The exhibition, William Kentridge, is now open and will be on till September 1, 2024 at the Taipei Fine Arts Museum. The exhibition is a collaboration between the Taipei Fine Arts Museum and the Royal Academy of Arts (RA) in London and it is also William Kentridge’s first time showing in Taiwan. In this episode you’ll hear from the curator of the exhibition, Adrian Locke, of the Royal Academy of Arts in London.

From May 14 to 20, 2024, La Fondation Cartier pour l'art contemporain invites to Paris William Kentridge and Bronwyn Lane's Center for the less good idea, the art center which, in the sprawling and chaotic South African city of Johannesburg, welcomes, incubates and brings to life South African youth. Musicians, dancers, playwrights, choreographers, directors and composers, all working together to create something new, without limits of color, age, sex, gender or social status. And what if, on this side of the world, from the least good idea sometimes arose the best?

For this exhibition at Arsenale Institute for Politics of Representation in Venice, William Kentridge, renowned for his animated drawings for projection, as well as his sculpture, theatre and opera productions over the last forty years, collaborates with Carolyn Christov-Bakargiev, friend and author of the foundational monograph on his work published in 1998, to premiere his intriguing new nine-episode video series, SELF-PORTRAIT AS A COFFEE-POT. This exhibition of thirty-minute episodes by Kentridge, originally intended as a series for online viewing, is an experiment in embodiment and phenomenological experience in the digital age, and a reflection on what might happen in the brain and in the studio of an artist, today.

A shadowy silhouette of a hunched figure shows a woman on the move. Set against a map of “Germanie” and its surrounding countries, Pylon Lady has two large transmission towers for legs. Considering how Germany propels its energy efficiency, or Energiewende, as a vehicle of foreign policy and cultural influence, it is clear that William Kentridge’s piece embodies, in more ways than one, the title of Potsdam museum DAS MINSK’s new exhibition: Soft Power. (16th March – 11th August 2024)

The South African artist William Kentridge will debut his latest work, "Self-Portrait As a Coffee Pot", at the Arsenale Institute for Politics of Representation in Venice from April 17 through November 24, 2024. The new conceptual series of nine 30-minute videos was produced in the artist’s Johannesburg studio between 2020 and 2023 and explores how we make and experience art in the digital age. “Filming began in the first lockdown and the studio mimicked the closed spaces of Covid,” Kentridge explained in a press statement. “But the studio is also an enlarged head, a chamber for thoughts and reflections, where all the drawings, photos, detritus on the walls become these thoughts.”

William Kentridge, one of South Africa’s most celebrated artists, has signed with mega-gallery Hauser & Wirth, which has 19 locations around the world. Kentridge’s first exhibition with Hauser & Wirth is planned for next year in one of the gallery’s New York spaces. "I am excited to begin the next chapter, working with my existing galleries Goodman Gallery and Galleria Lia Rumma in collaboration with Hauser & Wirth", said the artist.

Through a dynamic, multi-part residency with the Brown Arts Institute through mid-June, William Kentridge and artists from his Johannesburg-based arts incubator are engaging with the University community and beyond. [...] Kentridge applies that ethos to artmaking at the Centre for the Less Good Idea, a Johannesburg-based arts organization that he co-founded with fellow artist Bronwyn Lace in 2016 as an incubator for experimental, collaborative and cross-disciplinary performance projects. [...] “With this residency, we are interested in seeing if the way we work — a reliance on being open to what emerges in the process of rehearsal, among other things — resonates further than Johannesburg,” Kentridge said.

With his latest show "To Whom I Could Not Save" (on view until January 12, 2024, at Palazzo Branciforte, Palermo), the South African artist highlights histories of fights and misfortunes as the human experience that connects us all. [...] In this city on Europe’s southern edges, closer to North Africa than it is to Rome, Kentridge offers an anguished show that considers disparate strings of fates, plights, and misfortunes, and that yet somehow—and this has always been the artist’s unique genius—is also uplifting. In the histories of suffering, Kentridge highlights our connected human experience.

On Saturday, William Kentridge's new animated film Oh Believe in Another World will be screened as a visual accompaniment to Russian composer Dmitri Shostakovich's 10th Symphony - performed by Michael Sanderling, conductor of the Lucerne Symphony Orchestra - at Vienna's Konzerthaus.

Kentridge, now 68, remains a prolific drawer of political subject matter. His new exhibition "What Have They Done with All the Air?" (25 November - 20 January 2024, Goodman Gallery, Cape Town), includes portraits on green paper of a cohort of revolutionary Martinican intellectuals, notably Aimé Césaire and Frantz Fanon. The drawings are linked to a work-in-progress theatrical production The Great Yes, The Great No, about a historical ship journey from Marseille to Martinique. In March 1941, anthropologist Claude Lévi-Strauss, German anti-fascist novelist Anna Seghers, art historian John Rewald and the surrealist movement’s great impresario André Breton, all fleeing Nazi-occupied France, boarded a ship bound for Martinique. Kentridge has taken this historical anecdote and, as is his manner, wondrously amplified and distorted it.

At the heart of William Kentridge’s "Sibyl", which receives its Australian premiere this week (at Sydney Opera House, November 2 to November 4), lies the timeless human obsession with wanting to know what life has in store for us [...] Indead, this piece combines a film and chamber opera inspired by the myth of the Cumaean Sibyl, the priestess and prophet of the god Apollo’s oracle at Cumae, a Greek colony. The legendary South African visual artist, filmmaker and theatre director is fascinated by the dilemma that comes with lifting the veil on the future.