No 3D loaded yet
The Goodman Gallery looks forward to hosting an exhibition of recent work by William Kentridge. On the day of the opening, Saturday 16th October, the gallery will have extended hours from 9h30 – 17h00.
William Kentridge’s most recent animated film, Stereoscope, is the eighth in a decade-long series featuring Soho Eckstein. The fictional Soho evolves through the films and through time, but continues to suggest the archetypal businessman – always identifiable by his pin-striped suit.
Stereoscope was first shown as a solo project at the Museum of Modern Art in New York in April 1999 – along with drawings used in making the film. Since then it has been exhibited at the 48th Venice Biennale (June to November 1999) and at Kunstforeningen in Copenhagen (June, July 1999), and Neue Galerie am Landesmuseum Joanneum, Graz (September 1999).
The stereoscope is a device used to make images appear three-dimensional by presenting each eye with a slightly different point of view of the same scene; in attempting to reconcile the difference, the eye is tricked into seeing volume. In Stereoscope the artist employs a reverse manoeuvre. A split screen dismembers three-dimensional reality into complementary but unsynchronised realities – a split suggestive of Soho’s divided self. Scenes of civic chaos point to individual disquiet and internal conflict, rather than attempting an objective portrait of external events.
In the Goodman Gallery’s presentation of the film, Stereoscope will be shown together with drawings from the film. Also on show will be recent drawings in charcoal and pastel – done on the pages of turn of the century Rand Mines ledgers and old encyclopaedias. This exhibition coincides with Phaidon Press’ publication of a monograph on William Kentridge. The book will be available at the gallery.
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, travelling to Festival d’Aix and to Lyon in 2011. The five-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 last year his acclaimed performance project The Head & The Load opened at Tate Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection.
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.
Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, opened in late August 2019 and will run until July 2020. In addition, Kentridge’s new opera project, Waiting for the Sibyl, premiered at Teatro dell’Opera di Roma in September 2019. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress. Most recently, Kentridge’s production of Alban Berg opera Wozzeck ran at the Metropolitan Opera in New York.