William Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, traveling to Festival d’Aix and to Lyon in 2011. The 5-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014, and will continue to be performed in different cities. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017, and earlier this year his latest performance project The Head & The Load opened at Tate Modern in London, and will travel to Park Avenue Armory in December 2018.Read More
In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town. Upcoming News and Projects
In 2019, Kentridge’s celebrated production of the Alban Berg opera Wozzeck will run for seven performances at the Sydney Opera House from 25 January to 15 February. A major museum survey show at Kunstmuseum Basel, opening 8 June until 13 October. In the second-half of the year there will be a major Kentridge exhibition across two venues in Cape Town: Zeitz MOCAA and the Norval Foundation.
Text courtesy Goodman Gallery.
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The project for 'The Refusal of Time', started by thinking of an image of space not being empty, but filled with images of everything that has happened on earth, moving out at the speed of light.
With 147 participating galleries from 32 countries and some 800 artists represented on the fair floor, over 30 percent of whom were below the age of 40, the fiftieth anniversary edition of Art Brussels was in youthful spirits, despite being the second oldest art fair in the world after Art Cologne.
What does it mean to speak? To speak in a way that not only broaches the moral ambiguities of silence, but also probes the limits of speech's capacity to make sense of the world. William Kentridge, the Johannesburg artist and theatre director, addresses this question in a 2018 essay titled 'Let Us Try for Once'. The text forms part of a dispersed...
As I looked through William Kentridge's That Which We Do Not Remember at Sydney's Art Gallery of New South Wales, led by the multimedia artist himself, it became increasingly apparent to me that Kentridge, often described as a distinctive and powerful voice in the global contemporary art realm, is both erudite and generous with his ideas.
MILWAUKEE—The current William Kentridge exhibition at the Milwaukee Art Museum, More Sweetly Play the Dance, is an immersive 2015 installation: a 14-minute video loop projected on a series of eight screens, 130 feet long in total. The screens unfold like an accordion book, not quite aligning, leaving small gaps that create page breaks in...
Does art have the power to affect people’s view of war and politics? In the years during and following the first world war, art did its best to reflect the desolation and sense of waste prompted by the monstrous number of lives lost between 1914 and 1918. Art and literature portrayed a world that had fallen apart and lost its moorings to meaning:...
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