Among other things, this investigation revealed to me how Kentridge addresses neo- colonialism and apartheid through contemporary art, and hence how art can be a powerful tool to raise awareness about African history. The exhibition will visualise the conceptual statement through a selection of relevant international works of well-established as well as upcoming artists. In a sensitive, documentary and philosophical way it will focus on recent global history narrations parallel to the recent history in the Balkan region. Upon art making a difference regarding politics or social engagement, he answered:
I discovered I was very bad at that, so it was an enormous relief to discover that there already existed a strong tradition of drawing as a primary medium of art-making.
A lot of artists in South Africa did drawing because it was cheap. You could find a scrap of paper and a ball-point pen or a piece of charcoal and you could be an artist.
You didn't need an easel and stretchers and canvas and turpentine and expensive oil paint. For me, it was also very important that drawing was a monochromatic medium - that colour was not an essential part of it. When I worked with colour, I was always stuck with the question, "does this look nice?
Since then, I've learned to paint, and in fact I could be quite a good Sunday painter. But it's not a medium in which I think, and the vital thing about drawing for me is that it is a medium in which one can think.
Drawing is a non-verbal thinking process. One of the things about charcoal drawing is that it is instantly alterable - you can change it as quickly as you can think. One wipe of a cloth and the image disappears or is smudged and you can rethink it.
The flexibility of drawing is important. There's an immediacy of drawing, of thinking in drawing, which is vital for me. During my studies, I was looking at a lot of the German expressionists and at early Russian films. I was looking at those branches of modernism that didn't leave figuration.
For me, abstraction was like colour: Now, in fact, a number of my drawings end up as non-recognisable smudges on paper - but they've had a route to get there that started with a connection to a representation of the external world.
I produce many different kinds of drawings. Some are just drawings.
Others are done in the service of something else, to be animated, used for a film, opera or a piece of theatre, where the demands of the nature of the transformation might be given by the libretto or by the music.
I work closely with different kinds of references. I have a collection of images and things to which I refer throughout my working process.
I find my visual imagination is always less interesting than those things I've discovered in looking at the specifics of details. If one can hold on to the specific, it almost always is more interesting. Take the drawing of an old typewriter, for example.
One has a universal image of what an old typewriter looks like in one's head, so there is an image of it, but it will be bland and inaccurate. There are details of the different kinds of carriage returns, or different kinds of moulding of the black surface of the typewriter around the space bar, which are always more interesting than I could imagine.
The specifics of a particular image or context, even if people don't know that context, somehow give an authority to the rendering of it, whether it's in a text or an artwork. One doesn't have to have been in Dublin to be able to form a picture of Dublin in Joyce's Ulysses.
When reading the book, you may form a false image of Dublin - very different to what someone who lives in Dublin might think of the city - but the specifics of the local references are somehow the clues that one needs to build this city. For me, the drawing is the process of arriving at this image.
This process is usually very fast to begin with. I work with charcoal and charcoal dust, and within the first minute, the large expanse of white paper can be turned into a dirty grey. I'll put lines across it, finding vague geographies of where things will go, and then the process of drawing is the remaining hours or days it takes to work through the drawing.
The art is to try to finish at the same speed you begin with - to not let the drawing become more and more cramped, to try to keep a looseness and an open-endedness right to the end.William Kentridge is an artist who lives and works in Johannesburg.
He is the author of Six Drawing Lessons, based on his Charles Eliot Norton Lectures. He wrote the libretto for the opera Refuse the Hour. Jul 27, · One of South Africa's best-known artists, William Kentridge makes unsettling work about apartheid -- and he is now making a name for himself internationally.
Posts about William Kentridge written by annettehamilton Annette Hamilton Art Writing. A full comprehension of the import of Boer’s analysis makes the reception of Kentridge’s film work even more problematic than it would seem at first glance, which is the only glance which most viewers of his work will ever have, that is, a quick.
William Kentridge is a South African artist best known for his prints, drawings, and animated films.
These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time.
A single drawing will be altered and filmed this way until the end of a scene. These .
still from William Kentridge's 7 Fragments for Georges Méliès, 16mm and 35mm films transferred to seven-channel video (black and white, silent). Kentridge the shamanic humanist, or Kentridge the Gogolian satirist; either way, he will take the world by drawing.
William Kentridges animated charcoal drawings depict struggle, time, change, and thought. These common themes are woven around issues of political and social injustice, revolution, and conflicting ideologies pertaining to his home in South Africa.
In his film Automatic Writing, Kentridge portrays a world where writing and drawing merge.