William Kentridge

Flute

Ivan Vladislavic

Okwui Enwezor

Gabriele Guercio

South African artist William Kentridge has produced an outstanding body of work in multiple mediums all of which trace the fraught political and cultural history of South Africa. This title explores Kentridge's new series of 17 large-scale tapestries, created under his artistic direction by a team of South African weavers.

Tapestries

Peter Galison

"Our grasp of time continues to change, in wrenching ways. This is an exploration of these shifts and struggles, across drawing and text, music and movement, film and concepts. In the late nineteenth century, time was coordinated: towns, cities, whole countries lost their "own" time as signals synchronized clocks. When Albert Einstein introduced his radical idea undermining the notion of a "universally audible tick-tock" in favor of times not time, he found resistance furious; and in our own era, time is again in tumult -- time crossed with information, challenged at the horizon of black holes, even, among many string theorists, rendered a mere illusion. In a congenial long-term collaboration, Peter L. Galison, historian, author, filmmaker, and Professor of the History of Science and Physics at Harvard University and South African artist William Kentridge are researching such notions in The Refusal of Time, a project for documenta (13) into which this notebook offers first insights."--Publisher's website.

Ablehnung Der Zeit

Catalogues Kentridge's monumental tapestries.

strade della città (e altri arazzi)

The South African artist William Kentridge (born 1955) has achieved a worldwide reputation with his large, poetic and incisive installations. Over the last decades the versatile artist has developed a multidisciplinary way of working that combines film, animation, drawing, music and theater. Typical of his work are the powerful charcoal drawings that he turns into moving images. Kentridge's work explores the historically charged past of his native country. The artist is producing an impressive large-scale installation for EYE Filmmuseum in Amsterdam, to be shown on eight large screens and accompanied by a soundtrack of an African brass band. This publication of Kentridge's texts, sketches, set photographs and film stills lays bare the process by which this unusual project came into being and places it within the context of his oeuvre.

Rosalind C. Morris

For more than three decades, artist William Kentridge has explored in his work the nature of subjectivity, the possibilities of revolution, the Enlightenment's legacy in Africa, and the nature of time itself. At the same time, his creative work has stretched the boundaries of the very media he employs. Though his pieces have allowed viewers to encounter the traditions of landscape and self-portraiture, the limits of representation and the possibilities for animated drawing, and the labor of art, a guide to understanding the full scope of his art has been available until now. For five days, Kentridge sat with Rosalind C. Morris to talk about his work. The result—That Which Is Not Drawn—is a wide-ranging conversation and deep investigation into the artist's techniques and into the psychic and philosophical underpinnings of his body of work. In these pages, Kentridge explains the key concerns of his art, including the virtues of bastardy, the ethics of provisionality, the nature of translation and the activity of the viewer. And together, Kentridge and Morris trace the migration of images across his works and consider the possibilities for a revolutionary art that remains committed to its own transformation. “That's the thing about a conversation,” Kentridge reflects. “The activity and the performance, whether it's the performance of drawing or the performance of speech and conversation, is also the engine for new thoughts to happen. It's not just a report of something you know.” And here, in this engaging dialogue, we at last have a guide to the continually exciting, continually changing work of one of our greatest living artists.

William Kentridge & Rosalind C. Morris : Conversations

That which is Not Drawn

Sigmund Freud Vorlesung 2017

In Verteidigung der weniger guten Idee

Andreas Huyssen

Nalini Malani

Presents a catalog of an exhibition offering a comparison of the works of William Kentridge and Nalini Malani and their use of shadow play.

The Shadow Play as Medium of Memory

William Kentridge, Nalini Malani

Jane Taylor

Handspring Puppet Company

"Ubu and the Truth Commission" is the full play text of a multi-dimensional theatre piece that tries to make sense of the madness that overtook South Africa during apartheid.

Ubu and the Truth Commission

The exhibition is a general review of the work of Willliam Kentridge (b. Johannesburg, 1955) since the end of the 1980s until now. It highlights the way in which it the various media and disciplines in his work are informed and polluted, an artistic process marked by a continuous fluidity, founded in transformation and movement. Best known for his animated films based on the charcoal drawings, Kentridge also the author of engravings, book illustrations, collages, sculptures, and works within the performing arts. Conceived in close collaboration with the artist and designed especially for this venue, the exhibition "William Kentridge: Fortune" emphasizes the unique artistic process of the artist, as well as the interrelation of media that he uses. The exhibition comprises a selection of works with a total of about 284 works - including 38 drawings, 27 movies, 184 engravings and 35 sculptures created between 1989 and 2014.

