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An Interview with William Kentridge Dan Cameron 1836. Carlotta etait dou6e d'uoe fort belle voix de SOJ,lraoo, Jes comites . tanrlis que sa sccur possedait uo contralto magn1fique. mier consoil Apres qu e Barbara eut debute il Vienne, en 1856, toutes pagne, on , deux fureut cngagees il Madrid l'aonee suivante. Elles se Voyage en proJuisirent cusuite il Turin, ou elles obtinrent un succcs France et eclatant dans Semimmide, puis chanterent dans di verses {!SOS ) ; Hi villes d"ltalie, Je France, de Belgique et d'Anglcterre. Souvenirs Lour carriere ctait dans tout son eelat lorsquo survint la MARC mort de Carl,,tta (1872), qui avait epouse un ehantcur au­ trichien, Eugene '.Kuhn. Peu de temps apres, Barbara se a.rrontl. ; maria ct l'Oll0lll;a au theatre. -Lenr frere aloe, ANTONINO, Doustro no en 1817 , mort it Turin en 1875, pianisto distingue et MAT compositcur, fit representer trois operas : ii ;lfa·l'ilo della et a 2f vedova, w, 111 ati-imonio a t,·e et Piccm·da Donati, et de I' et au1 MARCHOIR (rad, mal'clw·) n. m, Atelier, fosse OU SC eglise prcparcnt Jes torres il pots ou a briques. 11 On dit aussi priuci M,\RCHEUX. somp MARCHURE (rad. mai•che) n. f. Action d'abaisser ou d'ele­ M vor des lils de chalne pendant le tissagc. 11 Ot1verture que ferment les ti.!§ (00 '.Z~ illfl~ en s'abaissant ou s:.¢levant, fJ Q\E lres augustins, dont, ii reslela ei,:-.perni il'CUr.gJ _ de cloitro du xv• siecle. Ville foudce en 1298, pour servir de capitale aux comtes de Pardiac. - Le canton a 19 comm. et 6.G33 hub. MARCIAGE (si-aj') n. m. Dr. feod. Droit parfois au seigneur de pronare, unc annee sur trois, I turels de la tcrre dounce a cens ou la provieunent de la culture. MARCIANA Marina de Livourue]), dans l'!le d' Aux environs, belle gro MARCIANISE, com de Casorto]), au milie Jin et du chanvre. MARCIANO, con clans lo Val di Chia MARCIANOPOLIS, ca rieure, t'ondoe par Traj Goths. William Kentridge MARCIANUS { dans la premiere Caracalla e ad.-esses. quinzo f• MA en Tiu· rang- de. a sa sre J . t ARCK, c Boulogne 2.soo ha b. B1 quites romai ARCILLAC {Pierre-Louis-Aug MARCK ( fr , ), oflicier et litterateur . MARCKE, $"no) en 1769, mort a Pa on eclata, ii otait colon~ ' arrond. admiu eo dos princes. Il fit act«I •1'4ARCKEE (,. t fut alors nomme sons-prefet _ · s arbustcs epi l An moment de !'invasion , il entrn en correspon on CQllOBI~ q• Exhibition Curators Neal Benezra Staci Boris Dan Cameron Essays Neal Benezra Staci Boris Lynne Cooke Ari Sitas Interview Dan Cameron Museum of Contemporary Art, Chicago I ! New Museum of Contemporary Art, New York in association with I Harry N. Abrams, Inc., Publishers I i This catalogue is published © 2001 by the Museum of Produced by the Publications COVER in conjunction with the exhibition Contemporary Art, Chicago, and Department of the Museum of Drawing for the film William Kentridge, which was the New Museum of Contempo­ Contemporary Art, Chicago, Felix in Exile coorganized by the Museum of rary Art, New York. All rights Hal l(ugeler, Director; Michael 1994 Contemporary Art, Chicago, and reserved. No part of this publica­ Sittenfeld, Associate Director; Cat. no. 28 the New Museum of Contemporary tion may be reproduced or and Kari Dahlgren, Editor. BACI< COVER Art, New York. The exhibition transmitted in any form or by any Drawing for the film was presented at: means, including photocopy, Edited by Michael Sittenfeld History of the Main Complaint recording, or any other information 1995-96 Hirshhorn Museum storage and retrieval system, Designed by Hal l<ugeler Cat. no. 46 and Sculpture Garden, without prior permission in writing Smithsonian Institution from the publisher. Copublished For Harry N. Abrams, Inc.: PAGES i-1 Washington, D.C. by the Museum of Contemporary Diana Murphy, Senior Editor Portage February 28 - May 13, 2001 Art, 220 East Chicago Avenue, 2000 Chicago, Illinois 60611-2604; and Printed in Belgium by Collage New Museum of the New Museum of Contemporary Snoeck-Ducaju & Zoon Contemporary Art Art, 583 Broadway, New York, New York New York 10012. Color separations by June 3-September 16, 2001 Professional Graphics "Mundus Perversus, Mundus Rockford, Illinois Museum of Contemporary Art lnversus" © 2001 Lynne Cooke. Chicago ISBN 0-8109-4228-3 October 20, 2001 - "Processions and Public Rituals" (Abrams: hardcover) January 20, 2002 © 2001 Ari Sitas. ISBN 0-933856-69-5 Contemporary Arts Museum The Museum of Contemporary Art (Museum: softcover) Houston (MCA) is a nonprofit, tax-exempt March 1-May 5, 2002 organization. The MCA's exhibitions, Library of Congress Catalog programming, and operations are Number: 00-109050 Los Angeles County member-supported and privately Museum of Art funded through contributions from The hardcover edition of this July 21-October 6, 2002 individuals, corporations, and catalogue is distributed in 2001 foundations. Additional