Ink Rats
Current Events
Forthcoming Events
Performance
Oh To Believe in Another World
September 18, 2026
Belgian National Orchestra
Henry Le Boeuf Hall, Brussels
Performance
L’Orfeo
October 30 – November 14, 2026
Greek National Opera
Stavros Niarchos Hall, Athens
Performance
The Head & the Load
November 12 – 15, 2026
Henry J. Kaiser Center for the Arts, Oakland
Performance
Sibyl
December 12 – 13, 2026
De Singel International Arts Centre
Grootschalig Theater, Antwerp
A sporadic record of what happens in the studio, in video, words and images
📣 OPENING TODAY 📣
William Kentridge
I am not me, the horse is not mine
Bozar, Brussels
18 September, 2026 to 7 March, 2027
Video: Extract from “The Refusal of Time”, 2012
Curator: Tarek Abou El Fetouh
Exhibition designer: Sabine Theunissen
Making a wall drawing of Ubu
William Kentridge
I am not me, the horse is not mine
Bozar, Brussels
18 September, 2026 to 7 March, 2027
Curator: Tarek Abou El Fetouh
Exhibition designer: Sabine Theunissen
Four Spanish Objects
[after Zurbarán]
📣 BOOK SIGNING THIS SATURDAY 📣
Goodman Gallery Johannesburg
Saturday, 29 August 2026
11:30 – William Kentridge, Gerhard Steidl and Lunetta Bartz in conversation with Tracy Murinik, to mark the publication of ‘William Kentridge: Volume 2. Prints and Posters 1991–2004’
12:00–13:00 – Book signing with William Kentridge
The recently launched books ‘Doctrines of Affection’ and ‘Natural History of the Studio’ both published by Cossee will be available at the gallery book store for signing.
Space is limited and RSVP is required to [email protected]
DOCTRINES OF AFFECTION: FROM STUDIO TO STAGE
It was a long, winding road to becoming the world-renowned artist, filmmaker, opera director and illustrator that William Kentridge is today. “Did I have anything to say that had not been said before and better?”, he wonders. But the twists and turns have yielded fascinating insights, and above all, precision in observing, listening to, and examining society and its conflicts.
In this book, he describes, among other things, the founding of the Centre of the Less Good Idea, a kind of studio similar to Rembrandt’s. The process begins there with the design of a small scale model and culminates in a fantastic theatrical performance that is a feast for the eyes and ears. Kentridge celebrates the joy of the absurd and of self-deception, resisting the purely rational. He allows ambiguity and doubt to rear their heads and “the less good idea” to flourish. Never before has the creative process been described with such attention to the small, “telling” details within the bigger picture.
Book design by @oliverbarstow
A NATURAL HISTORY OF THE STUDIO
In ‘A Natural History of the Studio’, artist William Kentridge speaks passionately about his working method. It begins with creative procrastination: drinking tea, tidying up, and making a list of “less good ideas.” Sometimes, after pacing around the work table, something emerges that is worth pursuing further. That is how they begin—those spectacular works, such as the moving shadow processions staged in cities including Amsterdam, Rome, Cape Town, and New York. Kentridge describes his family background with equally infecti
📣 BOOK LAUNCH THIS SATURDAY 📣
Goodman Gallery Johannesburg
Saturday, 29 August 2026
11:30 – William Kentridge, Gerhard Steidl and Lunetta Bartz in conversation with Tracy Murinik
12:00–13:00 – Book signing with William Kentridge
The morning marks the Johannesburg launch of ‘William Kentridge: Volume 2. Prints and Posters 1991–2004’, the second in a five-volume catalogue raisonné authored and researched by Warren Siebrits, alongside ‘William Kentridge: Muizenberg’, the fourth publication in a series forming part of the wider catalogue raisonné of Kentridge’s prints and posters. Both books are published by Steidl.
Recently launched publications ‘Natural History of the Studio’ and ‘Doctrines of Affection’ will also be available.
Space is limited and RSVP is required to [email protected]
The Ravello Foundation and Galleria Lia Rumma present a solo exhibition at Villa Rufolo as part of the 74th Ravello Festival.
Featuring drawings, sculpture, tapestry and film, including `Medicine Chest’ (2001), `Preparing the Flute` (2005) `Fugitive Words` (2024) and `Mayakovsky` (2025), a Pepper’s ghost diorama.
Until 5 September 2026
With special thanks to Lia Rumma, Sara Ceroni and the team at Galleria Lia Rumma
Photos: Matteo d’Eletto
Courtesy Fondazione Ravello and Galleria Lia Rumma, Milano/Napoli
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.