Fortuna

Art, William Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and cannot be purely understood in the rational terms of academic disciplines. The studio is where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity.

Six Drawing Lessons

Peter L. Galison

Unsere Auffassungen von Zeit verändern sich fortwährend auf vielschichtige Art und Weise. Dies ist eine Untersuchung dieser Verschiebungen und Kämpfe in Form von Zeichnungen und Texten, Musik und Bewegung bis hin zu Filmen und Konzepten. Gegen Ende des 19. Jahrhunderts wurde Zeit übergreifend organisiert: Dörfer, Städte, ganze Länder wurden ihrer »eigenen« Zeit beraubt, als die Uhren mithilfe von Signalen synchronisiert wurden. Albert Einstein stieß mit seiner radikalen Idee, die die Vorstellung eines »überallhörbaren Tik-Tak« zugunsten von Zeiten, die nicht Zeit sind, außer Kraft setzte, auf erbitterten Widerstand. Auch in unserem eigenen Zeitalter wird die Zeit wieder durcheinandergewirbelt – die Zeit wird mit Informationen gekreuzt, sie wird herausgefordert am Horizont Schwarzer Löcher oder sogar von vielen Stringtheoretikern als pure Illusion dargestellt. In einer kongenialen langfristigen Partnerschaft mit Peter L. Galison, Historiker, Autor, Filmemacher sowie Professor für die Geschichte der Wissenschaften und der Physik an der Harvard University, widmet sich der südafrikanische Künstler William Kentridge der Erforschung dieser Ideen in Die Ablehnung der Zeit, ein Projekt für die dOCUMENTA (13), in dessen Entstehen das vorliegende Notizbuch Einblick gewährt. Sprache: Deutsch/EnglischWilliam Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012William Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012

Die Ablehnung der Zeit(dOCUMENTA (13): 100 Notes - 100 Thoughts, 100 Notizen - 100 Gedanken # 009)

William Kentridge & Peter L. Galison

Rosalind E. Krauss

Kate McCrickard

Roger Malbert

This unique and beautifully presented book includes almost one hundred prints in all media, from 1991 to the present, with a stress on experimental, collaborative and serial works. William Kentridge's distinctive use of light and shadow and silhouettes, his concern with memory and perspective, and his absorption in literary texts, are all strongly in evidence throughout this book, which provides new insights into the working methods of this prolific artist. Kentridge is internationally acclaimed for his drawings, films and theatre and opera productions. He is also an innovative and prolific printmaker; he started his career studying etching at the Johannesburg Art Foundation, and printmaking has remained central to his work ever since. Over the past 25 years, he has produced more than three hundred prints - etchings, engravings, aquatints, silkscreens, linocuts and lithographs - often experimenting with challenging formats and combinations of printing techniques to create highly-worked, intensely atmospheric imagery. Kentridge is producing 40 new prints for the accompanying exhibition some of which will be illustrated in this book. His prints range in scale from intimate etchings and drypoints to linocuts on rice paper and canvas measuring 2.5 metres high. Also featured is Portage (2000), an accordion-folded multi-panelled book, 4 metres long, with torn paper silhouetted figures dancing across unbound pages of the French encyclopedia Le Nouveau Larousse Illustre. The procession is one of Kentridge's great themes, ultimately a symbol of humanity's journey through life.

William Kentridge as Printmaker

A Universal Archive

William Kentridge Flute is a dense collection of essays, photographs and images tracking the internationally famous South African artist's explorations into and production of Mozart's The Magic Flute. Kentridge's production of the opera premiered in Brussels in 2002, and FLUTE was launched in South Africa to celebrate the opera's African premiere in Cape Town. The book is packed with full color illustrations, photographs from the stage productions, pages from Kentridge's preparatory journals and numerous reproductions of the drawings and print works that spilled out of the artist's studio and onto the stage.

