The inaugural Stellenbosch Triennale 2020 takes place 11 February – 30 April in various locations across Stellenbosch, draws in the continent’s important curators to present programmes interlocking with and at many levels of artistic achievement. The event brings together the finest contemporary art from Africa for the world. See the full programme for more on the Stellenbosch Triennale 2020, and click here to download the programme and map for this unique event.

The Chief Curator Khanyisile Mbongwa declared: “We are starting here, from the place that has seen us bloom and perish. We start in the South, the corner, and from here we will expand. We start here with and without, displaced and disposed – we look towards the horizon and we see Tomorrow There Will Be More Of Us. As direct extensions of history, we are remembering – through the ancestral awakening – that exhumes the ancient on a global level. We experience our imagination as a sharpened tool in our state of becoming. (…) The remembering, is the act of tracing memory. The ancestral, is the act of cultural recovery, the inheritance and familial. The spiritual, is the act of connecting and positioning of oneself through soulful alignment. The imagination, is the act of forming new ideas and concepts not present to the senses. The becoming, is the act of enabling radicalized desire thus creating new individuations and affections. And as Gloria Anzaldía reminds us, “nothing happens in the real world unless it happens in the image of our heads”.

Please visit the website of the Stellenbosch Triennale to read the full program here.

Tomorrow there will be more of us

The Woodmill Lifestyle Centre – Vredenburg Road Devon Valley, Stellenbosch

Tues – Fri 10:00 – 18:00

Sat – 10:00 – 16:00

Sun  – 10:00 – 14:00

Stellenbosch Triennale 2020

11 February – 30 April

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Combining aspects of performance, weaving, sculpture and installation that draw upon his background, Igshaan Adams’s practice is an ongoing, personal investigation into identity and intersectionality. The quiet activism of Igshaan Adams work speaks to his experiences of racial, religious and sexual liminality. Igshaan Adams uses the material and formal iconographies of Islam and ‘coloured’ culture to develop a more equivocal, phenomenological approach towards these concerns and to offer a novel, affective view of cultural hybridity.

What Kalea of the Cape Left in This World (1848)

According to the inventory of the Orphan Chamber of The Cape of Good Hope*

One bed and accessories
One wardrobe
One ditto
One long and one short chest
Three paintings
A clock (defect)
Some kitchen tools
Three Tables
Seven assorted chairs

One bed and accessories
With the imprint of sound slumber
One wardrobe
Everything in its place
One ditto
Because sometimes you need more space
One long and one short chest
And the footsteps in-between
Three paintings
Glowing in the afternoon light
A clock (defect)
Op haar eie tyd
Some kitchen tools
To fill empty bellies
Three Tables
Plek vir almal by die tafel
Seven assorted chairs
For seven assorted friends
and their stukkende stories.

Yet all that remains is a piece of paper that records:

One bed and accessories
One wardrobe
One ditto
One long and one short chest
Three paintings
A clock (defect)
Some kitchen tools
Three Tables
Seven assorted chairs

Text by Saarah Jappie

Igshaan Adams: Stukkinne Stories

Opening 6pm, Thursday January 23
January 23 – March 7

blank projects

10 Lewin Street
Woodstock, 7925
Cape Town, South Africa

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