Journal

A sporadic record of what happens in William Kentridge’s studio, in video, words and images

Large scale “Stroke” plaster in rotation,
made in collaboration with @louis0livier and @workhorsebronze
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Paper Procession I, 2023
Steel, aluminium, oil paint
121 x 82.5 x 39 cm

The first in a series of six sculptures, made from aluminium panels, fixed to a steel armature and hand-painted in oils. These works are based on a series of small-scale paper sculptures, made from coloured and torn pages from a 19th century accounting journal from the Chiesa di San Francesco Saverio in Palermo.
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Morandi at sea
An animation for “The Great Yes, The Great No”
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I ask this stone
I ask this jug, why?
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“William Kentridge: Creative Machines”
by Noémia Herdade-Gomes and Francisco Providência

New cabinet now live on https://www.kentridge.studio

“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.” Noémia Herdade-Gomes and Francisco Providência

https://www.kentridge.studio/william-kentridge-creative-machines

Animation sequence from “Il Ritorno d’Ulisse” (1998)
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South Polar Procession ...

Shadowboxing for “The Great Yes, The Great No” ...

J’ai l’impression d’être ridicule ...

A cross section of the Capitaine Paul-Lemerle for “The Great Yes, The Great No” ...

The leaves smell of ruin ...

A chorus of the birds for “The Great Yes, The Great No” ...

You whom I could not save,
Listen to me

Indian ink and pencil on Phumani handmade paper
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What is a dream?

Vocal workshop in Johannesburg for “The Great Yes, The Great No” with @hlangus164
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