Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
WILLIAM
bre de 2015) Museo Amparo, Puebla, Puebla.
KENTRIDGE
2015) Museo Amparo, Puebla, Puebla.
TextosTexts
Amanda de la Garza
Nstor Garca Canclini
Lilian Tone
TraduccinTranslation
Ernesto Ardila/Mara Antonia Giraldo Editorial Planeta Colombiana S.A.
Christopher Michael Fraga
Coordinador editorialEditor
Ekaterina lvarez Romero MUAC FORTUNA
Asistente editorialEditorial Assistant
Ana Xanic Lpez MUAC
CorreccinProofreading
Ekaterina lvarez Romero MUAC
Omegar Martnez
Christopher Michael Fraga
DiseoDesign
Cristina Paoli Periferia Taller Grfico
Asistente de formacinLayout Assistant
Mara Vzquez
Impreso y hecho en MxicoPrinted and made in Mexico MUAC Museo Universitario Arte Contemporneo, UNAM
Prefacio 6
Foreword 80
AMANDA DE LA GARZA
Return 30
WILLIAM KENTRIDGE
DADA MASILO
Semblanza 102
Biographical Sketch 103
Catlogo 104
Catalogue
Crditos 117
Credits
William Kentridge, Dibujo para Il Sole 24 Ore: Domenica (Peridico)Drawing for Il Sole 24 Ore: Domenica
(Newspaper), 2007. Coleccin del artista, cortesa deCollection of the artist, courtesy of Marian Goodman
Gallery, Nueva YorkNew York, yand Goodman Gallery, JohannesburgoJohannesburg [Cat. 15]
La obra de William Kentridge es una red hecha de graba-
Prefacio dos, del cido que corroe la superficie, de la punta seca, de
la hendidura, del aguafuerte, la mancha de carboncillo en la
mano de aquel que dibuja sobre papel, pero tambin de
AMANDA DE LA GARZA la materialidad histrica y poltica de la grfica.
No obstante, la grfica y el dibujo son nicamente dos
aspectos de su trabajo. Esta red abarca tambin cine, video,
escultura, animacin, teatro, pera y escenografa. Lilian
Tone, curadora de esta muestra, describe con gran claridad
cmo la obra de Kentridge ocurre en un punto intermedio
entre la quietud y el movimiento. Una descripcin que pue-
de servir como metfora de lo que Nstor Garca Canclini
tambin percibe: la irrevocable presencia del pasado, la
ambigedad y la contradiccin frente a lo real y a la histo-
ria como una postura esttica.
Estas caractersticas reaparecen de mltiples maneras:
en el entrecruzamiento de la historia personal y colectiva, en
la amalgama de tcnicas, en la imposibilidad de diferenciar
un objeto esttico y una animacin cuadro por cuadro, al
menos en trminos conceptuales. De ah que resulte acerta-
da la forma en que Tone describe el proceso de trabajo de
Kentridge, como una alquimia. El cuerpo del artista aparece
de modo recurrente en su obra, el artista que construye un
objeto, el artista en el proceso de hacer algo, el artista en so-
liloquio, que da una Leccin de dibujo, que investiga desde
la intuicin, el azar, la procastinacin, que escribe pancartas,
trazos para no olvidar conceptos clave en una charla pblica.
La prolongacin del cuerpo del artista es el estudio:
un espacio autorreferencial pero, al mismo tiempo, una
cmara obscura, una angustia que en el caso de William
Kentridge se torna en humor e irona. El artista recorre de
un extremo a otro el estudio y comienza un inventario del
mundo: un atlas. En el atlas del artista, el dibujo y la anima-
cin parten de la materialidad dura de un libro abierto de
par en par, cuyas palabras juntas son una superficie y una
condensacin de lo que ese soporte dice y significa.
La modernidad gener toda una suerte de artefactos
para construir una narracin sobre el mundo, un nuevo
mundo. Los dioramas, los espculos y los zotropos son el
signo de esa bsqueda. Kentridge hace uso de este andamiaje
de artefactos para producir la fantasa de observar como
aquel que mira y a la vez origina la mirada.
William Kentridge, Paisaje colonial (Cascada)Colonial Landscape (Waterfall), 1995
Coleccin del artista, cortesa deCollection of the artist, courtesy of Marian Goodman Gallery,
Nueva YorkNew York, yand Goodman Gallery, JohannesburgoJohannesburg [Cat. 10] 7
Esta exposicin, que ha sido presentada en diversos
museos en Brasil y Colombia, finalmente llega a Mxico,
primero al MUAC y posteriormente al Museo Amparo, en
Puebla. La muestra establece un puente con Sudfrica, al
tiempo que es la primera revisin importante del artista en
la regin. Estos pases, los de Amrica Latina y Sudfrica,
viven realidades e historias muy distintas pero tambin
convergentes en trminos de su condicin de Sur global y
de su pasado colonial.
En el caso especfico de Mxico, si consideramos
la amplsima tradicin grfica de este pas, la exposicin
permite establecer una reflexin en torno al significado del
dibujo y la grfica en el marco del arte contemporneo.
