Current Events

William Kentridge: Art in the Park XXII

Art in the Park XXII
June 10 – July 21 , 2024

Baur Au Lac, Zürich

William Kentridge: Life in Print: William Kentridge and Pablo Picasso

Life in Print: William Kentridge and Pablo Picasso
May 10 – December 29, 2024

Remai Modern, Saskatoon

William Kentridge: William Kentridge

William Kentridge
May 4 – September 1, 2024

Taipei Fine Arts Museum, Taipei

William Kentridge: Self-Portrait as a Coffee Pot

Self-Portrait as a Coffee Pot
April 17 – November 24, 2024

Arsenale Institute for Politics of Representation, Venice

William Kentridge: The Refusal of Time

The Refusal of Time
February 28 – September 1, 2024

Louisiana Museum
Humlebæk, Denmark

Forthcoming Events

William Kentridge: Je n’attends plus

Je n’attends plus
June 29, 2024 – January 12, 2025

Luma Foundation, Arles

William Kentridge: The Great Yes, The Great No

The Great Yes, The Great No
July 7 – 10, 2024

Grande Halle Ouest
Luma Foundation, Arles
in partnership with Festival d’Aix-en-Provence


William Kentridge: The Great Yes, The Great No

The Great Yes, The Great No
July 16 – 18, 2024

Austrian Première
Impultanz Festival
Burgtheater, Vienna


William Kentridge: Ursonate

July 17, 2024

Impulstanz Festival
Odeon Theater, Vienna


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

The plaster version of “Apron”, a new monumental bronze being made with @louis0livier and the team from @workhorsebronze

Drawings, in charcoal on paper and costume maquettes, made with Greta Goiris, on the walls of the studio
“I Look in the Mirror, I Know What I Need”
Working on the big stone for a new lithograph made with @idemparis this month.

Video courtesy of @itemeditions, Paris

An exhibition curated by Carolyn Christov-Bakargiev
at Arsenale Institute for Politics of Representation, Venice
Until 24 November 2024
10:00 a.m. to 7:30 p.m.

For this new exhibition at Arsenale Institute for Politics of Representation in Venice, Kentridge collaborates with curator Carolyn Christov-Bakargiev, friend and author of the foundational monograph on his work published in 1998, to premiere his new nine-episode video series, “SELF-PORTRAIT AS A COFFEE-POT”. This exhibition of thirty-minute episodes by Kentridge that were originally intended as a series for online viewing, is an experiment in embodiment and phenomenological experience in the digital age, and a reflection on what might happen in the brain and in the studio of an artist, today.

Innovative arthouse distributor MUBI has acquired global streaming rights for the nine-episode series, created and directed by William Kentridge, executive produced by Rachel Chanoff and Noah Bashevkin of THE OFFICE PERFORMING ARTS + FILM, Joslyn Barnes of LOUVERTURE FILMS and the WILLIAM KENTRIDGE STUDIO, and edited by Walter Murch, Janus Fouché, Žana Marović and Joshua Trappler.
“Life in Print: William Kentridge and Pablo Picasso”
Remai Modern
Saskatoon, Saskatchewan
May 10 - December 29, 2024

Selected linocuts from Kentridge’s “Universal Archive” series are shown alongside selections from Remai Modern’s comprehensive holding of Picasso’s linocuts

Image left: William Kentridge, “Ref 23”, 2012. From the “Universal Archive” series. Linocut printed on non-archival pages from Shorter Oxford English Dictionary. 13 3/4 x 10 5/8 inches. Image courtesy of The Gund at Kenyon College and David Krut Projects, Johannesburg/New York. 
Image right: Pablo Picasso, “Portrait de femme à la fraise et au chapeau”, 1962, linocut, 53 x 40 cm. Collection of Remai Modern. Gift of the Frank and Ellen Remai Foundation 2012.
“I speak to the two who complete the girdle of the sky”

Costume maquette for “Oh To Believe in Another World” made with Greta Goiris
William Kentridge Animation

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

STU STU Cabinet Cover Image

Stumbling to Utopia

“Why continue with these gestures, with these drawings, these words, in the face of their imminent failure? Because without some idea of utopia, of a rescued world implicit not just in these gestures but in the act of making a drawing, a performance, a speech – without this we feel a gap, a hollow.” WK, 2016

Creative Machines Square Crop

William Kentridge: Creative Machines

William Kentridge puts to use a diversity of ‘creative machines’ in making work. He methodologically rethinks drawing, as an unfinished process, a means of collecting and generating iconography, with the aim of maximizing narrative amplitude that goes beyond the limits of graphic representation by resorting to sound and cinematography.

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.

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