Ink Rats
Current Events
Group Exhibition
The True Size of Africa
November 9, 2024 – August 17, 2025
Völklinger Hütte, Völklingen
Group Exhibition
Tuning In – Acoustique de l’émotion
October 3, 2024 – August 25, 2025
Foundation of the International Red
Cross and Red Crescent Museum,
Geneva
Forthcoming Events
Performance
The Great Yes, The Great No
March 14 – 16, 2025
Zellerbach Hall, CalPerformances, Berkeley
Performance
Wozzeck
April 25 – May 16, 2025
Canadian Opera Company
Four Seasons Centre for the Performing Arts, Toronto
A sporadic record of what happens in the studio, in video, words and images
Remove not the old landmark
Fugitive Words, 2024
Single channel HD video
8 min 33 sec
Animation
William Kentridge
Editing
Žana Marović
Music
Beethoven: Piano Trio No. 7 in B-Flat Major, Op. 97
“Archduke”: III. Andante cantabile
Jacqueline du Pré, Pinchas Zukerman, Daniel Barenboim
Video: Excerpt from “Fugitive Words” currently showing as part of the exhibition:
William Kentridge “History on One Leg”
December 21, 2024 – April 17, 2025
A4 Arts Foundation, Cape Town
A browsable selection of Kentridge’s notebooks made over the past fifteen years, shown alongside a new flipbook film, tools, materials and ephemera which focus on the process of making work in the studio.
Curated by
Josh Ginsburg
William Kentridge
OPENING TONIGHT IN LOS ANGELES
“The Great Yes, The Great No”
The Wallis Center
for Performing Arts
Beverley Hills
February 5 to 8, 2025
A chamber opera by William Kentridge, commissioned by LUMA Foundation, in partnership with the Festival d’Aix-en-Provence
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 SASC
Video Control: Kim Gunning
Performed and created by
Performers: Xolisile Bongwana, Hamilton Dhlamini, William Harding, Tony Miyambo, Nancy Nkusi, Neil McCarthy
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
Co-Commissioners
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
This production is made possible by generous support from:
Brenda R. Potter
Sakurako and William Fisher Family
Roy Cockrum Foundation
Joan Selwyn and Marc Selwyn, Geof and Laura Wyatt in Memory of Paul Selwyn
South Coast Plaza
Photo: Monika Rittershaus
Video: Performance at LUMA Arles, July 2024
OPENING TODAY
“To Cross One More Sea”
William Kentridge
Goodman Gallery, Johannesburg
25 January - 20 March, 2025
Video: Extract from “To Cross One More Sea”, 2024
Three channel HD film installation,
two megaphone speakers on tripods
19 min 10 sec
Editor
Janus Fouché
Associate Editors
Joshua Trappler
Žana Marovič
Composers
Nhlanhla Mahlangu
Tlale Makhene
Music created and performed by:
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)
Sound Recording
Gavan Eckhart
‘William Kentridge: Creative Machines’
A Cabinet by Noémia Herdade-Gomes and Francisco Providência
Herdade-Gomes and Providência see Kentridge’s rotating sculptures, such as ‘Construction for Waiting for the Sibyl (Tree / Typewriter)’ as a “playful trivialisation of a ‘miracle’ “ and describe “the surprising epiphany of chaos transformed into order” as the observer “experiences the pleasure of witnessing a ‘miracle’, which becomes as predictable as it is false.”
Explore the second series of ‘Creative Machines’, now live on Kentridge Studio website:
https://www.kentridge.studio/william-kentridge-creative-machines/
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.
