Welcome to the virtual exhibition of William Kentridge, a luminary in the world of contemporary art. Born and raised in Johannesburg, South Africa, Kentridge’s journey into the arts was shaped by his early experiences in a country grappling with the harsh realities of apartheid. His education at the Johannesburg Art Foundation and studies in mime and theatre at the L’École Internationale de Théâtre Jacques Lecoq in Paris further honed his unique artistic vision.

Kentridge’s work is a symphony of mediums. He masterfully blends drawing, printmaking, animation, and performance art to create multidimensional pieces that are as thought-provoking as they are visually stunning. His signature technique, known as “drawings for projection,” involves the creation of charcoal drawings that are subsequently filmed, altered through erasure and redrawing, and then filmed again. This process results in animated films that carry a raw, sketch-like quality, imbuing his work with a sense of fluidity and dynamism.

The themes prevalent in Kentridge’s work are a reflection of his South African roots and his keen observation of the human condition. He explores concepts of history, memory, identity, politics, and social justice, using his art as a platform to comment on the socio-political landscape of post-apartheid South Africa and the world at large. His work is a poignant reminder of the power of art to challenge, to question, and to inspire.

In the global art discourse, Kentridge’s contributions are monumental. His work has been showcased in prestigious institutions worldwide, including the Museum of Modern Art in New York and the Louvre in Paris. He has been honored with numerous awards, including the Kyoto Prize in Arts and Philosophy, underscoring his significant influence on contemporary art.

As you navigate this exhibition, we invite you to delve deeper into Kentridge’s creative process. Consider his words: “In the studio… I follow the paths where they lead, and in the end, I see an image that comes out of the process.” This philosophy, this willingness to embrace uncertainty and to allow the process to guide the outcome, is at the heart of Kentridge’s artistry.

We hope this introduction provides you with a deeper understanding of William Kentridge’s work and sparks your curiosity. As you explore, we encourage you to reflect on the themes and motifs in his art and consider the powerful messages they convey. Enjoy your journey through the compelling world of William Kentridge. Welcome to the exhibition.

1. Security (1980)

• Artist: William Kentridge
• Date: 1980
• Medium: Screenprinted poster
• Dimensions: 22 9/16 x 14 3/8″ (57.3 x 36.5 cm); Sheet: 32 7/8 x 17 15/16″ (83.5 x 45.5 cm)
• Institutional Accreditation: Museum of Modern Art (MoMA)
• Description: “Security” is a screenprinted poster reflecting Kentridge’s early focus on memory and personal narrative through traditional drawing techniques. Published by the Junction Avenue Theatre Company in Johannesburg, the piece captures the socio-political climate of South Africa in the 1980s, showcasing Kentridge’s nascent commitment to social commentary through art.

2. Casspirs Full of Love (1989)

• Artist: William Kentridge
• Date: 1989
• Medium: Print (printed in 2000)
• Dimensions: 65 1/2 × 38 3/8 in. (166.4 × 97.5 cm)
• Institutional Accreditation: The Metropolitan Museum of Art
• Description: “Casspirs Full of Love” reflects on the history and memory of apartheid, utilizing printmaking to convey a powerful message. The title refers to the armored vehicles used by South African police, while the imagery intertwines personal memory, historical events, and classical references, demonstrating Kentridge’s evolving ability to intertwine personal and political narratives.

3. Felix in Exile (1994)

• Artist: William Kentridge
• Date: 1994
• Medium: 35mm film transferred to video (color, sound)
• Dimensions: 8:43 min
• Institutional Accreditation: MoMA
• Description: “Felix in Exile” marks a significant shift to multimedia and animation, providing commentary on displacement and identity. The film tells the intertwined stories of Felix, a man in exile, and Nandi, a land surveyor, capturing the complexities of reconciliation and rebuilding in post-apartheid South Africa.

4. History of the Main Complaint (1996)

• Artist: William Kentridge
• Date: 1996
• Medium: 35mm film transferred to video (color, sound)
• Dimensions: 5:50 min
• Institutional Accreditation: MoMA
• Description: “History of the Main Complaint” continues Kentridge’s political discourse through animated storytelling, addressing the complexities of apartheid. This work, part of a series of hand-drawn animated films, offers a critical examination of South Africa’s socio-political landscape during the apartheid era.

5. Ubu Tells the Truth (1996–97)

• Artist: William Kentridge
• Date: 1996–97
• Medium: Portfolio of eight etchings
• Dimensions: Each etching: 9.8 x 11.8 in. (24.89 x 29.97 cm)
• Institutional Accreditation: National Museum of African Art
• Description: “Ubu Tells the Truth” is a suite of eight etchings depicting the notorious despot Ubu Roi, splitting the character to highlight the rift between public and private selves. This work delves into the absurdity of political narratives and the human condition, continuing Kentridge’s commentary on South African history.

6. Telephone Lady (2000)

• Artist: William Kentridge
• Date: 2000
• Medium: Linoleum cut
• Dimensions: 81 3/8 x 39 7/16″ (206.7 x 100.2 cm); Sheet: 86 5/8 x 39 15/16″ (220 x 101.5 cm)
• Institutional Accreditation: MoMA
• Description: “Telephone Lady” represents Kentridge’s mature style, possibly involving large-scale installations or performance art. Created using a large linoleum panel, the work’s expressive black-and-white patterning reflects Kentridge’s continued exploration of contemporary socio-political themes through an interdisciplinary approach.

