Live Virtual Auction, 9 November 2021
Incl. Buyer's Premium and VAT
About this Item
The two rubrics 'Thick Time’ and ‘Practical Epistemology’ do not only represent basic processes in Kentridge’s art-making, they are also at the core of his own, and all good qualitative research. Notably, the rubrics are printed on the pages of old texts — showing how the artist’s thinking and his work are always rooted in an historical past. In Lesson 3 of his Charles Eliot Norton Lectures series, William Kentridge deals with his own origins and with the geological, political and socio-cultural sedimentation of Johannesburg, where he has lived his life. Every creative activity that he performs and completes contains the materialisation of time: his movement between studio and the environment that he captures in his art; his movement to and from the sheet of paper on his studio wall; his movement between camera and paper when shooting frame by frame of his animated films. In the process of art-making "the studio becomes a machine for the alteration of time. Time becomes distance, it becomes matter, it expands and contracts, it becomes visible”.1
Thick Time became Kentridge’s signature theme for several exhibitions at the Whitechapel Gallery, London, September 2016 to January 2017; Louisiana Museum of Modern Art, Humlebaek, February to June 2017; Museum der Moderne Salzburg, Salzburg, July to November 2017; and the Whitworth, Manchester, September 2018 to March 2019.
1. William Kentridge (2014) Six Drawing Lessons, Cambridge (MA): Harvard University Press, page 90.