Current Events

William Kentridge: More Sweetly Play the Dance

More Sweetly Play the Dance
November 21, 2024 – April 20, 2025

Museo Picasso, Málaga

William Kentridge: The True Size of Africa

The True Size of Africa
November 9, 2024 – August 17, 2025

Völklinger Hütte, Völklingen

William Kentridge: I am not me, the horse is not mine

I am not me, the horse is not mine
October 24, 2024 – January 12, 2025

Galeria Arsenal, Bialystok, Poland

William Kentridge: William Kentridge

William Kentridge
October 22, 2024 – July 30, 2025

Fundació Sorigué, Lleida

William Kentridge: Arte Povera

Arte Povera
October 9, 2024 – January 20, 2025

Bourse de Commerce Pinault Collection, Paris

William Kentridge: Tuning In – Acoustique de l’émotion

Tuning In – Acoustique de l’émotion
October 3, 2024 – August 25, 2025

Foundation of the International Red
Cross and Red Crescent Museum,
Geneva

William Kentridge: In Memory

In Memory
July 5, 2024 – February 22, 2025

Utah Museum of Contemporary Art, Salt Lake City

William Kentridge: Je n’attends plus

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

Luma Foundation, Arles

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

Forthcoming Events

William Kentridge: History on One Leg

History on One Leg
December 21, 2024 – April 17, 2025

A4 Arts Foundation, Cape Town

William Kentridge: To Cross One More Sea

To Cross One More Sea
January 25 – March 20, 2025

Goodman Gallery, Johannesburg

William Kentridge: Faustus in Africa!

Faustus in Africa!
February 26 – March 22, 2025

Baxter Theatre, Cape Town

 

William Kentridge: Wozzeck

Wozzeck
April 25  – May 16, 2025

Canadian Opera Company
Four Seasons Centre for the Performing Arts, Toronto

William Kentridge: William Kentridge

William Kentridge
June 28, 2025 – April 26, 2026

Yorkshire Sculpture Park, West Bretton

William Kentridge: From Dawn Till Dusk:  The Shadow in Contemporary Art

From Dawn Till Dusk: The Shadow in Contemporary Art
July 3, – November 2, 2025

Kunstmuseum Bonn, Bonn

William Kentridge: Listen to the Echo

Listen to the Echo
September 4, 2025 – January 18, 2026

Museum Folkwang, Essen

William Kentridge: Listen to the Echo

Listen to the Echo
September 6, 2025 – January 18, 2026

Staatliche Kunstsammlungen, Dresden

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

TONIGHT IN NEW YORK CITY

“OH TO BELIEVE IN ANOTHER WORLD”
A film by William Kentridge for Shostakovich Symphony No. 10

Wu Tsai Theater, David Geffen Hall
5 - 7 December, 2024

Performed by the New York Philharmonic
Conducted by Keri-Lynn Wilson

Part of a program which also features Shostakovich’s “Festive Overture” and concertmaster Frank Huang is the soloist in Prokofiev’s Second Violin Concerto.
The program will last approximately 2 hours, which includes an intermission.

Director
William Kentridge

Editors
Janus Fouché, Zana Marović, Joshua Trappler

Costume & Puppet Designer
Greta Goiris

Set and Model Designer
Sabine Theunissen

Cinematographer
Dǔsko Marović SASC

Video Operator
Kim Gunning

Executive Producer
THE OFFICE performing arts + film

Originally commissioned by the Luzerner Sinfonieorchester and made possible through a grant by the Art Mentor Foundation Lucerne
The Great Yes, The Great No
US PREMIÈRE PERFORMANCE

Adrienne Arsht Center
for the Performing Arts
Miami, Florida
December 5 to 8, 2024

US première performances of the chamber opera by William Kentridge, commissioned by LUMA Foundation, in partnership with the Festival d’Aix-en-Provence

Creative team
Concept | Director: William Kentridge
Associate Directors: Nhlanhla Mahlangu | Phala O. Phala
Choral Composer: Nhlanhla Mahlangu
Music Director: Tlale Makhene
Dramaturg: Mwenya Kabwe
Costume Design: Greta Goiris
Set Design: Sabine Theunissen
Lighting Design: Urs Schönebaum | Elena Gui
Projection Editing | Compositing: Žana Marović | Janus Fouché | Joshua Trappler
Cinematography: Duško Marović SASC
Video Control: Kim Gunning

Performed and created by
Performers: Xolisile Bongwana, Hamilton Dhlamini, William Harding, Tony Miyambo, Nancy Nkusi, Luc de Wit
Dancers : Thulani Chauke & Teresa Phuti Mojela
Chorus: Anathi Conjwa, Asanda Hanabe, Zandile Hlatshwayo, Khokho Madlala, Nokuthula Magubane, Mapule Moloi,Nomathamsanqa Ngoma
Musicians: Marika Hughes (Cello), Nathan Koci (Accordion | Banjo), Tlale Makhene (Percussion), Thandi Ntuli (Piano)

Produced by THE OFFICE performing arts + film
A project of the Centre for the Less Good Idea
Lead commissioner: LUMA Foundation, Arles, France
Co-Commissioners: Adrienne Arsht Center for the Performing Arts, Miami USA; CAL Performances, Berkeley USA; Centre d’Art Battat, Montreal, Canada.

Foundational commissioning support for the development and creation of “The Great Yes, The Great No” is provided by Brown Arts Institute at Brown University

Toured in partnership with Quaternaire
“While I was trying to make minimal or residual horses, I was also trying to make anti-heroic horses. Horses that would have the least right to be on monuments. I discovered this was not easy. Even the most ill-shaped, hollow-backed beasts with the most distorted neck and heads still claimed and held their space.” WK

“I am not me, the horse is not mine”
Galeria Arsenał
Białystok, Poland
Until 19 January, 2025

I am not me, the horse is not mine, 2008
Installation of 8 film fragments
6 minutes

Directing, animation, photography and performance: William Kentridge
Editing: Catherine Meyburgh
Composer: Philip Miller
Stage direction: Sue Pam-Grant
Animation assistants: Gerhard Marx, Naomi van Niekerk, Catherine Walker Galop Music
Composition: Philip Miller

“Ngilahlekelelwe Ikhala Lami”
Musical arrangement: Philip Miller
Music and lyrics: Richard Siluma and Thulani Manana Choir: Thulani Manana and Abanikazi Bomkhalanga
The Galop Band:
Dan Selsick, trombone; Billy Middleton, tuba; Adam Howard, trumpet; Ntkozo Zunga, Castrol tin-can guitar; Bethuel Mbonani, percussion; Thulani Manana, vocal leader
Morandi Objects
OPENING TONIGHT

“OH TO BELIEVE IN ANOTHER WORLD”
A film by William Kentridge for Shostakovich Symphony
No. 10

Gran Teatre del Liceu, Barcelona
18 & 19 October, 2024

Performed by Orquestra Simfònica del Gran Teatre del Liceu
Conducted by Josep Pons

Director
William Kentridge

Editors
Janus Fouché, Zana Marović, Joshua Trappler

Costume & Puppet Designer
Greta Goiris

Set and Model Designer
Sabine Theunissen

Cinematographer
Dǔsko Marović

Video Operator
Kim Gunning

Executive Producer
THE OFFICE performing arts + film

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

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.

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

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

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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