A timely exploration of the allusive, sculptural fiber work of an important contemporary South African artist The book presents an early career survey of the work of Cape Town-based artist Igshaan Adams (b. 1982), showcasing his multimedia practice since 2009. In addition to exploring recurring motifs in his work-Arabic calligraphy, the rose, the (self-)portrait, Sufi symbols, and pathways literal and metaphorical-the publication highlights some of Adams's material concerns, including his sculptural applications of weaving, his embrace of recycled materials related to black South African domesticity and interiority, and his use of the gallery wall and floor in installations. Hendrik Folkerts surveys the artist's recent work, addressing its engagement with presence, absence, and the trace.. Adams himself offers a visual essay enabling readers to see details they would be imperceptible in a gallery setting. In shorter essays and poetic texts, the other authors focus on the South African historical and political context, specific artworks, and particular creative strategies, materialities, and narratives. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (April 2-August 1, 2022)

Informed by post-independence avant-gardes and the vernacular traditions of her native Morocco, Khalili's artistic approach combine performative strategies of storytelling, reactivating the "civil poetry" as defined by Italian poet and filmmaker Pier Paolo Pasolini and inspired by the old tradition of Moroccan Al-Halqa. As a political voice endorsing the collective one from the singular experience, Pasolini's civic poet mirrors the Moroccan "Halqa," the country's most ancient form of public storytelling. Mixing up popular tales, ancient poems and political references the Al-Halqa performer subverts official historiographies and narratives to eventually become at once the people's "living archives" and its public voice. Operating similarly, Khalili's work develops civic platforms for first person accounts eventually forming collective stories of resistance.