Ink Rats
Current Events
Forthcoming Events
Performance
Oh To Believe in Another World
February 13, 2026
Dresdner Philharmonie
Kulturpalast Konzertsaal, Dresden
A sporadic record of what happens in the studio, in video, words and images
📣 OPENING TONIGHT IN PARIS 📣
“OH TO BELIEVE IN ANOTHER WORLD”
A film by William Kentridge for Shostakovich Symphony No. 10
Salle de conférence – Philharmonie, Paris
9 - 12 October, 2025
Performed by the Luzerner Sinfonieorchester
Conducted by Michael Sanderling
Director
William Kentridge
Editors
Janus Fouché, Zana Marović, Joshua Trappler
Costume & Puppet Designer
Greta Goiris
Set and Model Designer
Sabine Theunissen
Cinematographer
Dǔsko Marović SASC
Video Operator
Kim Gunning
Executive Producer
THE OFFICE performing arts + film
Originally commissioned by the Luzerner Sinfonieorchester
Photos: @stella0livier
📣 OPENING TONIGHT IN BROOKLYN 📣
SIBYL
Powerhouse International Arts Festival
October 8 - 11, 2025
Concept and Director
William Kentridge
Music Director / Composer
Kyle Shepherd
Associate Director / Choral Composer
Nhlanhla Mahlangu
Costume Designer
Greta Goiris
Set Designer
Sabine Theunissen
Lighting Design
Urs Schönebaum
Associate Lighting Design
Elena Gui
Sound Engineering
Zach Williamson
Projection Design
Žana Marović
Cinematography
Duško Marović SASC
Created and performed by
Kyle Shepherd (Piano)
Nhlanhla Mahlangu (Vocalist | Dancer)
Xolisile Bongwana (Vocalist | Dancer)
Thulani Chauke (Dancer)
Teresa Phuti Mojela (Dancer)
Thandazile ‘Sonia’ Rabede (Dancer)
Ayanda Nhlangothi (Vocalist)
Zandile Hlatshwayo (Vocalist)
Siphiwe Nkabinde (Vocalist)
S’busiso Shozi (Vocalist)
Technical Direction
Boyd Design
Production Manager
Brendon Boyd
Technical Director
Carly Levin
Stage Manager
Meghan Williams
Costume Supervisor
Mathilde Baillarger
Props Master
Lissy Barnes-Flint
Video Control
Matthew Deinhart
Voice over ‘Starve the Algorithm’
Joanna Dudley
Studio Fabrication & Technical Director
Chris Waldo de Wet
Costume Fabricators
Emmanuelle Erhart, Carlo Di Mascolo, David Engler
Specialist Prop Fabricator
Jonas Lundquist
Scenic Painter
Anaïs Thomas
Studio Assistants
Jacques van Staden, Jessica Jones
Produced by
THE OFFICE performing arts + film
Managing Director
Laurie Cearley
Executive Producer
Elly Obeney
Company Manager
Catherine DeGennaro
Toured in association with Quaternaire
📣 NOW OPEN 📣
William Kentridge
“Listen to the Echo”
Albertinum
Staatliche Kunstsammlungen, Dresden
Until 4 January, 2026
The presentation at the Albertinum includes the multiple channel film installations, “More Sweetly Play the Dance” and “Oh To Believe in Another World” - shown alongside the preparatory drawings for the Fürstenzug - as well as sculptural series, drawings, maquettes and model sets.
Part of a joint exhibition which spans the cities of Dresden (Staatliche Kunstsammlungen Dresden: Albertinum, Kupferstich Kabinett and Puppentheatersammlung at Kraftwerk Mitte) and Essen (Museum Folkwang)
Exhibition design by @sabine.theunissen
📣 PERFORMANCE TONIGHT IN ESSEN 📣
“OH TO BELIEVE IN ANOTHER WORLD”
A film by William Kentridge for Shostakovich Symphony No. 10
Alfried Krupp Hall, Essen
25 & 26 September, 2026
19h00
Performed by the Essen Philharmonic Orchestra
Conducted by Andrea Sanguineti
Part of a concert programme which begins with a performance of Igor Stravinsky’s “L’oiseau de feu” (The Firebird) - Concert Suite No. 2 (1919)
A cooperation between the Essen Philharmonic and the Museum Folkwang
Director
William Kentridge
Editors
Janus Fouché, Zana Marović, Joshua Trappler
Costume & Puppet Designer
Greta Goiris
Set and Model Designer
Sabine Theunissen
Cinematographer
Dǔsko Marović SASC
Video Operator
Kim Gunning
Executive Producer
THE OFFICE performing arts + film
Originally commissioned by the Luzerner Sinfonieorchester
Video: Laurie Cearly
Photo: Janus Fouché
We alone weighed down by desire.
Animation for the forthcoming production of Monteverdi’s “L’Orfeo” at @glyndebourne, to be conducted by @jonny_arcangelo, as part of the Glyndebourne Festival, 14 June - 25 July, 2026
📣 NOW OPEN 📣
William Kentridge
“Listen to the Echo”
A Resonance Room for People and Puppets
A project from The Centre for the Less Good Idea
Puppentheatersammlung
Kraftwerk Mitte, Dresden
Until June 28, 2026
Part of a joint exhibition which spans the cities of Dresden (Staatliche Kunstsammlungen Dresden: Albertinum, Kupferstich Kabinett and Puppentheatersammlung at Kraftwerk Mitte) and Essen (Museum Folkwang)
Exhibition design by @sabine.theunissen
Idiosyncratic lines of enquiry into particular aspects of studio practice or bodies of work
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.
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
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.
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.
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.
