Current Events

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: A Shadow of a Shadow

A Shadow of a Shadow
September 28 – December 8, 2024

Sharjah Art Foundation, Sharjah
Bait Al Serkal Arts Square

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

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

Forthcoming 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 Great Yes, The Great No

The Great Yes, The Great No
December 5 – 8, 2024

US Première
Arsht Center, Miami

 

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

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

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
“O Sentimental Machine”

New project page now live on www.kentridge.studio

“Questions of machines and how they are used is an interest that has been explored in many ways.  There are a lot of found objects in the studio that have been used for different projects to create sculptures, kinetic machines or mechanical objects. The megaphone is an obvious one because it’s about the multiplication and expansion of the voice. But a megaphone is also used because it’s one of the three figures that Cezanne describes as being necessary to describe the world, a sphere, a cylinder and a cone. And a megaphone is really just taking the idea of the form of a cone and putting that to work back in the world. 

So there have been many megaphones in different projects.  But there were other machines made in the last years that are still sitting in the storeroom. This was an attempt to see, could one control a megaphone? In fact one of the collaborators who worked with me on this project hacked into a Playstation Connect system so that he could do movements with his arms and these movements would control the control the movement of the megaphone, a bit like a Theremin.  In other words there’s no visible connection but as your hands move you control how the megaphone moves.” WK

Take a detailed look at the making of the five channel film, “O Sentimental Machine”, originally made as a site specific installation at the Hotel Splendid on Büyükada Island, for the 14th Istanbul Biennale in 2015 and currently showing at LUMA Arles, as part of the exhibition, “Je n’attends plus”.

Actors
Sue Pam-Grant
William Kentridge

Musical composition & arrangement
Philip Miller

Video editing & construction
Žana Marović and Janus Fouché

Costume design
Greta Goiris

Director of photography
Duško Marović

Sound mix
Gavan Eckhart

Musicians

Voice
Joanna Dudley

Theremin
Janus Fouché

Bouzouki
Jannous Aukema

Piano
Philip Miller

“Mazi” composed by Necip Celal Andel, sung by Seyyan Hanım
Surrealist dinner sequence filmed in the studio for “The Great Yes, The Great No”
OPENING TODAY

ARTE POVERA
Bourse de Commerce, Pinault Collection
October 9, 2024 - January 20, 2025

An exhibition curated by @carolynchristovbakargiev 

“L’esprit d’escalier” is a site-specific wall installation made for the exhibition with the assistance of @marinefleurystudio and with the support of @liarummagallery, @hauserwirth and @goodman_gallery
OPENING TODAY

A SHADOW OF A SHADOW
Sharjah Art Foundation
Bait Al Serkal, Arts Square
28 September–8 December 2024

“A Shadow of a Shadow” is a survey of 17 performances created by Kentridge from the late 1980s to the present, from his interpretations of Jarry’s “Ubu Roi” and Mozart’s “The Magic Flute”, to Kentridge’s original works such as “The Head & the Load”. On view are objects and artworks produced for the development and presentation of these performance projects: drawings, stage backdrops, animations, puppets, props, costumes and installations.

Exhibition design by @sabine.theunissen 

Video: An outdoor installation of the eight channel, panoramic film “More Sweetly Play the Dance” (2015), Arts Square, Bait al Serkal, Sharjah

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

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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