Propone una discusin relevante en torno a la construccin
de la mirada a travs de la tecnologa, al carcter de lo cine-
mtico y sobre el lugar del artista en la contemporaneidad.
La obra de Kentridge logra hablar de temas generales que
le conciernen al arte y a la historia, pero lo hace desde una
perspectiva que es, de manera simultnea, local y global.
William Kentridge, Dibujo para la pelcula EstereoscopioDrawing for the film Stereoscope, 1999.
ColeccinCollection Johannesburg Art Gallery [Cat. 53] 11
difcil mantener la concentracin. El dibujo para la anima- de elementos iconogrficos se construyen, deconstruyen
cin se divide todo el tiempo entre hacer un fragmento del y reensamblan ante nuestros ojos. Vemos un gato experi-
dibujo, caminar hasta la cmara, y caminar de vuelta. Hay mentando mltiples transfiguraciones: convirtindose en
un ritmo diferente que viene de ese caminar y de la pausa una mscara de gas o en un megfono; asumiendo la forma
en cada etapa para registrar los cuadros.2 de una bomba. Cuerpos aparentemente sin vida se disuel-
Ciertos dibujos y secuencias revelan las poses y los mo- ven en el tejido de un paisaje. Lo lleno se vuelve vaco con
vimientos del artista o de los actores reales involucrados en el barrido de una manga. Lneas gruesas y escaso color
la realizacin, con fotografas y videos cortos que funcionan fluctan, y los residuos de un borrado parcial se quedan
como borradores. Sin llegar a ser autorretratos, esta forma de atrs en la forma de misteriosas manchas. Marcas cru-
trabajar sugiere por el contrario que Kentridge ha asumido das se vuelven elegantes lneas que mutan en imgenes
el papel de un actor que interpreta a un personaje, ampliando fugaces el vuelo de un pjaro, el recorrido de hojas de
as la base performtica de su prctica. Como Kentridge peridico llevadas por el viento, humo que surge del pai-
dice: Mucha de la animacin se hace caminando por el taller saje (y del cigarro de Soho) que vuelven a transformarse
con el cronmetro y diciendo, est bien, el tipo va a dar dos rpidamente en inscripciones gestuales y abstractas. Ha-
pasos y va a recoger una piedra y la va a tirar. Yo realizara ciendo uso de la luz y la sombra, los dibujos que proyecta
la accin, le tomara el tiempo y la traducira a un nmero Kentridge ofrecen una fisicalidad intangible a travs de
determinado de cuadros: son dos segundos y medio, as que inscripciones en carboncillo hermosamente texturizadas,
son sesenta y dos cuadros Algunas veces dibujo una lnea que son a la vez tctiles e inmateriales.
atravesando la hoja de papel y s que ese ser el viaje de mi Sin embargo, la cosmologa subjetiva de Kentridge est
brazo, ms o menos, eso sern cuarenta cuadros, lo que nos incrustada con referencias codificadas de lugares, situacio-
llevar a cincuenta y dos As que es dividir el tiempo en nes y acontecimientos reales. Se vuelve posible identificar
secuencias grficas muy sencillas.3 ubicaciones traspuestas, fragmentos de historias y memorias
Considerados en trminos poticos, estos trabajos crean reconstituidas de manera abstracta. Que podamos darle
una conexin inequvoca con el ahora el presente en su sentido a estas abundantes referencias depende, en cierta
continua e irrevocable condicin de presencia [presentness]. medida, de nuestra familiaridad con la historia social de
Sin embargo, esta es una condicin de presencia retratada Sudfrica o, ms especficamente, con la ciudad de Johan-
como un constante proceso de devenir cada trabajo es nesburgo, donde naci el artista en 1955 y donde contina
una meditacin entre pasado, presente y futuro. En cier- viviendo y trabajando. Describiendo su infancia all como
to sentido, es una alegora del proceso de hacer arte: los una cmoda vida de suburbio, Kentridge se ve a s mismo
espectadores observan el trabajo como si estuviera siendo como parte de una lite blanca privilegiada que ha visto y
creado en el preciso momento en que ellos lo perciben en ha sido consciente de lo que pasaba, pero que nunca llev
la pantalla. En otro sentido, los dibujos de Kentridge suce- la peor parte del podero del Estado.4
den en vivo, sumergiendo nuestro campo visual y desple- Hasta que el rgimen del apartheid termin oficial-
gndose como una secuencia de momentos. El proceso de mente en 1994 con la eleccin de Nelson Mandela como el
Kentridge se nos transmite como una ilusin creble en la primer presidente negro, Sudfrica fue un estado autocr-
que los motivos recurrentes del artista una constelacin tico que fomentaba el racismo legalizado. Fue una nacin
de profundas desigualdades polticas y sociales, a menudo
reforzadas por brutales tcticas policiales dirigidas contra
2 W. Kentridge en A. Breidbach, Thinking Aloud: Conversations with Angela
Breidbach, Colonia: Verlag Der Buchhandlung Walter Kning y Nueva York:
David Krut Publishing, 2006, p. 57.
