Current Events

William Kentridge: Orchestrating Time : The Films of William Kentridge

Orchestrating Time : The Films of William Kentridge
09 March – 02 April, 2023

Berkeley Art Museum and Pacific Film Archive
University of California, Berkeley

William Kentridge: William Kentridge: In Praise of Shadows

William Kentridge: In Praise of Shadows
November 12, 2022 – April 9, 2023

The Broad, Los Angeles

Forthcoming Events

William Kentridge: The Head & the Load

The Head & the Load
April 21 – May 6, 2023

Jo’burg Theatre, Johannesburg

William Kentridge: Sibyl

May 27 – 28, 2023

Teatros del Canal, Madrid


A sporadic record of what happens in the studio, in video, words and images

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Idiosyncratic lines of enquiry into particular aspects of studio practice or bodies of work

Listening to the Trees Cabinet

Listening to the Trees

An anecdotal account of the making of the book “Waiting for the Sibyl” and a consideration of Kentridge’s ongoing series of tree drawings, by book designer Oliver Barstow

9 WORDS and one more

Making art is a uniquely human endeavour and an artist, the maker of art, is someone who distills what they feel and think about the world and expresses this visually. This requires one to read, to see, to listen, to feel, to question and be curious; to know, and yet to doubt; to have humility and to be brave.

William Kentridge All So Different

All so different from what you expected

Things which are obvious in studio practice, like uncertainty, doubt, provisionality, are not about the COVID pandemic. They are themes I have worked on for many years – but these themes in the outside world have become much more present in these months.

William Kentridge Cursive


Cursive is the third set in a series of small bronze glyphs, following “Lexicon” (2017) and “Paragraph II” (2018). The glyphs started as a collection of ink drawings and paper cut-outs, each on a single page from a dictionary.

William Kentridge Cabinet Edifice


This collection of drawings, made for the films “Sobriety, Obesity and Growing Old”, “Stereoscope”, “Tide Table”, “Other Faces”, “City Deep” and “What will come, has already come”, focuses on Kentridge’s use of architecture in order to establish place within the narrative of his films.