Current Events

William Kentridge: The Great Yes, The Great No

The Great Yes, The Great No
October 16 – 18, 2025

Berliner Festspiele
Haus der Berliner Festspiele, Main Stage, Berlin

William Kentridge: Listen to the Echo

Listen to the Echo
September 6, 2025 – January 18, 2026

Staatliche Kunstsammlungen, Dresden

William Kentridge: Listen to the Echo

Listen to the Echo
September 4, 2025 – January 18, 2026

Museum Folkwang, Essen

William Kentridge: From Dawn Till Dusk:  The Shadow in Contemporary Art

From Dawn Till Dusk: The Shadow in Contemporary Art
July 3 – November 2, 2025

Kunstmuseum Bonn, Bonn

William Kentridge: The Pull of Gravity

The Pull of Gravity
June 28, 2025 – April 26, 2026

Yorkshire Sculpture Park, West Bretton

Forthcoming Events

William Kentridge: The Great Yes, The Great No

The Great Yes, The Great No
October 25 – 26, 2025

Grand Théâtre de la Ville de, Luxembourg

William Kentridge: Faustus in Africa!

Faustus in Africa!
November 5 – 16, 2025

The Coronet Theatre, London

 

William Kentridge: Wool. Silk. Resistance.

Wool. Silk. Resistance.
February 6 – May 24, 2026

Museum Angewandte Kunst, Frankfurt

William Kentridge: Oh To Believe in Another World

Oh To Believe in Another World
February 13, 2026

Dresdner Philharmonie
Kulturpalast Konzertsaal, Dresden

William Kentridge: The Battle Between Yes & No

The Battle Between Yes & No
April 14 – September 7, 2026

Kunsthalle Praha, Prague

William Kentridge: L’Orfeo

L’Orfeo
June 14  – July 25, 2026

Glyndebourne Festival
Glyndebourne Opera House, Lewes

A sporadic record of what happens in the studio, in video, words and images

📣 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
📣 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

Idiosyncratic lines of enquiry into particular aspects of studio practice or bodies of work

Creative Machines Square Crop

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.

STU STU Cabinet Cover Image

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 Cabinet

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.

William Kentridge All So Different

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.

William Kentridge Cursive

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.

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