Current Events

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: Kinetismus: 100 Years of Art & Electricity

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

Kunsthalle Praha, Prague

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

I am not me, the horse is not mine
March 26 – June 26, 2022

Orange Regional Gallery, Orange, New South Wales, Australia

William Kentridge: New Acquisitions

New Acquisitions
April 12  -August 29, 2022

Louisiana Museum, Humlebæk, Denmark

William Kentridge: Weigh All Tears

Weigh All Tears
March 17 – May 29, 2022

Hauser & Wirth, Hong Kong


William Kentridge: Espressioni. L’Epilogo

Espressioni. L’Epilogo
April 24 – July 17, 2022

Castello di Rivoli Museum of Contemporary Art, Rivoli – Torino

William Kentridge: Opera Opera

Opera Opera
April 27  – August 22, 2022

PalaisPopulaire, Berlin

William Kentridge: The Dream of Ulysses

The Dream of Ulysses
April 30 – October 16, 2022

Villa Carmignac, Porquerolles Island, France

William Kentridge: Wozzeck

May 22  – June 5, 2022

Opera Barcelona, Gran Teatre del Liceu

Forthcoming Events

William Kentridge: Oh To Believe In Another World

Oh To Believe In Another World
June 15 – 16, 2022

Lucerne Symphony Orchestra, Lucerne


William Kentridge: Oh To Believe In Another World

Oh To Believe In Another World
June 28 – 29, 2022

Teatro Grande del Parco Archeologico di Pompei, Pompeii


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

“There’s a line in the Rilke poem ‘The Panther’ where he talks about the panther going up and down, backwards and forwards in front of the bars; the translation that always sticks in my head is “like a dance of strength around a middle / where a mighty will was put to sleep”. That centre is a gap, terrain that I don’t always try to go through, but the work happens around it. The only way I can talk about it, is by circling it. ‘Will’ has always for me had a double meaning… but it’s that sense of a dance of strength around a gap”. WK Extract from “Footnotes for the Panther: Conversations between William Kentridge and Denis Hirson”, 2017, Fourthwall Books, Johannesburg Video: Extract from the film “Zeno Writing”, 2002
Heaven is talking in a foreign tongue “Sibyl” opens @barbicancentre tonight with performances tomorrow and on Sunday the 24th of April, 2022 Created in collaboration with Kyle Shepherd and Nhlanhla Mahlangu. Stage design by Sabine Theunissen and costume design by Greta Goiris. Photo: Stella Olivier

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.