Ink Rats
Current Events
Performance
Wozzeck
April 25 – May 16, 2025
Canadian Opera Company
Four Seasons Centre for the Performing Arts, Toronto
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
Solo exhibition
A Natural History of the Studio
May 1 – August 1, 2025
Hauser & Wirth
22nd Street and 18th Street, New York
Performance
The Great Yes, The Great No
May 21-22, 2025
Bergen International Festival
Grieghallen, Bergen
Performance
Oh To Believe in Another World
May 24, 2025
Bergen International Festival
Bergen Philharmonic Orchestra
Grieghallen, Bergen
Performance
The Great Yes, The Great No
June 6-8, 2025
Ruhrfestspiele
Ruhrfestspielhaus Großes Haus, Recklinghausen
Performance
The Great Yes, The Great No
July 12-13, 2025
Festival di Spoleto
Teatro Nuovo Gian Carlo Menotti, Spoleto
Performance
Faustus in Africa!
August 20-23, 2025
Edinburgh International Festival
The Lyceum, Edinburgh
A sporadic record of what happens in the studio, in video, words and images
Unseen footage from the cutting room floor, Episode 3, ‘Self-Portrait as a Coffee-Pot’, 2024
WILLIAM KENTRIDGE
A NATURAL HISTORY OF THE STUDIO
Hauser & Wirth, New York
May 1 - August 1, 2025
22nd Street - a presentation of the film series ‘Self-Portrait as a Coffee-Pot’, drawings related to the series and sculptural works. Exhibition design by #sabinetheunissen
18th Street - a selection of prints related to various projects, made over the last two decades, at Hauser & Wirth’s dedicated editions space
To mark the opening of the exhibition, Hauser & Wirth Publishers will release the new publication ‘Self-Portrait as a Coffee-Pot’ which documents the series with stills and dialogue.
OPENING TONIGHT IN TORONTO
WOZZECK
April 25 – May 16, 2025
Canadian Opera Company
Four Seasons Centre for the Performing Arts, Toronto
Composer
Alban Berg
Librettist
Alban Berg
Director
William Kentridge
Co-director
Luc De Wit
Projection designer
Catherine Meyburgh
Set designer
Sabine Theunissen
Costume designer
Greta Goiris
Lighting designer
Urs Schönebaum
Video control
Kim Gunning
PERFORMANCE TONIGHT IN LONDON
OH TO BELIEVE IN ANOTHER WORLD
A film by William Kentridge for Shostakovich Symphony No. 10
Royal Festival Hall, Southbank Centre
24 April, 2025
Performed by the Philharmonia Orchestra
Conducted by Marin Alsop
Director
William Kentridge
Editors
Janus Fouché, Žana Marović, Joshua Trappler
Costume & Puppet Designer
Greta Goiris
Set and Model Designer
Sabine Theunissen
Cinematographer
Duško Marović SASC
Executive Producer
THE OFFICE performing arts + film
Commissioned by
Luzerner Sinfonieorchester
OPENING TONIGHT IN TAIPEI
SIBYL
Taipei Performing Arts Centre
April 11 - 13, 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
Photography
Stella Olivier
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
OPENING TONIGHT IN BERKELEY
“The Great Yes, The Great No”
Zellerbach Hall
Berkeley
March 14 to 16, 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
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; The Wallis Center for the Performing Arts, Beverly Hills USA
Foundational commissioning support for the development and creation of “The Great Yes, The Great No” provided by Brown Arts Institute, Brown University
Toured in partnership Quaternaire
Support for this performance is provided by The Great Yes, The Great No Council for Kentridge.
Lead Sponsors: The Jonathan Logan Family Foundation; Nadine Tang
Major Sponsors: Bob Ellis (March 15); Janice and Nicholas E. Brathwaite (March 15)
Sponsors: The Edgar Foster Daniels Foundation; Divesh & Diksha Makan
Additional support is provided by Helen Berggruen for Five Arts Foundation, John Berggruen, and Diana Nelson and John Atwater
Commissioning support is provided by William and Sakurako Fisher
Video: Workshop for “The Great Yes, The Great No”, Johannesburg 2024
William Kentridge
Carlton Centre Games Arcade
A new publication by Steidl
BOOK LAUNCH
Goodman Gallery, Johannesburg
Saturday 8 March, 2025
11am
There will be an informal conversation between William Kentridge, Gerhard Steidl and Lunetta Bartz.
The completion of William Kentridge’s Domestic Scenes (2021) and Catalogue Raisonné Volume 1. Prints and Posters 1974–1990 (2022), both published by Steidl, was an opportunity for Warren Siebrits to pause and take another more intimate look at a series of prints, singular and influential in Kentridge’s œuvre, titled “Carlton Centre Games Arcade” (1977).
The Carlton Centre in Johannesburg, owned by the mining company Anglo American, was the most expensive and prestigious hotel and shopping complex on the African continent at the time, and was just a short walk from Kentridge’s father’s legal practice. It is then no surprise that this complex was where he decided to begin the process of observational drawing which would lead to Kentridge’s first prolonged engagement with intaglio printing.
Not only is this book an opportunity for all Kentridge enthusiasts to catch a glimpse of this never before exhibited and little-known early series of 14 etchings, but it also gives the reader a further taste of the ongoing catalogue raisonné project.
Author: Warren Siebrits
Publisher: Steidl
Design: Lunetta Bartz
Images:
1. Carlton Centre Games Arcade—A Game of Skill, 1977
Etching, aquatint and drypoint, Image: 20 x 24.8 cm
2. Carlton Centre Games Arcade—Cigarettes,1977
Etching and colour aquatint, Image: 19.2 x 24.5 cm
3. Carlton Centre Games Arcade—Five Onlookers, 1977
Etching, aquatint and drypoint, Image: 11.5 x 14.5 cm
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.