4 W. Kentridge, citado por R. Taylor, Memento Mori, World Art, Melbourne,
3 Ibid., p. 54. mayo de 1997, p. 48.
6 Ibid., n.p.
8 W. Kentridge en entrevista con Lina Espinosa, citado del original en ingls;
7 W. Kentridge citado en Christov-Bakargiev, William Kentridge, p. 23.
publicado en espaol en L. Espinosa, Conversacin con William Kentridge. Una
16 Ibid., p. 68.
15 W. Kentridge citado por C. Kaplan y W. Kentridge, The Time-Image, PAJ: 17 W. Kentridge citado en L. Tone, Projects 68: William Kentridge (folleto de
A Journal of Performance and Art, vol. 27, no. 2, Mayo de 2005, p. 32. exposicin), Nueva York: The Museum of Modern Art, 1999, n.p.
4 Borges, Jorge Luis (1994), La muralla y los libros, en Obras completas, 6 Huyssen, Andreas (2014, otooinvierno), El teatro de sombras como me-
Buenos Aires, Emec, p. 13. dio para la memoria en William Kentridge. Otra Parte, pp. 73-84.
William Kentridge, Mina (de la serie Dibujos para proyectar)Mine (from the series Drawings for
Projection), 1991. Coleccin del artista, cortesa deCollection of the artist, courtesy of Marian Goodman
82 AMANDA DE LA GARZA Gallery, Nueva YorkNew York, yand Goodman Gallery, JohannesburgoJohannesburg [Cat. 36] 83
At the cusp of stillness, and at the edge of movement, William
William Kentridges Kentridges filmed drawings, or drawn films, inhabit a curi-
ous state of transition between static materiality and temporal
Present Continuous* animation. His Drawings for Projection constitutes an ongo-
ing series of short films that began in 1989, without a pro-
gramme or stated agenda. It is considered by Kentridge to
LILIAN TONE be the bedrock of his oeuvre. The entire series features the
recurrent fictional character of Soho Eckstein, who provides
the thread of continuity running through each of the films.
Soho is often observed negotiating the shifting boundaries
between personal and political conflicts, immersed within
tentative, fragmented narratives in which overlapping imag-
es suggest different levels of consciousness.
Kentridges drawings-in-motion owe their distinctive
appearance to a homemade animation technique that he has
* Extracted from the Introduction by Lilian Tone to William Kentridge: Fortuna,
originally published in English by Thames & Hudson, Ltd, London 2014. 2014 described as stone age filmmaking.1 This process involves
Lilian Tone the sequential reworking of a set of charcoal drawings,
pinned to the wall and positioned in a fixed relationship to
the camera. Rather than using a different drawing for each
frame, as is seen in conventional methods of cel animation,
Kentridge continuously reworks each drawing in an obses-
sive ritual of addition and subtraction, accumulation and
erasure. Evocative iconographies dissolve into crude marks
that operate at the limit of discernibility, producing power-
fully expressive effects.
The artists animations are painstakingly constructed
by photographing the drawing after each alteration, thereby
recording the various transitional stages. Upon completion,
each drawing becomes the most recent component, or
visual building block, of a cinematic sequence. The traces
we observe on each drawing are evidence of Kentridges
meticulous process, which the artist has reflected upon: By
now I know it will take nine months to do a film, with other
activities that happen alongside. But its very obsessiveI
work for five hours and its difficult to keep concentration.
Drawing for animation is broken the whole time between a
fragment of the drawing and the walk across to the camera
William Kentridge, Lo que viene (Ya lleg)What Will Come (Has Already Come), 2007. Colec-
cin del artista, cortesa deCollection of the artist, courtesy of Marian Goodman Gallery, Nueva
YorkNew York, yand Goodman Gallery, JohannesburgoJohannesburg [Cat. 66] 85
and a walk back. There is a different rhythm provided lifeless bodies dissolve into the fabric of a landscape. Fullness
through that walking, and through the pause at each stage becomes a void with the sweep of a sleeve. Thick lines and
to shoot the frames.2 spare colour ebb and flow, and residues of partial erasure are
Certain drawings and sequences of drawings reveal the left behind in the form of mysterious smudges. Crude marks
poses and movements of the artist or actual actors involved become elegant lines that morph into fleeting imagesthe
in their making, with photographs and short videos func- flight of a bird, the path of newspaper sheets carried by the
tioning as sketches. Not quite self-portraiture, this mode of wind, smoke rising from the landscape (and from Sohos
working instead suggests that Kentridge has taken on the cigar)which are then quickly transformed back into ges-
role of an actor playing a character, thus amplifying the tural, abstract inscriptions. Making use of light and shadow,
performative foundation of his practice. As Kentridge says, Kentridges projected drawings offer an intangible physicali-
A lot of the animation is done walking around the studio ty through gorgeously textured charcoal inscriptions that are
with the stopwatch and saying, alright, the man is going to at once tactile and immaterial.
