Dust

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