Tag: Film Festival
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Self-Portrait as a Coffee Pot
A lecture by William Kentridge with Carolyn Christov-Bakargiev at Università Ca’ Foscari, Venice, 19 April, 2024
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Self-Portrait as a Coffee Pot
April 17 – November 24, 2024 Arsenale Institute for Politics of Representation, Venice…View…
Self-Portrait as a Coffee Pot
September 12 – 16, 2022 Toronto International Film Festival, Toronto…View…
The Refusal of Time & Refuse the Hour
PROJECTSOn Defectibility as a Resource: William Kentridge’s Art of Imperfection, Lack, and Falling Short
Anti-Entropy
When mass is huge, gravity grows until it is irresistible. A black hole traps all that passes, allowing out of its gravitational field no object, no light, no trace of light, that has been attracted to it. A black hole the size of a full stop swallows the sentence. Others swallow a house, a city, a galaxy.
Is all gone, none to be retrieved? Entropy forbids all elements from entering the black chasm. As an object approaches a black hole, its wavelength lengthens, slowing down, becomes redder and redder; the information and attributes separate from the object, and remain as strings – vibrating strings, twists, knots, cats’ cradles of information, vibrating at the edge of the event horizon. The bank at the edge of the River Styx, where Charon deposits those headed for the black darkness of Hades. He keeps in his boat the attributes of they have shed. A suitcase of teeth and glasses, thoughts, stories, and old stone discus. Held in trust on account, waiting for them to be decoded, to be reconstructed, to be made new.
The Refusal of Time
The Refusal of Time is a 5-channel video installation with a complex soundscape. The installation includes four steel megaphones and a breathing machine (‘elephant’).
duration 28 minutes.
Director
William Kentridge
Music and soundscape
Philip Miller
Video construction
Catherine Meyburgh
Choreography
Dada Masilo
Dramaturge
Peter Galison
On Defectibility as a Resource: William Kentridge’s Art of Imperfection, Lack, and Falling Short
Between the Lens and the Eyepiece
If we were in the belly of the camera, the empty stage is the working space for the optics of the camera. Where the three dimensional world is recreated on a smaller scale, in a flattened form. The tradition of baroque flat scenery, arranged in a perspective from the proscenium to the back of the stage put me in mind of the layers in a bellows of an old camera – also reminded me of the flattening of planes of distance one sees in binoculars – a sort of quantum perspective, depth given by a series of jumps of flat planes.
Black Box / Chambre Noire
2005
Animated 35 mm film transferred to video, projected front and back onto model theater with drawings and mechanical puppets
Musical composition
Philip Miller
Mechanical Design
Jonas Lundquist
Singers
Alfred Makgalemele, Vevangua Muuondjo
Musical recordings in Namibia
Minette Mans, Philip Miller
Programming for mechanical objects
Ronald Halgren
Editing
Catherine Meyburgh
Lighting
Ann-Charlotte Fogelström
Black Box / Chambre Noire was co-commissioned by Deutsche Bank and Solomon R. Guggenheim Foundation for the exhibition William Kentridge: Black Box / Chambre Noire at Deutsche Guggenheim
October 29, 2005 – January 15, 2006
Making
On Defectibility as a Resource: William Kentridge’s Art of Imperfection, Lack, and Falling Short
Death Dancing the Tango
The procession is a form I have used many times before, trying to encompass in the work the muchness of the people in the world. And to record the fact that here in the twenty-first century human foot power is still the primary means of locomotion and we are still locked in the manual labour of individual bodies as a way of making the world.
Specifically, the image of a procession goes back to Goya and his paintings of processions. It goes back more recently to photographs of refugees fleeing Rwanda, coming from north to south Sudan. All the movement that still exists across the continent of Africa. Further back to the images of the processions of people from the Balkans. The huge population of movements of people at the end of the Second World War. The image of a procession of people pulling or carrying their baggage is both a contemporary and immediate image and one deeply rooted in our psyches.
