Current Events

William Kentridge: William Kentridge: Tapestries

William Kentridge: Tapestries
November 3 – December 11, 2021

Annandale Galleries, Sydney

William Kentridge: Sibyl

November 14, 2021  – February 13, 2022

Certosa e Museo di San Martino, Naples

Forthcoming Events

William Kentridge: Feeling the Stones: The First Ad-Diriyah Biennial

Feeling the Stones: The First Ad-Diriyah Biennial
December 10, 2021  – March 11, 2022

JAX district, Ad Diriyah, Riyadh

William Kentridge: William Kentridge: That Which We Do Not Remember

William Kentridge: That Which We Do Not Remember
January 22  – November 30, 2022

M.K. Čiurlionis Museum of Art, Kaunas, Lithuania

William Kentridge: Espressioni. L’Epilogo

Espressioni. L’Epilogo
January 24, – May 1, 2022

Castello di Rivoli Museum of Contemporary Art, Rivoli – Torino

William Kentridge: Resist, again

Resist, again
February 18  – May 15, 2022

Musée Cantonal des Beaux-Arts, Lausanne

William Kentridge: Kinetismus: 100 Years of Art & Electricity

Kinetismus: 100 Years of Art & Electricity
February 22  – June 19, 2022

Kunsthalle Praha, Prague

William Kentridge: Wozzeck

May 22  – June 5, 2022

Opera Barcelona, Gran Teatre del Liceu

William Kentridge: Shostakovich Symphony No. 10

Shostakovich Symphony No. 10
June 14 – 16, 2022

Lucerne Symphony Orchestra, Lucerne


William Kentridge: William Kentridge at the Royal Academy

William Kentridge at the Royal Academy
September 24 – December 11, 2022

Royal Academy, London

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

7 Fragments for Georges Méliès, Day for Night and Journey to the Moon New project page now live on “Méliès’ moon is of course a late 19th century colonial moon, an image of difficult terrain and savages. My lunar landscape is Germiston, just outside Johannesburg; in effect the same landscape from which the rocket takes off. In my head while making the film, there was inescapably Jules Verne’s book (which I don’t think I have ever read but for which I have seen illustrations), 2001 A Space Odyssey - there is a momentary reference to this; the Wallace & Grommit film, A Grand Day Out; and of course Méliès. It strikes me now that he also uses live performers as planets and stars; although my ants were smaller and more numerous than his showgirls. If the seven earlier fragments are about wandering around the studio waiting for something to happen, Journey to the Moon was an attempt to escape. Méliès’ hero returns to a civic celebration; mine is still stuck in his rocket.” WK Excerpt from “Journey to the Moon”, 2003, Animated 16mm and 35mm film transferred to video
William Kentridge at his home and studio, Junction Avenue, Parktown, Johannesburg, 1980 In 1980, William Kentridge made a series of etchings that were exhibited under the title “Domestic Scenes”. Forty years later, art historian Warren Siebrits has gathered all 54 images, as well as an additional 65 plate progressions not previously known to exist, from this body of work for a book, published by Steidl. Designed by Lunetta Bartz, the book has 16 different cover illustrations to choose from and includes a large foldout poster reproducing a photograph of Kentridge, seated in front of the etchings. The publication of “Domestic Scenes” is the start of a larger project by Siebrits, who has been commissioned by Kentridge to research and compile what will be a six-volume catalogue raisonné of all the artist's prints and posters made from 1975 to the present. On Friday 3 December at 10.30 am, Kentridge will be joined by Siebrits and publisher Gerhard Steidl for a book signing at Goodman Gallery, Johannesburg. On Saturday 4 December at 10.30 am Kentridge and Siebrits will again be at the gallery to sign books. Photo: Malcolm Purkey
“A nose by himself feels very puny. But put him on a horse, and he starts to take on the attributes of the horse. There’s a posture and a nobleness that comes into him, sucked in through the horse. Put the horse on a pedestal, like all the great equestrian statues, and you have the makings of a hero.” WK
“Sibyl” Certosa e Museo di San Martino, Naples 14 November 2021 - 13 February 2022 The text in this flip book film is taken from the libretto for the chamber opera, “Waiting for the Sibyl”. Both pieces are a meditation on our relationship to destiny, fate and mortality.

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.