William Kentridge Bücher

Sigmund Freud Vorlesung 2017Hg. von Sigmund Freud Museum WienAus dem Englischen von Sergej Seitz und Anna WiederIdeen, die im Laufe des künstlerischen Herstellungsprozesses auftreten, bezeichnet William Kentridge als »weniger gute Ideen«. Das Atelier bietet ihnen einen sicheren Ort, an dem – wie auch in der Psychoanalyse – nichts als zu unwichtig, belanglos oder dumm erscheint: Das Atelier wird, wie die psychoanalytischen Prozesse der Übertragung, nach einem Ausdruck von Sigmund Freud zum »Tummelplatz«. Ausgehend von der assoziativen Arbeitsweise, die Kunst und Psychoanalyse miteinander teilen, führt Kentridge vor, wie Bedeutung konstruiert wird und zeigt auf: Wir können nicht widerstehen, der Welt Sinn abzugewinnen.

Für William Kentridge ist Kunst eine eigene Form des Wissens und das Atelier der entscheidende Ort für die Bedeutungsschöpfung. Denn dort wird das lineare Denken aufgegeben, während grundlegende – Auge, Hand, Zeichenkohle und Papier betreffende – Abläufe die Kreativität steuern. In der Publikation rückt Kentridge die Prozesse des Sehens in den Vordergrund und führt uns damit zu Erkenntnissen über die Mechanismen – und Täuschungen –, mit deren Hilfe wir uns die Welt zurechtlegen.

NO IT IS is a catalogue of the exhibition at the Martin Gropius Bau in Berlin and the performances at the Berliner Festspiele in summer 2016. But it is also an artist’s book incorporating a libretto for a performed guided tour of the exhibition: a performance which is both a guide to the exhibition and also an exhibit within the exhibition. Texts in the book consist of writings by or conversations with William Kentridge on the different projects presented in Berlin.

1989 begann der Johannesburger Künstler William Kentridge (*1955) mit einer Serie handgezeichneter Filme, die sich mit Südafrika während und nach der Apartheid befassen. Kentridge animiert in diesen Filmen eigene Kohle- und Pastellzeichnungen, die er immer wieder verändert, ausradiert, neu zeichnet, wobei Ausradiertes nie völlig gelöscht wird. International bekannt ist Kentridge auch für seine Theaterarbeit, bei der er Puppen, Animation, Projektion und Live-Darsteller zu komplexen Multimedia-Inszenierungen kombiniert. In seinen handgezeichneten Filmen, Videoskulpturen und Performance-Stücken verweisen die sichtbare Hand des Puppenspielers wie auch die Spuren gelöschter Zeichnungen auf einen komplexen Geschichtsbegriff und Erzählduktus, der deutlich macht, inwieweit der Darsteller von außen gesteuert und autonomes Handeln in Frage zu stellen ist. Der Band dokumentiert eine neue Auftragsarbeit für das Deutsche Guggenheim in Berlin mit dem Titel Black Box/Chambre Noire. Die Installation thematisiert die deutsche Kolonialherrschaft in Afrika, allegorisch dargestellt in einem mechanischen Theater en miniature, Animationsfilmen, kinetischen Objekten und Zeichnungen. Ausstellung: Deutsche Guggenheim, Berlin 29.10.2005-15.1.2006

"Our grasp of time continues to change, in wrenching ways. This is an exploration of these shifts and struggles, across drawing and text, music and movement, film and concepts. In the late nineteenth century, time was coordinated: towns, cities, whole countries lost their "own" time as signals synchronized clocks. When Albert Einstein introduced his radical idea undermining the notion of a "universally audible tick-tock" in favor of times not time, he found resistance furious; and in our own era, time is again in tumult -- time crossed with information, challenged at the horizon of black holes, even, among many string theorists, rendered a mere illusion. In a congenial long-term collaboration, Peter L. Galison, historian, author, filmmaker, and Professor of the History of Science and Physics at Harvard University and South African artist William Kentridge are researching such notions in The Refusal of Time, a project for documenta (13) into which this notebook offers first insights."--Publisher's website

William Kentridge's multi-channel projection installation of eight film fragments, entitled I am not me, the horse is not mine, was first presented to international acclaim at the Sydney Biennale in June 2008. The work is based on the absurdist short story, The Nose (1837), by Nikolai Gogol, in which the pompous government official, Kovalyov, wakes up one day to find that his nose has taken on a life of its own and gone for a walk around the city of St Petersburg. In a sequence of comical scenes, the main character attempts - with increasingly ridiculous efforts - to chase after his nose, recapture it and stick it back on his face. I am not me, the horse is not mine stems from the artist's ongoing interest in the roots and development of modernism: a mixture of the absurd, the self-reflective (and the 'self-divided') and its many forms of fragmentation. It also deals particularly with Russia's response to modernism in the 1930s and the histories and terrors of oppression. This exhibition was made possible by the Goodman Gallery.

Focusing on the "Carlton Centre Games Arcade" series from 1977, this book offers an intimate exploration of William Kentridge's early etchings, which have rarely been exhibited. The Carlton Centre, a significant landmark in Johannesburg, inspired Kentridge's observational drawing and marked his initial foray into intaglio printing. This work not only showcases 14 unique etchings but also serves as a continuation of Kentridge's comprehensive catalogue raisonné, appealing to both enthusiasts and art historians alike.

Focusing on the artist's printmaking and poster design, this book delves into William Kentridge's early works from 1974 to 1990, showcasing his pioneering techniques in linocut, etching, and monotype printing. Compiled by art authority Warren Siebrits, it emphasizes Kentridge's unique approach, where printmaking serves as a foundation rather than a secondary medium. The detailed chronology reveals overlooked aspects of Kentridge's creative journey, providing essential insights into his influential body of work and enriching the understanding of his artistic evolution.

Overview: Over the last three decades, the visual artist William Kentridge has garnered international acclaim for his work across media including drawing, film, sculpture, printmaking, and theater. Rendered in stark contrasts of black and white, his images reflect his native South Africa and, like endlessly suggestive shadows, point to something more elemental as well. Based on the 2012 Charles Eliot Norton Lectures, Six Drawing Lessons is the most comprehensive collection available of Kentridge's thoughts on art, art-making, and the studio. Art, Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and it cannot be purely understood in the rational terms of traditional academic disciplines. The studio is the crucial location for the creation of meaning: the place where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity. Drawing has the potential to educate us about the most complex issues of our time. This is the real meaning of "drawing lessons." Incorporating elements of graphic design and ranging freely from discussions of Plato's cave to the Enlightenment's role in colonial oppression to the depiction of animals in art, Six Drawing Lessons is an illustration in print of its own thesis of how art creates knowledge. Foregrounding the very processes by which we see, Kentridge makes us more aware of the mechanisms--and deceptions--through which we construct meaning in the world

Over the last twenty years, William Kentridge has built a world-wide reputation as a contemporary artist, best known for his series of ten animated films created from charcoal drawings. The films introduced a significant character in contemporary fiction: Soho Eckstein, a Highveld mining magnate and Kentridge's alter ego. In 'Accounts and drawings from underground', William Kentridge and Rosalind C. Morris bring us an unprecedented collaboration using the pages of the 1906 Cash Book of the East Rand Proprietary Mines Corporation. Kentridge contributes forty landscape drawings in response to the transient terrain mining, while Morris plumbs the text of the cash book to generate a unique narrative account, drawing together the stories of migrant laborers and charting the flows of capital and desire.