walk two steps and is going to pick up a stone and throw Kentridges subjective cosmology is, however, embedded
it. I would perform the action, time it and translate it into a with coded references to actual places, situations and events.
number of frames: its two and a half seconds, so its six- It becomes possible to identify transposed locations, and
ty-two frames. I sometimes draw a line across the sheet fragments of stories and memories abstractly reconstituted.
of paper and I know: this is going to be the journey of my Whether we can make sense of these abundant references
arm, roughly, and that will be forty frames, then thatll take depends, to a certain extent, upon our familiarity with the
us to fifty-twoso its dividing time into very simple graphic social history of South Africaor, more particularly, with the
sequences.3 city of Johannesburg, the artists place of birth in 1955, and
Considered in poetic terms, these works create an un- where he continues to live and work. Characterizing his child-
equivocal connection to the nowthe present in its con- hood there as a comfortable suburban life, Kentridge views
tinuous, irrevocable presentness. Yet this is a presentness himself as part of a privileged white elite that has seen and
rendered as a constant process of becomingeach work is a been aware of what was happening but never bore the brunt
mediation between past, present and future. In a sense, this is of the might of the state.4
an allegory of the process of making art: viewers observe the Until the apartheid regime officially ended in 1994
work as if it were being created in the very moment of their with the election of Nelson Mandela as the countrys first
perceptual encounter with it on the screen. There is a sense black African president, South Africa was an autocratic
in which Kentridges drawing is happening live, emerging state that sponsored legalized racism. It was a nation of
into our field of vision, and unfolding as a sequence of mo- profound social and political imbalances, often enforced by
ments. Kentridges process is transmitted to us as a believable brutal police tactics directed against the black population.
illusion in which the artists recurring motifs a constellation Reflecting on his works relationship to political and social
of iconographic elementsare constructed, deconstructed circumstances, Kentridge has stated: I have never tried to
and reassembled before our eyes. We observe a cat under- make illustrations of apartheid, but the drawings and films
going multiple transfigurations: turning into a gas mask or are certainly spawned by and feed off the brutalized society
a megaphone; assuming the shape of a bomb. Seemingly left in its wake. I am interested in a political art, that is to
say an art of ambiguity, contradiction, uncompleted gestures
12 Ibid., p.69.
9 W. Kentridge in an interview with Achille Bonito-Oliva, January 2007, in 13 W. Kentridge, op. cit., p.68.
A. Bonito-Oliva, Encyclopaedia of the Word: Artist Conversations, 19682008,
Milan: Skira Editore, 2010. 14 W. Kentridge in email to the autor received 9 December 2011.
10 W. Kentridge, Fortuna: Neither Programme nor Chance in the Making 15 W. Kentridge, quoted in C. Kaplan and W. Kentridge, The Time-Image,
of Images, in Christov-Bakargiev, William Kentridge, p.68. PAJ: A Journal of Performance and Art, vol. 27, no. 2, May 2005, p.32.
William Kentridge, Dibujo para la pelcula Johannesburgo, segunda ciudad ms grandiosa despus de
Pars (Prisionero de la ciudad)Drawing for the film Johannesburg, 2nd Greatest City after Paris (Captive
of the City), 1989. Coleccin del artista, cortesa deCollection of the artist, courtesy of Marian Goodman 95
Gallery, Nueva YorkNew York, yand Goodman Gallery, JohannesburgoJohannesburg [Cat. 29]
apartheid.1 Could it at least be argued that he speaks in the aspect of the real, cups, rearview mirrors, binoculars and
name of critical movements? To be sure, his works are situ- bathroom furnishings become protagonists. Objects act
ated within the questioning current, but uncomfortably so. A and migrate to unexpected contexts. They are cut loose
partial explanation of his continuous muckings-up might come, from a subject, Kentridge says.2
according to Kate McCrickard, from the fact that he is white, As someone without a subject matter, he searches hither
with European training, a Jew of Lithuanian ancestry. Neither and thither. We see the artist walk through the enclosed space
these origins nor his isolation at the southern tip of the African of his studio, filming himself as he goes, in almost maniacal
continent reduce what there is in his project of aesthetic deci- leaps. Will he want to watch himself later in order to try to
sion: to leave the cinema and the theater, where he confessed understand himself? The anachronism of using shadow plays
his failure, and to start anew with drawing in order to come to in this era of technological convergence and digitalized multi-
animation, to experiment with erasures and shadows, to use media seems to be part of that quest. Artifacts like zoetropes
these indecisions as a way to give the form belonging to the and stereoscopes, from the early days of the cinema, are
exasperation of oppressed multitudes, to the affective breaking resources for moments when the illusions of modernity came
of patrons or lovers, to the decomposition of landscapes. unhinged, just as the cultivation of drawing appeals to an
This choice of using minimal, stuttering forms, evident elementary procedure of artistic creation and representation.
