No 3D loaded yet
The Goodman Gallery looks forward to hosting an exhibition of new work by William Kentridge. On the day of the opening, Saturday 1st March, the gallery will have extended hours from 09h30 – 17h00. The exhibition closes Saturday 29th March at 16h00.
We will be showing his newest film, Zeno Writing, along with drawings from the film, new graphics and sculpture. Zeno Writing was made in conjunction with Confessions of Zeno, a theatrical multimedia performance done for Documenta 11. Confessions of Zeno was done as a collaboration with The Handspring Puppet Company, Kevin Volans, The Duke Quartet and Dawid Minnaar.
‘The film piece is based on Italo Svevo’s 1923 novel of the same name, Zeno is a prisoner of his own intelligence, who psychoanalyses himself in a fictive dialogue with his analyst, fretting in a stream-of-consciousness narrative about the constant need to take a stance in the politically troubled society that exists after World War I. By resituating Zeno’s Trieste in the suburbs of 1980’s Johannesburg, Kentridge explores once again the intricacies of growing up and living as a white South African under apartheid. In self-reflecting ventures, the artist experiences the landscapes of the human mind and the spaces and places that are neither neutral nor natural through the medium of drawing.’ – Documenta 11 Catalogue.
William Kentridge has also been chosen as the recipient of the Goslar Kaiserring Award – a prestigious art prize which since 1975 has been awarded annually in the medieval town of Goslar in Germany, to an artist selected by a jury of experts and representatives of the city. The award is conceived as a way both of recognizing individuals who have ‘provided essential impulses in the field of contemporary art’ and as a tool to provoking cultural debate, and carries no financial reward. Instead, the recipient is invited to install an exhibition in the Mönchehaus Museum in Goslar, and at an official meeting of the city parliament receives a simple ring. Previous artists to receive the award include Henry Moore, Max Ernst, Alexander Calder, Joseph Beuys, Richard Serra, Willem de Kooning, George Baselitz, Gerhard Richter, Anselm Kiefer, Ilya Kabakov, Sigmar Polke, Cindy Sherman, and Christian Boltanski. This year’s award ceremony takes place in early October.
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.