The films go deep, moreover, because Kentridge implicates himself in order to redeem us all; he conducts, one might say, his own Truth Commission.
He does come away with the pith, if less often the flesh, of what the experimental-existential tradition is all about —— keeping things dangerously open in order to catch a vision, then clamping down like a steel trap.
Imagine Michelangelo or Goya taking on animated sequences —— nudes turning sculpturally in space, figures hatching from void: Henri Bergson, philosopher of time for the dawn of cinema, warned repeatedly about picturing the future as a reel of film that waits to unspool; time as dimension was an illusion we succumbed to, implying fate, blocking us from the experience of creation as something new and unpredictable at every moment.
In Mine he casts gold ingots from the flesh of the masses. His striped suit pockets overflow with the wages of his sins to flood the world. Two prints of a nude man with a megaphone have a fascinating texture and a sense of exactitude in motion.
Kentridge explains that the sequences reporting several successive transformations of words, numbers, isolated letters or sentences in other elements, work as a kind of ephemeral calligraphy associated with "automatic writing"; which is a good process to nurture creativity.
It must be real. Only a mannerism of the rough-hewn would prevent Kentridge from reaching for more moments of expertise like these.
But the fine retrospective at MoMA provides an opportunity to re-examine the consensus surrounding his work. But Kentridge is less concerned with fluidity, and more with the autonomous integrity of the drawing process, in which visual form leads, rather than follows, narrative function.
Great works of painting and drawing get at this truth by condensing existence into a refracting diamond of gestalt.
That apartheid and its multiple miseries are laid at the door of a Jewish industrialist has provoked strangely scant attention. The consensus seems to be that the later films are political art in the best sense, more rueful than actionable interweavings of obsession and observation, history and fiction.
In fact, it would take pages, not the usual two-sentence summation, to catalogue the stream-of-charcoal convolutions of a Kentridge film. Kentridge just keeps tracing on his previous drawings, building up his videos with past actions on one sheet. He erases objects in the videos to make them more captivating and unique.
This is a metaphor for the struggles and lifestyles of people who lived in South Africa at the time. Kentridge is known for his films like " Felix in Exile", " Monument", "Johannesburg: As for sound, it delineates cinematic mood the way smell distinguishes the taste of onions from strawberries.
As Kentridge is one of those rare artists with great erudition, the choice of charcoal as a key material is not innocent or, merely due to a pragmatic choice it is easy to eraseit is related with tradition. Henceforth, Kentridge gets a free pass to cultivate his garden with tangled meanings.William Kentridge, Drawing for the film Sobriety, Obesity & Growing Old [Soho and Mrs.
Eckstein in Pool, but his opportune collaborations with Angus Gibson and Catherine Meyburg as editors and William Schübel as sound designer ought to be fully credited for their share in the William Kentridge William Kentridge: Zeno Writing.
Apr 25, · According to Kentridge, the sequences with several successive transformations of words, numbers, isolated letters or sentences in other elements, work as a calligraphy associated with “automatic writing”.
Automatic writing was a common method used by the Dadaists and Surrealists’ to write poetry or to draw images. Automatic Writing Included in Point of View: An Anthology of the Moving Image William Kentridge.min, b&w, sound.
Note: This work is available for purchase only as part of Point of View: An Anthology of the Moving Image.
Kentridge's hauntingly beautiful series of animated black and white drawings brings viewers into the artist's. WILLIAM KENTRIDGE: "AUTOMATIC WRITING" as an example of a peculiar technique for animation.
William Kentridge is an interdisciplinary south-African artist, who became well known in the beginning of the 90's for two main reasons. Jun 21, · By South African Artist William Kentridge.
By South African Artist William Kentridge. Skip navigation Sign in. Search. Automatic Writing - William Kentridge HeavyArts9. Loading.
William Kentridge Drawing from Stereoscope () Not on view This drawing was executed along with the animated film Stereoscope, the eighth in Kentridge's decade-long series featuring Soho Eckstein, the archetypal white Johannesburg businessman of the post-apartheid era and an alter ego of the artist.Download