in the basic vocabulary he established with his drawings, Curiously, a work from 2007 in which the animation was
oriented his return to theater. He staged Woyzeck in the made frame by frame in anamorphic stop-motionthe camera
Highveld (1993), Faust in Africa (1995), animated films suspended above drawings in which the artist uses as ancient
about Ubu, and later Monteverdi and Mozart, with mario- device as a cylindrical mirror to see what the final film will
nettes or mechanically operated cardboard cutouts. We also look likeis called What Will Come (Has Already Come).
see this minimalist will in his frequent use of scraps, news- The subject matter of this piece is the annexation of
paper clippings, photographs, and such everyday objects Ethiopia in 1936-37 by Mussolinis troops, and the Jewish
as a coffee pot or a megaphone. His repetitive use of them, exodus from that territory to Israel during the famine of
with a black or grey humor, approaches the parades of 1984-85. We can discern a tree, McCrickard observes, a
black crowds that move like animated objects or shadows in landscape, a huge fly, a rhinoceros and an African village.
processions with no apparent destination. It is unsurprising The two manners of seeing formdrawn and reflectedof-
that he would humanize bits of junk by dressing them in fer two views of the world, one true and one dubious.3
skirts, or that he would represent himself drowning in water Many of the drawings display unfinished processes of
flooding his bedroom. The landscape is emptied like tattered composition, incomplete or blurry suits. The machines com-
billboard posters without captions or washed out by white bining a wheel, cables, collages armed with branches, wood,
(Other Faces, 2011), or like the multiplication of oil derricks, and pieces of cardboard boxes also give the impression of
blotching devastated horizons. chance Dadaist encounters that perhaps happen otherwise
His experimental rehearsals with vision, human and before or after the moment at which we gaze at them. They
object figures turned into shadows or silhouettes, tattered leave the spectator in the imprecise place of someone who can
animations, found objects, readymades of broken histories, only graspand grasp him- or herselfamidst unstable flows.
collages in which strange figures become associated with each
other as happens when we remember, are all ways of doubt-
ing. There are no sharp contrasts between that which is illumi- 2 Quoted in Kate McCrickard, William Kentridge: A Reanimated Artist, in
nated and that which is confused. As part of this ambiguous Lilian Tone, ed., William Kentridge: Fortuna (London: Thames & Hudson, 2013),
p. 285.
3 Ibid, p. 287.
1 Quoted in Kate McCrickard, William Kentridges Present Continuous,
reprinted in this volume.
4 Jorge Luis Borges, The Wall and the Books, in Other Inquisitions, trans. 6 Andreas Huyssen, The Shadow Play as Medium of Memory in William
Ruth L. C. Simms (Austin: University of Texas Press, 1964), p. 5. Kentridge and Nalini Malani (Milan: Edizioni Charta, 2013), p. 74.
10 2 103
CATLOGO with watercolor printed on page spreads from Memrias Pstu-
mas de Brz Cubas by Machado de Assis (1880), on white, 250 g
CATALOGUE Vlin dArches paper
28.5 33 cm
Edicin deEdition of 28
Coleccin privadaPrivate collection
Todas las piezas pertenecen a la coleccin del artista y son cortesa de 5. Brz Cubas (Esculturas)Brs Cubas (Sculptures), 2000
Marian Goodman Gallery, Nueva York, and Goodman Gallery, Johannes- Litografa en negro con acuarelas impresa sobre pginas de
burgo, a menos que se especifique lo contrario.
Memrias pstumas de Brs Cubas por Machado de Assis (1881),
10 4 105
10. Paisaje colonialColonial Landscape, 1998 17. Leccin de dibujo 12Drawing Lesson 12, 2009
Carboncillo sobre papelCharcoal on paper Video
70 92 cm 119
Coleccin privadaPrivate collection
18. Leccin de dibujo 46 (Coro de esculturas cinticas)
11. Paisaje colonial (Cascada)Colonial Landscape Drawing Lesson 46 (Kinetic Sculpture Chorus), 2010
(Waterfall), 1995 Video
Carboncillo sobre papelCharcoal on paper 240
120 160 cm
19. Leccin de dibujo 47 (Entrevista con el artista)
12. Notas de cobre, Estados 0-11Copper Notes, Drawing Lesson 47 (An Interview with the Artist), 2010
States 0-11, 2005 Video
Serie de 11 impresiones de punta seca, en estados sucesivos de 447
la misma placa de cobre, bruidos y algunos grabados, sobre
papel HahnemhleSeries of 11 dry point prints, in successive 20. East Rand Proprietary Mines Ltd, Administracin central /
states from the same copper plate, burnished and some with en- Ref: 09/06/2010 (Leccin de dibujo 35)East Rand Proprietary
graving, on Hahnemhle paper Mines Ltd, Central Administration / Ref: 09/06/2010 (Drawing
28.5 33 cm Lesson 35), 2010
Edicin de cantidades diversas para cada estado de la serie de Video
11 impresionesEdition in varying numbers for each state of 1127
the series of 11 prints
Coleccin Goodman Gallery, Johanesburgo / Goodman Gallery 21. Flix en el exilio (de la serie Dibujos para proyeccin)
collection, Johannesburg Felix in Exile (from the series Drawings for Projection), 1994
Pelcula animada en 35mm transferida a video (a color, con
13. Noche americanaDay for Night, 2003 sonido)35mm animated film transferred to video (color, sound)
Pelcula de 16mm transferida a video (a color, sin sonido) 8 43
16mm film transferred to video (color, silent)
632 22. Dibujos para la pelcula Flix en el exilioDrawings for
the film Felix in Exile, 1994
14. De Como No Fui Ministro DEstado, 2012 3 dibujos de carboncillo y pastel sobre papel3 charcoal
Video HDHD Video and pastel drawings on paper
131 93 120 cm (1) y 50 64 cm (2 c/u)
15. 2 pginas de Il Sole 24 Ore: Domenica2 pages from 23. Cabeza IIV (de la serie Cuatro cabezas de papel)