7. 7 Fragments for Georges Méliès (2003)

• Artist: William Kentridge
• Date: 2003
• Medium: Installation of seven film fragments
• Dimensions: Nine-channel film installation
• Institutional Accreditation: MoMA
• Description: “7 Fragments for Georges Méliès” showcases Kentridge’s interdisciplinary work, blending contemporary socio-political themes with homage to early cinema. The dreamlike self-portraits in this installation highlight Kentridge’s innovative approach to storytelling and his ability to adapt and evolve as an artist.

8. Magic Flute: Dove, state I-X (2006-07)

• Artist: William Kentridge
• Date: 2006-07
• Medium: Series of ten carborundum prints and drypoints
• Dimensions: Each etching: 7.1 x 9.4 in. (18 x 24 cm)
• Institutional Accreditation: MoMA
• Description: “Magic Flute: Dove, state I-X” is a series of ten carborundum prints and drypoints, reflecting Kentridge’s innovative blend of mediums and contemporary socio-political themes. This series, inspired by Mozart’s opera, illustrates Kentridge’s ongoing exploration of history, memory, and identity through an interdisciplinary approach.

“Art is not a mirror to reflect the world, but a hammer with which to shape it.” This quote, often attributed to Bertolt Brecht, could very well have been said by William Kentridge, a South African artist born in 1955, whose work has consistently challenged and reshaped our understanding of art and society. His unique blend of mediums, from traditional drawing to animation and performance art, has not only broadened the scope of artistic expression but also provided a powerful commentary on history, memory, and identity. His parents were advocates who represented people marginalized by the apartheid system, and this early exposure to the socio-political landscape of South Africa had a profound impact on his work. This essay explores the evolution of Kentridge’s artistic expression, tracing his journey from his early exploration of personal narratives and memory, through his shift to multimedia and animation during his middle career, to his recent works that possibly involve large-scale installations or performance art.

In his early career, Kentridge’s work was characterized by a strong focus on personal narratives and memory. He often used traditional drawing techniques to explore these themes, creating works that were deeply personal yet universally relatable. “Security” (1980), a screenprinted poster, showcases Kentridge’s initial exploration into themes of memory and personal narrative. It reflects the socio-political tensions of the time, offering a glimpse into the personal experiences and memories that shaped Kentridge’s early artistic vision. “Casspirs Full of Love” (1989), a print reflecting on the history and memory of apartheid, demonstrates Kentridge’s ability to use art as a tool for social commentary. It is a powerful testament to his early career focus on socio-political themes, and it marks the beginning of his transition towards more complex mediums and narratives.

As Kentridge’s career progressed, he began to experiment with different mediums and techniques. His focus shifted from personal narratives to broader socio-political themes, marking the beginning of his middle career. “Felix in Exile” (1994) marks a significant shift to multimedia and animation in Kentridge’s career, providing commentary on displacement and identity. It reflects Kentridge’s evolving focus on socio-political themes and his innovative use of animation to convey complex narratives. “History of the Main Complaint” (1996) continues Kentridge’s political discourse through animated storytelling, addressing the complexities of apartheid. It demonstrates his ability to use art as a tool for social commentary, offering a critical examination of the socio-political landscape of South Africa during the apartheid era.

In his recent works, Kentridge has continued to evolve, possibly involving large-scale installations or performance art. His mature style is characterized by an interdisciplinary approach, blending contemporary socio-political themes with various artistic mediums. “Telephone Lady” (2000) represents Kentridge’s mature style, possibly involving large-scale installations or performance art. It reflects Kentridge’s continued exploration of contemporary socio-political themes through an interdisciplinary approach. “7 Fragments for Georges Méliès” (2003), an installation of seven film fragments, showcases Kentridge’s interdisciplinary work, blending contemporary socio-political themes with homage to early cinema. It demonstrates his innovative approach to storytelling and his ability to adapt and evolve, marking a significant milestone in his artistic journey.

This essay has traced the artistic journey of William Kentridge, from his early exploration of personal narratives and memory, through his shift to multimedia and animation during his middle career, to his recent works that possibly involve large-scale installations or performance art. Each phase of his career offers a unique perspective on his artistic evolution, reflecting the socio-political themes of his time and his innovative approach to art. Kentridge’s work holds significant implications for contemporary art. His innovative blend of mediums and his ability to adapt and evolve demonstrate the limitless possibilities of artistic expression. His exploration of socio-political themes through art provides a powerful commentary on history, memory, and identity, making his work not only aesthetically compelling but also intellectually stimulating. In the words of Kentridge himself, “In the end, it is never the object but the light on the object, the dust on the object.” This quote encapsulates the essence of Kentridge’s artistic journey – it is not just about the artwork itself, but the context, the themes, and the narratives that the artwork illuminates. As we reflect on Kentridge’s evolution as an artist, we are reminded of the transformative power of art and its ability to shed light on our understanding of the world. His work, whether it is a drawing, a print, an animation, or an installation, offers a unique perspective on history, memory, and identity, making it a compelling subject for this exhibition.