We watch a three-screen film set on a sloping wooden stage that rocks side to side, mimicking the rolling of a ship.

We are pleased to launch our first audio guide to accompany William Kentridge: The Pull of Gravity in the Underground Gallery.

Du 6 février au 5 avril 2026, la salle Stirling du Palazzo Citterio, à Milan, accueillera un nouveau projet de William Kentridge consacré à Giorgio Morandi.

From January 29 to April 6, 2026, MAXXI's Gallery 5 hosts BREATHE DISSOLVE RETURN, an unprecedented project by William Kentridge and Philip Miller that weaves cinema and live music into an immersive experience inspired by key works by the South African artist.

The year will also feature the return of William Kentridge to MAXXI; a new edition of the MAXXI BVLGARI PRIZE; an ambitious research project on the relationship between architecture and geopolitics

2025 has been a particularly strong year for the South African artist. His centrality to contemporary art is now taken for granted but a dual museum show as part of a celebration of his 70th birthday is a reminder of how innovative his work is.

Scribble, smudge, repeat: the passage of time and the emergence and dissipation of information conveys the difficult work of experiencing coherence and retaining memory.

Although focused on politics, colonialism and the unreliability of historical narrative, particularly in relation to his native country, Kentridge's art is never heavy-handed or sloganeering: instead, it approaches these weighty subjects in "unexpected, culturally curious ways". His distinctive "fluidity" and playfulness are present and correct at this new exhibition, which foregrounds his less-well-known work as a sculptor. Bringing together more than 40 sculptures and films created between 2007 and the present, it takes place both indoors and outside, with "bold, sculptural works", some monumental in scale, spread out across the "lush acres" of the Yorkshire Sculpture Park in a celebration of "form and scale".

Kentridge’s explorations of the human self can result in multiple insights, and contradictions. Often in his video series multiple Kentridges or doppelgängers argue and disagree on ideas, methods and even memories. (These videos are influenced by his engagement with the world of theater, and at the Hauser & Wirth show they are displayed in a corner of the gallery emulating his studio.) Because the artist draws mostly with charcoal, the notions of erasure, overwriting and haziness in the paintings are heightened, making it plausible to debate and even dispute everything.

This new artist’s book from Hauser & Wirth Publishers is a translation into book form of South African artist William Kentridge’s film series Self-Portrait as a Coffee-Pot, which premiered at the Arsenale Institute for Politics of Representation in Venice, during the 2024 Venice Biennale. In the nine-episode series, Kentridge employs a multidisciplinary approach—combining film with performance, collage, drawing, and music—to investigate the relationship between thinking and artistic creation and is a reflection on what might happen in the studio—and in the brain—of an artist today.

This month, audiences in South Korea will once again encounter the haunting, layered world of the South African artist known for collapsing the boundaries between drawing, film, music and performance. William Kentridge, whose diverse works have previously been showcased at the National Museum of Modern and Contemporary Art, Korea, the Asia Culture Center and the Amorepacific Museum of Art, returns to Seoul with two of his recent works under the GS Arts Center’s Artists series: "Sibyl," and multimedia symphonic project “Shostakovich 10: Oh To Believe in Another World” (2024).