Il sole 24 Ore: Domenica, 2007 Head IIV (from the series Four Paper Heads), 2007
PeridicoNewspaper Litografa, impresin tipogrfica, lpices de colores, acuarelas
56 38 cm y chine-collLithograph, letterpress, colored pencil, watercolor
and Chine-coll
16. Dibujo para Il Sole 24 Ore: Domenica (Mscara de gas) (Masa- 37 25 20 cm aprox.
cre de los inocentes) (Peridico)Drawing for Il Sole 24 Ore: Dome- Edicin deEdition of 25
nica (Gasmask) (Massacre of the Innocents) (Newspaper), 2007 ColeccinCollection Goodman Gallery, Johannesburgo
Carboncillo y pastel sobre papelCharcoal and pastel on paper Johannesburg
213.5 150 cm
10 6 107
24. Lexicn griego (Leccin de dibujo 45)Greek Lexicon 31. Escultura cintica-FuelleKinetic Sculpture-Bellows, 2012
(Drawing Lesson 45), 2011 Acero, objetos encontrados, madera, aire, resortes y cables de
Video aceroSteel, found objects, wood, air, springs and steel cables
28 AlturaHeight 184 cm, 80 cm
25. Historia de la queja principal (de la serie Dibujos para 32. Lavanzata inesorabile
proyectar)History of the Main Complaint (from the series 1 (El mundo en sus patas traseras), 2 (Peridico), 3 (Masacre
Drawings for Projection), 1996 de los inocentes), 4 (Peridico ledo), 5 (Mscara de gas)
Pelcula animada de 35mm transferida a video (a color, con Lavanzata inesorabile 1 (World on its Hind Legs), 2 (Newspaper),
sonido)35mm animated film transferred to video (color, sound) (Massacre of the Innocents), 3 (Read Newspaper), 4 (Read
550 Newspaper), 5 (Gas Mask), 2007
Aguatinta al azcar sobre papelSugar aquatint on paper
26. Libro contable de Licor intoxicanteRef: 04/05/2010 (Lec- 40 35 cm
cin de dibujo 34)Intoxicating Liquor Cash Sales BookRef: Edicin deEdition of 50
04/05/2010 (Drawing Lesson 34), 2010
Video 33. BotiqunMedicine Chest, 2001
131 Video retroproyectado en el espejo de un botiqun, pelcula
animada de 35mm transferida a video en DVDVideo rear-pro-
27. Johannesburgo, segunda ciudad ms grandiosa despus de jected on medicine chest mirror, animated film, 35mm, video and
Pars (Dibujos para proyectar)Johannesburg, 2nd Greatest City DVD transfer
after Paris (from Drawings for Projection), 1989 550
Pelcula animada de 16mm transferida a video (a color, con
sonido)16mm animated film transferred to video (color, sound) 34. Merveilles de la Science / Ref: 14/05/2010
802 (Leccin de dibujo 32)Merveilles de la Science / Ref:
14/05/2010 (Drawing Lesson 32), 2010
28. Dibujos para la pelcula Johannesburgo, segunda ciudad Video
ms grandiosa despus de ParsDrawing for the film Johannes- 434
burg, 2nd Greatest City After Paris, 1989
Carboncillo sobre papelCharcoal on paper 35. LExploration du Sahara / Ref: 23/04/2010
90.5 113 cm (Leccin de dibujo 31)LExploration du Sahara / Ref:
23/04/2010 (Drawing Lesson 31), 2010
29. Dibujos para la pelcula Johannesburgo, segunda ciudad Video
ms grandiosa despus de Pars (Prisionero de la ciudad) 50
Drawing for the film Johannesburg, 2nd Greatest City After Paris
(Captive of the City), 1989 36. Mina (de Dibujos para proyectar)Mine (from
Carboncillo sobre papelCharcoal on paper Drawings for Projection), 1991
90.5 113 cm Pelcula animada de 16mm transferida a video (a color, con
sonido)16mm animated film transferred to video (color, sound)
30. Viaje a la lunaJourney to the Moon, 2003 550
Pelcula en 35mm y 16mm transferida a video (en blanco y
negro, con sonido)35mm and 16mm film transferred to video
(black and white, sound)
710
10 8 109
37. Monumento (de Dibujos para proyectar)Monument (from Atlas of the World (1951) attached to two gramophone records,
Drawings for Projection), 1990 machined metal shafts, gear mechanisms, and wooden handle
Pelcula animada en 16mm transferida a video (a color, con soni- Edicin deEdition of 40
do) 16mm animated film transferred to video (color, sound) 60 30 32 cm
311
43. AcarreoPortage, 2000
38. Dibujo para la pelcula MonumentoDrawing for the film Chine-coll de figuras hechas con papel Canson negro en varias
Monument, 1990 pginas de Le Nouveau Larousse Illustr Encyclopaedia (c. 1906),
