Current Events

William Kentridge: Je n’attends plus

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

Luma Foundation, Arles

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: More Sweetly Play the Dance

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

Museo Picasso, Málaga

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

“The Great Yes, The Great No”
Burgtheater, Vienna
16 to 19 July, 2024

The new chamber opera by William Kentridge, commissioned by LUMA Foundation, in partnership with the Festival d’Aix-en-Provence is being performed in Vienna as part of the Impulstanz Festival 2024.

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
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
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 Quaternaire

Photograph: Stella Olivier
“Ursonate” by Kurt Schwitters is to be performed by William Kentridge as part of the Impulstanz Festival.
Odeon Theater, Vienna
July 17, 2024 at 19h30

Schwitters’ “Ursonate” (1922 - 1932) is widely regarded as the greatest sound poem of the 20th century. Schwitters also made Dadaist collages and visual artworks but the “Ursonate” is perhaps his most important and influential work.
William Kentridge & Homi K. Bhabha in Conversation
La Grande Halle, Parc des Ateliers
LUMA Foundation, Arles
July 10, 11:30AM

Following the opening of the solo exhibition “Je n’attends plus” at LUMA Foundation, Arles and the world premiere of his new chamber opera “The Great Yes, The Great No”, Kentridge will have a conversation with Homi K. Bhabha at La Grande Halle.

Admission free but booking required:
“A Night with William Kentridge”
Théâtre Antique, Arles
July 4, 2024
9:45PM - 11:30PM

An evening screening of Kentridge films - including “Second-hand Reading”, “Sibyl”, “Tide Table”, “Tango for Page Turning” and others - introduced and contextualised by the artist at the Théâtre Antique, Arles.  Presented by Les Rencontres d’Arles de la Photographie with support from the LUMA Foundation, Arles
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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