Also Known As: 威廉．肯特里奇, 威廉肯特里奇, William Kentridge, ウィリアム・ケントリッジ
Biography: Biography not available
Department: Directing
Place of Birth: Not available
Adult: No
Birthday: Not available
Age: Not available
Gender: Other
Popularity:
1.00%
Known For:
The Triumphs and Laments of William Kentridge
Overview: Alan Yentob joins South African artist William Kentridge as he prepares an epic frieze along the banks of the river Tiber in Rome. Alan visits him in his hometown of Johannesburg, the inspiration for the magical hand-drawn animated films he calls 'drawings for projection'. Brought up under apartheid, Kentridge has witnessed the fragile transition to a multi-racial democracy, and his art continues to reflect South Africa's turbulent times.
Overview: Based on Dada artist Kurt Schwitters’ 1932 sound poem Ursonate, consisting entirely of a nonsense, invented language, Kentridge’s work is comprised of two film projections: one in which the artist emphatically gesticulates as he sounds the score accompanied by an opera singer and percussionist, while a constant flow of animated calligraphic images drawn by Kentridge are projected on the second screen.
Overview: In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
Overview: William Kentridge and Marlene Dumas – two of the most celebrated names in international contemporary art – come face to face in a series of frank, witty and intense discussions about their work and practice. The film follows them from the gentle ambience of a dinner conversation, to their studios – where we are given insight into the way that each artist works – to some of their finished works and installations. What emerges is how very differently these two highly successful South African artists approach image making. Dumas’ method is deeply intuitive – she often works on the floor as though embracing her paintings, pouring and dabbing paint to produce her remarkable portraits. Kentridge is intensely systematic, alternating gestural mark making with the repetitive action of drawing-filming-erasing for his animated films.
