21 September 2016 – 15 January 2017
Media View: 19 September 2016
Whitechapel Gallery presents a major exhibition of work by William Kentridge from 21 September 2016 to 15 January 2017
The exhibition titled Thick Time is curated by Iwona Blazwick, Whitechapel Gallery Director and will be the artist’s first major public solo presentation in the UK in over 15 years.
William Kentridge (b.1955, Johannesburg) is one of South Africa’s pre-eminent artists, globally acclaimed for his drawings, films, lecture performances and opera and theatre productions. His work draws on varied sources, including philosophy, literature and early cinema to create intricate art works and spellbinding environments in which he explores theories of time and relativity, the history of colonialism and the aspirations and failures of revolutionary politics.
William Kentridge: Thick Time will feature six works created between 2003 and 2016 – including two of the artist’s immersive audio-visual installations, The Refusal of Time (2012) and O Sentimental Machine (2015), which have never previously been exhibited in the UK. The exhibition will also feature his flip-book film, Second-hand Reading (2013), a series of mural-scale tapestries based on his opera production of Shostakovich’s The Nose and a set model which reveals his working process on the opera production Lulu (2016), which he will direct at English National Opera this November.
The Refusal of Time (2012) is an all-enveloping, multi-sensory installation that explores the transformation of time into material objects, sound, images and mechanics. Inspired by a series of conversations between Kentridge and American scientist Peter Galison around theories of time, the work is an extraordinary synthesis of moving images, sound and performance. A breathing sculpture or ‘elephant’ at its heart is based on 19th century attempts to measure and control time during the industrial revolution and high point of European colonial expansion. First shown at dOCUMENTA (13), Kassel, Germany, The Refusal of Time is a collaboration between the artist with composer Philip Miller, projection designer and editor Catherine Meyburgh, and Peter Galison, a scientist from the United States.
The exhibition concludes with O Sentimental Machine (2015), originally commissioned for SALTWATER, 14th Istanbul Biennial, where it was installed in one of Istanbul’s oldest hotels, the Hotel Splendid Palas. In a critique of Russian revolutionary Leon Trotsky’s notion that people are ‘sentimental but programmable machines’, subtitled videos of speeches by Trotsky and also his time in exile in Istanbul are projected on to glass doors on either side of the installation, offering the viewer the opportunity to observe what is going on behind the closed doors.
William Kentridge: Thick Time is co-curated by Iwona Blazwick, Whitechapel Gallery Director and Sabine Breitwieser, Director, Museum der Moderne Salzburg and is organised with the Louisiana Museum of Modern Art, Humlebaek, Denmark (16 February – 18 June 2017), Museum der Moderne Kunst Salzburg (22 July – 5 November 2017) and the Whitworth, University of Manchester in 2018.
Notes to Editors
William Kentridge (b. 1955, Johannesburg) grew up in South Africa witnessing the end of apartheid, and South African society and politics are recurring themes which appear throughout his body of work. Kentridge’s work has been exhibited in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), Venice Biennale in Venice, Italy (1993, 1999, 2003, 2015), the Museum of Modern Art in New York (1998, 2010), the Musée du Louvre in Paris (2010) and Martin Gropius Bau, Berlin (2016).
English National Opera
This new exhibition in London coincides with a major new production of Austrian composer Alban Berg’s modernist 20th century masterpiece Lulu (1935) for English National Opera, directed by William Kentridge which opens on 9 November at the London Coliseum. Kentridge locates his production to the period of the opera’s creation in the late 1920s and 1930s and uses his own illustrations to form part of the set and production design. A co-production with the Metropolitan Opera, New York and Dutch National Opera. www.eno.org/lulu
The Print Room
William Kentridge: Thick Time also coincides with a staging of Paper Music at The Print Room on 9, 10, 12, 13 and 14 October at 7.30pm. Paper Music is a recent collaboration between William Kentridge and South African composer Philip Miller which brings together films based on Kentridge’s charcoal and ink drawings, with live musical performances by vocalists Ann Masina and Joanna Dudley, pianist Vincenzo Pasquariello, and Philip Miller.
South Africa: the art of a nation
This autumn the British Museum will host the first major UK exhibition on South African art that explores a 100,000 history through archaeological, historic and contemporary artworks, which look at the long and rich artistic heritage of the country. On display from 27 October 2016 – 26 February 2017, South Africa: the art of a nation will use art to tell the story of the region’s deep history, the colonial period, apartheid, the birth of the ‘rainbow nation’ and South Africa today. Objects from the British Museum’s own South African collections will be displayed alongside contemporary acquisitions. There will also be significant loans in the exhibition, including objects coming to the UK for the very first time. South Africa has a dynamic contemporary art scene with a rapidly growing global reputation. A variety of contemporary works are coming on loan to the British Museum from a self-portrait by Lionel Davis’ to video featuring Candice Breitz, and a 3D installation by Mary Sibande. These pieces conclude a show punctuated throughout with pieces by artists including Willie Bester, William Kentridge and Santu Mofokeng. Sponsored by Betsy and Jack Ryan. Logistics partner IAG Cargo. www.britishmuseum.org
The exhibition will be accompanied by a fully-illustrated publication which will include new critical writings on each of the works in the exhibition by curators and thinkers including Homi K. Bhabha, Joseph Leo Koerner and William Kentridge himself, alongside the artist’s chronology and bibliography. £24.99.
A number events expand on the themes explored in the exhibition including a talk by Philip Miller & William Kentridge (Thursday 22 September, 7pm) and an in-conversation between Iwona Blazwick and William Kentridge (Thursday 6 October, 7pm).
The Refusal of Time
The Refusal of Time is a collaboration between the artist with composer Philip Miller, projection designer and editor Catherine Meyburgh, choreographer and dancer Dada Masilo, Peter Galison, a scientist from the United States as well as machine-makers, costume designers and set designers from across the globe. It was originally commissioned for dOCUMENTA (13), Kassel, 2012.
Admission: £13.50/£11.95 (without Gift Aid). Tickets on sale from 19 July.
Opening times: Tuesday – Sunday, 11am – 6pm; Thursdays, 11am – 9pm.
T + 44 (0) 20 7522 7888, firstname.lastname@example.org, whitechapelgallery.org
Address: Whitechapel Gallery, 77 – 82 Whitechapel High Street, London E1 7QX
Nearest London Underground Station: Aldgate East, Liverpool Street, Tower Gateway DLR.
For more information, interviews and images, contact:
Anna Jones, Media Relations Manager
T: + 44 (0)20 7522 7871
Generously supported by: Marian Goodman Gallery and The William Kentridge Exhibition Circle.
With additional support from: The Henry Moore Foundation
Media Relations Manager
T +44 (0)20 7522 7871
For all other communications enquiries please contact:
T +44 (0)20 7522 7888