This major symposium focuses on the work of William Kentridge, bringing together a range of speakers to explore his relationship to early cinema, drawing practices, abstraction and historical enactment.
The event draws on selected animations, installations and moving image works in the Whitechapel Gallery exhibition William Kentridge: Thick Time (21 September 2016–15 January 2017), addressing concepts of history and temporality, embodiment and subjectivity, technology and tactility, and the self and the sensory.
Speakers include: Ian Christie, Briony Fer, Tamar Garb, Margaret Iversen, Ed Krcma, Michael Newman, Griselda Pollock and Richard Taws.
In association with Tamar Garb, Briony Fer and UCL’s Centre for the Study of Contemporary Art.
14.00 – Welcome by Sofia Victorino, Daskalopoulos Head of Education and Public Programmes, Whitechapel Gallery
14.05 – Introduction by Tamar Garb, Durning Lawrence Professor in the History of Art, University College London
14.15 – The Machine Stops: Kentridge and the Time of Technology, Richard Taws, Reader in the History of Art, University College London
14.35 – Kentridge and Early Cinema, Ian Christie, Professor of Film and Media History, Birkbeck, University of London
14.55 – Second-Hand Reading, Ed Krcma, Lecturer in Art History, University of East Anglia.
15.15 – Panel discussion chaired by Tamar Garb. Followed by Q&A.
16.00 – Break
16.15 – Fortune and Fatality in the Temporalities of Drawing, Michael Newman, Professor of Art Writing at Goldsmiths.
16.35 – Refusal of Time, Margaret Iversen, Professor of Art History and Theory at the University of Essex
16.55 – Panel discussion chaired by Briony Fer, Professor of Art History, University College London. Followed by Q&A.
17.20 – Lulu: Sexual Politics, Griselda Pollock, Director of Research and Professor of the Social & Critical Histories of Art. Followed by response and discussion with Tamar Garb.
18.00 – End