William Kentridge / What Will Come / 2007

William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge / What Will Come / 2007
10 November - 14 December 2007
Installation View
William Kentridge
Untitled IV (Horse with Raised Leg), 2007
Bronze
32 x 48 x 20 cm
William Kentridge
Untitled VI (Nose on Horse - Napoleon), 2007
bronze
42 x 46 x 19 cm
William Kentridge
Untitled VII (Nose On Stick Horse), 2007
Bronze
47 x 44 x 22 cm
William Kentridge
Drawing for What Will Come (Landscape), 2007
Charcoal on paper
120cm Diameter
William Kentridge
Untitled I (Nose On Rearing Horse), 2007
Sculpture
32 x 39 x 22 cm
William Kentridge
Nose with hairbrush , 2007
Acrylic, Indian ink and water colour on canvas
229 x 147cm
William Kentridge
Nose II (Walking), 2008
Bronze
33 x 14 x 12 cm
William Kentridge
Nose I (Scissors) , 2007
Bronze
30 x 16 x 14cm
William Kentridge
Untitled III (Two Part Horse), 2007
Sculpture
30 x 36 x 19 cm
William Kentridge
News From Nowhere, 2007
Hand Lithograph and Collage
156.5 x 119 cm / 160 x 122 cm
William Kentridge
Nose III, 2007
Painted bronze
34 x 26 x 15cm
William Kentridge
Untitled V (Nose On Ribbed Horse), 2007
Bronze
38 x 33 x 24cm
William Kentridge
Drawing for Il Sole 24 Ore (World on its hand legs), 2007
Charcoal and pastel, coloured crayon and gouache on paper
214 x 150cm
William Kentridge
Traite D'Arithmetique, 2007
Hand lithograph and collage
157.6 x 119 cm; 160 x 122 cm
William Kentridge
Drawing For 'What Will Come' (Head In Landscape), 2007
Charcoal On Paper
120 cm diameter
William Kentridge
Drawing for Il Sole 24: Domenica (World on Its Hind Legs), 2007
Charcoal and pastel on paper
214 x 150 cm
William Kentridge
Wittgenstein's Rhinoceros, 2007
Hand Lithograph and Collage
I: 135 x 112.8cm P: 160 x 122cm
William Kentridge
Still Life, 2007
Aquatint, openbite, drypoint, printed on hand-painted ground
59.5 x 59.5 cm
William Kentridge
Drawing for Il Sole 24 Ore (Newspaper), 2007
Gouache, charcoal, pastel & coloured pencil on paper
213.5 x 150cm
William Kentridge
Drawing for Il Sole 24 Ore: Domenica (Gas Mask), 2007
Charcoal and pastel on paper
214 x 150 cm
William Kentridge
Drawing For What Will Come (Double Head), 2007
Drawing with steel table and cylindrical mirror
120cm diameter round paper
William Kentridge
Drawing for What Will Come (Bird/Plane), 2007
Charcoal on paper
120cm Diameter
William Kentridge
Drawing for Il Sole 24 Ore: Domenica (Massacre of the Innocents), 2007
Charcoal and pastel on paper
214 x 150 cm
William Kentridge
Drawing for Il Sole 24 Ore: Domenica (Newspaper), 2007
Charcoal and pastel on paper
214 x 150 cm
William Kentridge
Drawing for What Will Come (Landscape and building), 2007
Charcoal on paper
120cm Diameter
William Kentridge
Wooden Horse, 2007
Wood
77 x 78 x 48cm
William Kentridge
Untitled II (Nose On Fat Horse), 2007
Sculpture
38 x 45 x 20 cm
William Kentridge
Nose on a horse, 2007
Watercolour on paper (4 sheets)
198 x 197cm
William Kentridge
Equestrian Horse, 2007
Wood
56 x 60 x 23cm

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge / What Will Come / 2007 - Installation View

10 November - 14 December 2007

William Kentridge

Untitled IV (Horse with Raised Leg)

