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).

The 20th century is a cruel farce performed by puppets in a cardboard museum in South African artist William Kentridge’s grotesquely funny, constantly disconcerting film interpretation of Shostakovich’s 10th Symphony. Lenin and Stalin, their faces’ photographs fixed on jerky figures made from scraps, transforming sporadically into living dancers hidden under collaged costumes, monstrously dominate a puppet cast that also includes the bullish-looking but revolutionary poet Vladimir Mayakovsky along with Trotsky and Shostakovich himself.

William Kentridge’s solo exhibition, To Cross One More Sea, was a multimedia showcase displayed at the Goodman Gallery, Johannesburg, with drawings, puppets, prints, sculpture and a three-channel film. The 19-minute projection explored a part-historical, part-fictional ocean journey of artists, particularly surrealists, who fled Vichy France in the early 1940s.