William Kentridge: Black Box/Chambre Noire~ISBN 0-89207-339-X U.S. $45.00 / Hardcover, 10.75 x 8.5 in. / 128 pgs / 97 color. ~Item / January / Art

Black Box/Chambre Noire

Explore William Kentridge's remarkable performance piece, The Head & The Load, and discover how music, dance, writing, and fine art are combined to tell the haunting story of Africans during WWI. For over thirty years, William Kentridge has been combining fine arts, performance, theatre, and opera to create dreamlike, political, and humanist works. His installations , films, and drawings often deal with the political situation in South Africa, apartheid, and the consequences of colonialism. This book gives an in-depth examination of his performance piece The Head & The Load, which explores the role of Africa during World War I. Throughout the war, more than one million Africans carried provisions and military equipment in hazardous conditions for British, French, and German troops at minimal or no pay. William Kentridge tells the story of these African porters who ensured the success of the victors, but remain in the shadows. This history, rarely studied today, unfolds in a staged tableau combining music, dance, acting, screenings, and mechanized sculptures. The book includes photos and text from the performance, essays, and artworks created specifically by Kentridge to complement the play. Accompanied by an international cast of singers, actors, and dancers, and with music composed by Philip Miller, The Head & The Load is a powerful and multifaceted work that reconsiders colonial history and its repercussions in today's world.

The Head & the Load

Bronwyn Law-Viljoen

Gerhard Marx

Oliver Barstow

"In 2009, William Kentridge and Gerhard Marx were commissioned to make a public sculpture for the City of Johannesburg to be installed in time for the 2010 Soccer World Cup. The sculpture is based on a drawing by Kentridge of a woman street vendor - known colloquially as a fire walker - carrying a burning brazier on her head. The eleven-metre-high striding figure would take her place at the foot of the Queen Elizabeth Bridge on a site formerly used by informal traders and taxi washers. Eschewing the bronze monumentalism of traditional public sculpture, Kentridge and Marx devised a figure made up of steel plates that resolves into a coherent image from one vantage point only. A pedestrian passing the sculpture has only a momentary view of the striding woman before the sculpture 'fragments' into its black and white parts. Fire Walker represents not a grand public office-bearer, but an ordinary citizen whose survival depends on her ability to negotiate often-contested urban terrain. began as a project to document the making of Fire Walker has evolved, in this book, into a number of conversations about - and meditations on - the meaning of public art. Essays by Mark Gevisser, Mpho Matsipa, Alexandra Dodd, and Jonathan Cane and Zen Marie prise open critical questions about public space in Johannesburg; interviews with the various collaborators on the sculpture reveal the complexities and challenges of creating such a work; and the extraordinary images of the construction of the sculpture, alongside two photo essays on street vendors and old city monuments, suggest the metaphorical power of Fire Walker as well as the fragile hold of street vendors over their small share of city space."--Publisher's description.

William Kentridge, Gerhard Marx

Fire Walker

"No, It Is" contains 280 new drawings by William Kentridge (born 1955), selected from a series of approximately 500 drawings made over a three-month period toward the end of 2012. Combining a series of flipbook sequences, it includes self-portraits of the artist sitting down and standing up, contorting himself or dancing; text-based series; geometric blocks of color; and calligraphic renderings of trees that verge on abstraction. As with the artist's previous book works, all of the drawings are executed on the pages of antiquarian publications, from manuals on photography and electricity, dictionaries and guides to polishing leather to Robert Burton's "Anatomy of Melancholy." Satisfyingly chunky at 560 pages, and limited to an edition of only 800 copies, "No, It Is" is the largest flipbook-style publication that Kentridge has yet undertaken.

William Kentridge: No, It Is

Michael Godby

Goodman Gallery (Sandton, South Africa)

Drawings for Projection : Four Animated Films

South African artist William Kentridge draws on varied sources in his work, including philosophy, literature, early cinema, theatre and opera. This publication began life as a film constructed from a succession of drawings made in 2013 on the pages of old books; a second-hand reading in which books are translated into a filming of books, articulating the relationship between drawing, photography and film-making. It is both a narrative and an acknowledgement of the necessity of repetition, inconsistency and the illogical. Kentridge has made many flip books, but at 800 pages this is his most ambitious. He has also been making animated films for two decades.0.

William Kentridge

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