support is by Harry N. Abrams, Incorporated, South African provided through The Chicago New York. National Gallery Community Trust; the Illinois Arts Cape Town Council, a state agency; The John Harry N. Abrams, Inc. December 7, 2002- D. and Catherine T. MacArthur 100 Fifth Avenue March 23, 2003 Foundation; and American New York, N.Y. 10011 Airlines, the official airline of the www.abramsbooks.com The international tour of William Museum of Contemporary Art. Kentridge is sponsored by The New Museum of Contempo­ PHILIP MORRIS C O M P A N I E S I N C. rary Art receives general operating support from the New York City Department of Cultural Affairs, the New York State Council on the Arts, the Producers Council, and members of the New Museum. Contents 7 Directors' Foreword 8 Curators' Acknowledgments 9 Lenders to the Exhibition II William Kentridge: Drawings for Projection Neal Benezra 29 The Process of Change: Landscape, Memory, Animation, and Felix in Exile Staci Boris 39 Mundus lnversus, Mundus Perversus Lynne Cooke 59 Processions and Public Rituals Ari Sitas 67 An Interview with William Kentridge Dan Cameron 75 Plates 141 Chronology 151 Exhibition Checklist 156 Selected Bibliography 159 Notes on Contributors Directors' Foreword Although his art has been influential in South Africa We are honored that the exhibition will travel to for more than fifteen years, William l<entridge first the Hirshhorn Museum and Sculpture Garden, gained widespread critical attention in 1997, when Washington, D.C.; the Contemporary Arts Museum, he was included in Documenta X in Kassel, Germany, as Houston; and the Los Angeles County Museum well as in the Johannesburg and Havana Biennials. of Art, so that audiences from diverse regions of the Since then, he has exhibited in a range of international country will have the opportunity to experience venues, and a retrospective of his films and drawings l<entridge's unique contribution to the art of our time. toured European museums in 1997-98. Until now, In addition, we are extremely pleased that the exhi­ however, his work has not been seen in depth in the bition will travel to the South African National Gallery, United States, so it is especially rewarding to be Cape Town, making it the artist's first full retrospective able to join forces to organize the first full-scale exhibi­ in his homeland. We thank Philip Morris Companies tion of l<entridge's art here. for helping support this tour. l<entridge is an exceptional artist whose career An exhibition of this magnitude is not possible spans decades. Due to the growing influence of without the hard work and dedication of many individ­ film and media-based art, it is especially important to uals who gave so generously to ensure its success. acknowledge his seminal role in this history. In addi­ We express our gratitude to the lenders who have agreed tion, l<entridge's groundbreaking work in theater and to part with their cherished works for two years and opera, for which he has received considerable inter­ to the museum team, in particular co-curators Neal national acclaim, points to a thoroughly interdiscipli­ Benezra, Staci Boris, and Dan Cameron. nary fusion that has been achieved by few artists Finally, we are especially indebted to William today. In recognition of the increasingly global dimen­ l<entridge himself, not only for the generosity and .gra­ sion of artistic production, it is a unique privilege ciousness that are hallmarks of his character, and to be able to share with American audiences the work which have been vital for the realization of this project, of the first South African artist to gain international but for his uniquely evocative way of viewing the world. recognition in the postapartheid era. Because of events in recent history, it is difficult Lisa Phillips to separate William l<entridge's work from his national The Henry Luce II I Director background. Born in Johannesburg, where he continues New Museum of Contemporary Art, New York to live and work, l<entridge has been politically and socially active throughout his life. It would be a Robert Fitzpatrick mistake, however, to search for explicit political mes­ The Pritzker Director sages in l(entridge's films and drawings. While making Museum of Contemporary Art, Chicago unambiguous reference to the harsh realities and history of his homeland, l<entridge's poetic and haunt­ ing work transcends the complex problems of South Africa to address the human condition. Dancing Man 1998 Cat. no. 57 7 Curators' Acknowledgments This survey of William Kentridge's work- the first to involvement with the artist make their essays invalu­ tour the United States -was a collaboration between able and distinctive contributions to the growing the Museum of Contemporary Art (MCA) in Chicago scholarship on l(entridge and his work.
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