More Sweetly Play the Dance
2015
8-channel video installation with four megaphones, sound
HD video, 15 minutes
Video editing and construction
Janus Fouché
Music composition
Johannes Serekeho
Music performed by
The African Immanuel Essemblies Brass Band (under Bishop R.E. Sefatsa)
Vocals
Bham Ntabeni, Moses Moeta
Percussion
Tlale Makhene
Sound mix
Gavan Eckhart
Costume design
Greta Goiris
Choreography and dance
Dada Masilo
Camera
Duško Maroviç
Performers
Mncedisi Shabangu
Luc de Wit
Joanna Dudley
Sue Pam-Grant
Lara Adine Lipschitz
Lawrence Maduna
Samson Falowo
Sipho Zungu
Sipho Seroto
Agnes Khunou
Maria Ndlela
Maphokoane Serobanyane
Okechukwu Adinnu
More Sweetly Play the Dance was made at the invitation of the Lichtsicht – Projection Biennale in Bad Rothenfelde, Germany and EYE Filmmuseum, Amsterdam.
Making
There is both a pleasure and an energy that comes from 40 people gathered in the downtown studio. ‘More team than project’, as my wife says. Actors, musicians, editors, cameramen. There is an impulse for a work to be made – but with an openness as to what this will be. The studio is filled with the combined energy waiting in the psyches, in the limbs, in the intentions of all participants.
In the large studio in town, a platform 60 cm above the floor runs the 18-m length of the studio. The wall is floodlit behind this walkway. A camera is pointed at people walking across and along it. We are re-staging the procession of Plato’s figures in the cave.
A talk with Carolyn Christov-Bakargiev on the occasion of the opening of the exhibition “Self-Portrait as a Coffee Pot” at the Arsenale Institute for the Politics of Representation, Venice, 15 April 2024
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A Conversation between William Kentridge and Walter Murch
Published in William Kentridge: In Praise of Shadows, catalogue published on occasion of the exhibition In Praise of Shadows at The Broad, Los Angeles, November 12, 2022 – April 9, 2023.
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William Kentridge 2020s Chronology
2020 to 2029 2020LIFE
WK diagnosed with COVID-19; makes full recovery
WORK
During health lockdown in April and May, WK begins work on Studio Life, a series of films about thinking and making meaning in the studio.
Delivers The Moment Has Gone, Susan T. Marx Distinguished Lecture at the University of Pennsylvania from his studio in Houghton
EXHIBITIONS
City Deep (solo), Goodman Gallery, Johannesburg
William Kentridge: That Which is Not Drawn (solo), Centre de Cultura Contemporània de Barcelona (CCCB), Barcelona
Waiting for the Sibyl and other histories (solo), Galleria Lia Rumma, Milan
EXHIBITIONS
William Kentridge: Making Prints – Selected Editions 1998–2020 (solo), Marian Goodman Gallery, New York
More Sweetly Play the Dance (solo), Mudam: Musée d’art moderne Grand-Duc Jean, Luxembourg
William Kentridge: Universal Archive (solo), University of Wyoming Art Museum, Laramie
William Kentridge: Tapestries (solo), Annandale Galleries, Sydney
Finally Memory Yields (solo), Marian Goodman Gallery, Paris
AWARDS
Foreign Associate Member to the French Académie des Beaux Arts, Paris
Doctor Honoris Causa, conferred jointly by Vrije Universiteit Brussel, University of the Western Cape and Ghent University
Ruth Baumgarte Art Prize, Hanover
WORK
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Becoming Aware in a World of People on the Move
The TapestriesSince 2001, William Kentridge has completed a series of seventeen tapestries, each in multiple copies or versions. They originate in the artist’s collages of black silhouettes cut and glued over reproductions, mostly from nineteenth-century geographical atlases. The weavers …View…
On Defectibility as a Resource: William Kentridge’s Art of Imperfection, Lack, and Falling Short
Introductory essay toWilliam Kentridge, book prepared on the occasion of the exhibition William Kentridge at the Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, 10 January to 29 February 2004; K20 K21 Kunstsammlung Nordrhein Westfalen, Düsseldorf, 27 March to …View…