William Kentridge

Untitled VI (Nose on Horse - Napoleon)

William Kentridge

Untitled VII (Nose On Stick Horse)

William Kentridge

Drawing for What Will Come (Landscape)

William Kentridge

Untitled I (Nose On Rearing Horse)

William Kentridge

Nose with hairbrush

William Kentridge

Nose II (Walking)

William Kentridge

Nose I (Scissors)

William Kentridge

Untitled III (Two Part Horse)

William Kentridge

News From Nowhere

William Kentridge

Nose III

William Kentridge

Untitled V (Nose On Ribbed Horse)

William Kentridge

Drawing for Il Sole 24 Ore (World on its hand legs)

William Kentridge

Traite D'Arithmetique

William Kentridge

Drawing For 'What Will Come' (Head In Landscape)

William Kentridge

Drawing for Il Sole 24: Domenica (World on Its Hind Legs)

William Kentridge

Wittgenstein's Rhinoceros

William Kentridge

Still Life

William Kentridge

Drawing for Il Sole 24 Ore (Newspaper)

William Kentridge

Drawing for Il Sole 24 Ore: Domenica (Gas Mask)

William Kentridge

Drawing For What Will Come (Double Head)

William Kentridge

Drawing for What Will Come (Bird/Plane)

William Kentridge

Drawing for Il Sole 24 Ore: Domenica (Massacre of the Innocents)

William Kentridge

Drawing for Il Sole 24 Ore: Domenica (Newspaper)

William Kentridge

Drawing for What Will Come (Landscape and building)

William Kentridge

Wooden Horse

William Kentridge

Untitled II (Nose On Fat Horse)

William Kentridge

Nose on a horse

William Kentridge

Equestrian Horse

An exhibition of recent work by William Kentridge opens on November 10th 2007, at the Goodman Gallery. This exhibition, entitled What Will Come takes its title from the Ghanaian proverb ‘What will come has already come’.

Kentridge is renowned for his animated films, drawn and animated using trademark multiple erasure technique, in which he explores the nature of human emotion and memories, and deals with the quest for cultural identity, ingrained history and politics of South Africa, intensely dedicating himself to issues of sight in his work*. Through a series of new drawings, prints, and stereoscopic images that form the basis of What Will Come, Kentridge continues to explore the medium of sight, reflecting his continued concern with optics and the construction of seeing. The exhibition is centered around an eight minute anamorphic film, entitled What will come.

This filmic anamorphosis in which images, drawn and animated by Kentridge, assume their proper form only when reflected in a mirrored cylinder positioned at the projection’s centre. This film draws on the idea of the picture puzzle that originated in the sixteenth century. Kentridge translates this play with perception that operates distorted images that can only be deciphered from a certain angle in his film. The technique of cylindrical mirror anamorphosis Kentridge employs is based on a further level of perception. It is not enough to change one’s point of view but a cylindrical mirror is essential to decode the picture, with a certain radius that reflects the distorted image, causing it to ‘straighten’ optically. The production of these images relies on Kentridge’s profound knowledge of mathematical rules and optical foundations*.

A number of anamorphic drawings from the film will also be shown, mirrored in cylinders. Other work concerned with optics and the construction of seeing, includes series of stereoscopic photogravures that take on three dimensions as one looks through large stereoscopic viewers. Outsized stereoscopic drawings likewise gain unexpected depth when viewed stereoscopically. In addition to this work which deconstructs the mechanics of seeing, 40 to 50 graphics from the past year will be shown. These relate to the opera The Magic Flute, the mini-theatre installation Black Box, the film What Will Come, and to Shostakovich’s opera The Nose. Finally, a series of table-top equestrian sculptures muse on ‘the Nose on horseback’, as Kentridge begins work towards a production of Shostakovich’s opera The Nose, to open in New York in 2010.

This exhibition will open on Saturday 10th November at noon, and closes on the 14th December 2007.

William Kentridge

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. 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.

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.