Carboncillo sobre papelCharcoal on paper sobre papel Vlin Arches color crema, plegado en leporello
120 150 cm Chine-coll of figures from black Canson paper on multiple spreads
from Le Nouveau Larousse Illustr Encyclopaedia (c. 1906), on
39. Monitor, 2012 crme-colored Vlin dArches paper, in accordion fold
Litografa y collage impreso sobre varios papeles sujetos en papel Portafolio 27.6 423 cm
Vlin Arches blanco de 400 gLithograph and collage printed on Edicin deEdition of 33
various paper attached to white, 400 g Vlin dArches paper
70 86 cm 44. ProcesinProcession, 1999-2000
Edicin deEdition of 35 Serie de 25 figuras en bronceSeries of 25 bronze figures
Dimensiones variables entreVariable dimensions
40. Otros rostros (de la serie Dibujos para proyectar) between 40 27.9 26.9 cm
Other Faces (from the series Drawings for Projection), 2010-11
Pelcula animada en 35mm transferida a video (a color, con 45. RbricasRubrics, 2012
sonido)35mm animated film transferred to video (color, sound) 14 impresiones individualmente tituladas, serigrafa sobre
945 papel14 individually titled prints, silkscreen on paper
37.5 x 50.5 cm c/uea.
41. Dibujos para la pelcula Otros rostrosDrawings for Edicin deEdition of 10
the film Other Faces, 2011
13 dibujos y un trptico13 drawings and 1 triptych 46. JuncoReeds, 1996
Carboncillo y lpices de colores sobre papelCharcoal and Grabado al azcar, aguafuerte, aguatinta y punta seca a partir de
colored pencil on paper una sola placa de cobre y una lmina de policarbonato grabada con
Dimensiones variablesVariable dimensions herramienta elctrica, sobre papel blanco Vlin Arches de 300 g
Colecciones privadas, coleccin del artista, cortesa dePrivate pintado a manoSugar aquatint, spit bite, aquatint and drypoint,
collections, artists collection, courtesy of Marian Goodman from 1 copper plate and 1 polycarbonate sheet engraved with
Gallery, Nueva YorkNew York, yand Goodman Gallery, power tool, on hand-painted white, 300 g Vlin dArches paper
JohannesburgoJohannesburg 120 160 cm
Edicin deEdition of 40
42. FenaquitoscopioPhenakistoscope, 2000
Litografa en cuatro colores sobre pginas del Atlas Popular del 47. RinoceronteRhinoceros, 2007
Mundo de G.W. Bacon (1951) pegada a dos discos de gramfono Cartn pluma, adhesivo, papel, carboncillo, pginas de enciclo-
sobre ejes mecnicos de metal, engranaje y una manivela de pedia e imgenes impresasFoam core, glue, paper, charcoal,
maderaFour-color lithograph on pages from Bacons Popular encyclopedia pages, printed images
37 65 30 cm
11 0 111
48. Procesin de sombrasShadow Procession, 1999 55. Mujer-telfonoTelephone Lady, 2000
Pelcula animada en 35mm transferida a video35mm animated Linograbado sobre papel de arroz Tableau, papel japons kozo
film transferred to video de 38 g y lienzoLinocut on Tableau rice paper, 38 g Japanese
7 kozo paper, and canvas
264 110 cm
49. Sobriedad, obesidad y envejecimiento (de la serie Dibujos
para proyectar)Sobriety, Obesity & Growing Old (from the 56. El punto final engulle la fraseThe Full Stop Swallows
series Drawings for Projection), 1991 the Sentence, 2012
Pelcula animada en 16mm transferida a video (a color, con Litografa y collage impreso sobre varios papeles sujetos a papel
sonido)16mm animated film transferred to video (color, sound) Vlin Arches blanco de 400 gLithograph and collage printed on
822 various paper, attached to white, 400 g Vlin dArches paper
70 86 cm
50. Dibujos para la pelcula Sobriedad, obesidad y envejecimiento Edicin deEdition of 35
Drawings for the film Sobriety, Obesity & Growing Old, 1991
2 dibujosdrawings 57. Tabla de mareas (de la serie Dibujos para proyectar)
Carboncillo y pastel sobre papelCharcoal and pastel on paper Tide Table (from the series Drawings for Projection), 2003
70 100 cm yand 120 150 cm Pelcula animada de 35mm transferida a video (a color, con
sonido)35mm animated film transferred to video (color, sound)
51. Estereoscopio (de la serie Dibujos para proyectar) 850
