William Kentridge: That Which We Do Not Remember
Celebrated South African artist William Kentridge is curating an exhibition of his own works at the Art Gallery of South Australia.
Kentridge, known best for his prints, drawings and animated films, witnessed the dissolution of the apartheid regime, a period of government enforced racial segregation, firsthand. His parents were defence lawyers for apartheid victims and that influence can be felt in his diverse practice.
That which we do not remember, designed by Sabine Theunissen who has worked with Kentridge on multiple theatrical projects since 2005, incorporates 32 artworks that span sculpture, film, charcoal drawings, collage, sound and tapestry.
The landmark exhibition explores the nexus of art, ideology, political history and memory, and includes one of Kentridge’s most ambitious and celebrated video installations – I am not me, the horse is not mine (2008).
The pieces are installed as a series of intimate encounters. Visitors are invited to step into cork-lined pods for a transformative experience of the moving image. Audiences will also experience a rare insight into Kentridge’s working methods, with a re-creation of the artist’s studio situated within the gallery.
AGSA director Rhana Devenport describes Kentridge as "a powerhouse within contemporary art today". "His works speak directly to the human condition, laying bare the intrinsic connections across art and history. What an honour and privilege it is to bring work of this depth and calibre to South Australian audiences."
To accompany the exhibition, in an Australian first, Adelaide-born and Berlin-based performance artist Joanna Dudley will perform The Guided Tour of the Exhibition: for Soprano and Handbag over the opening weekend. Dudley has been exclusively invited by Kentridge to respond to his work.
"Performance has become part of the language available to visual artists," Kentridge said in a press release. "One can also think of performance as kind of a moving kinetic sculpture, in which the movement of the performer is a vital part." The collaboration marks Dudley’s first performative work at AGSA.
Entry is free, made possible by the Naomi Milgrom Foundation.