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The travails of apartheid South Africa speak to today's rise in authoritarianism, which William Kentridge probes in his art. Review: William Kentridge's sprawling Broad installation is an ...
Throughout the play, and specifically when Ubu feels insecure about being found out, an animated eye, intercut with a real one in classic Kentridge fashion, emerges on the screen to convey the sense that the main character is not quite so alone as he would like to think. The screen was used repeatedly and effectively in Kentridge's production.
William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films, especially noted for a sequence of hand-drawn animated films he produced during the 1990s. The latter are constructed by filming a drawing, making erasures and changes, and filming it again.
Felicia, Lady Kentridge (née Geffen; 7 August 1930 – 7 June 2015) was a South African lawyer and anti-apartheid activist who co-founded the South African Legal Resources Centre (LRC) in 1979. [1] The LRC represented black South Africans against the apartheid state and overturned numerous discriminatory laws; Kentridge was involved in some of ...
Enough cannot be said about the singing, the dancing, the costume and production design and more in William Kentridge's chamber opera, in which noted intellectuals and artists flee 1941 France.
Indie streamer Mubi has acquired worldwide streaming rights to South African artist William Kentridge’s prestige series “Self-Portrait As a Coffee Pot” which explores how art is made in the ...
The Truth and Reconciliation Commission (TRC) was a court-like restorative justice [1] body assembled in South Africa in 1996 after the end of apartheid. [a] Authorised by Nelson Mandela and chaired by Desmond Tutu, the commission invited witnesses who were identified as victims of gross human rights violations to give statements about their experiences, and selected some for public hearings.
Audiences were generally and genuinely touched by the play. "A friend was deeply moved by the Dead Wait," recalled William Kentridge, "the play about the war in Angola. He had served as a soldier in that war." [1] The play was staged during Autumn of 2002 under the direction of Jacob Murray, at the Royal Exchange Theatre.