Stereoscope (from the series Drawings for Projection), 1999
Pelcula animada en 35mm transferida a video (a color, con 58. Ub cuenta la verdadUbu Tells the Truth, 1997
sonido)35mm animated film transferred to video (color, sound) Pelcula animada de 35mm con fotografas documentales y
822 pelculas de archivo en 16mm transferidas a video35mm
animated film with documentary photographs and 16mm archival
52. Dibujo para la pelcula EstereoscopioDrawing for film transferred to video
the film Stereoscope, 1998 8
Carboncillo y gis sobre papelCharcoal and chalk on paper
92 120 cm 59. Ub cuenta la verdadUbu Tells the Truth, 1996-97
Coleccin privadaPrivate collection Portafolio de 8 grabados: Acto I, Escena 2; Acto II, Escena 1;
Acto II, Escena 5; Acto III, Escena 4; Acto III, Escena 9; Acto IV,
53. Dibujo para la pelcula EstereoscopioDrawing for the film Escena 1, Acto IV, Escena 7; y Acto V, Escena 4Portfolio of eight
Stereoscope, 1999 etchings: Act I, Scene 2; Act II, Scene 1; Act II, Scene 5; Act III,
Carboncillo y pastel sobre papelCharcoal and pastel on paper Scene 4; Act III, Scene 9; Act IV, Scene 1; Act IV, Scene 7; and Act
113 137 cm V, Scene 4.
ColeccinCollection Johannesburg Art Gallery Grabados al aguafuerte, barniz blando, aguatinta, y punta seca
sobre papelHard ground, soft ground, aquatint, and drypoint
54. Estatua ecuestre de mesaTable-top Equestrian Statue, engravings on paper
2007 25 30 cm c/u
Cartn pluma, ramas rsticas, pegamento, cartn corrugado y Edicin deEdition of 50
otros materialesFoam core, rough sticks, glue, brown
corrugated cardboard, and other materials
56 53 22 cm
11 2 113
60. Manual de geometra [Geometry Manual]Underweysung
der Messung, 2007 65. PESANDO . . . y QUERIENDO (de la serie Dibujos para
6 fotograbados estereoscpicos con visoresSix stereoscopic proyectar)WEIGHING . . . and WANTING (from the series
photogravures with three viewers Drawings for Projection), 1998
34.5 57 cm c/uea. Pelcula animada de 35mm transferida a video (a color, con
Edicin deEdition of 50 sonido)35mm animated film transferred to video (color, sound)
620
61. Deshacer desdecirUndo Unsay, 2012
Litografa y collage impreso sobre varios papeles pegados a papel 66. Lo que viene (ya lleg)What Will Come
Vlin Arches blanco de 400 gLithograph and collage printed (Has Already Come), 2007
on various paper attached to white, 400 g Vlin dArches paper Mesa, papel de dibujo y espejo cilndrico de acero y pelcula
70 86 cm animada en 35mm transferida a videoTable, drawing
Edicin deEdition of 35 paper, and cylindrical steel mirror, and 35 mm animated film
transferred to video
62. Archivo universal (1-54)Universal Archive (1-54), 2012 840
Linograbados impresos en pginas no archivadas del Shorter
Oxford English Dictionary, cada pgina pegada por una sola 67. Dibujo para la pelcula Lo que viene (ya lleg)Drawing for
pestaa a una hoja de respaldo de papel Vlin Arches blanco the film What Will Come (Has Already Come), 2007
de 400 gLinocut printed on non-archival pages from Shorter Carboncillo en papel y espejo cilndrico de acero sobre mesa
Oxford English Dictionary mounted by a single tab attaching page Charcoal on paper and mirrored steel cylinder on table
to backing sheet of white, 400 g Vlin dArches paper PapelPaper 120 cm
35 27 cm cilindrocylinder 29.2 cm, alturaheight, 16.5 cm
Edicin deEdition of 20
68. El mundo en sus patas traserasWorld on Hind Legs, 2014
63. Archivo universal (Ref. 21), Versin A, B, C, DUniversal Carboncillo y pastel en papelCharcoal and pastel on paper
Archive (Ref. 21), Version A, B, C, D, 2012 210 150 cm
Linograbado impreso en cuatro pginas no archivadas de la
Encyclopedia Britanica; cada pgina est dividida y montada en 69. Maqueta para El mundo en sus patas traserasModel
una hoja de respaldo de papel Vlin Arches blanco de 400 g con for World on its Hind Legs, 2009
marcas de registro dibujadas con lpiz de color rojoLinocut Cartulina pintada y papel sobre base de maderaPainted poster
printed on four sheets of non-archival pages from Encyclopedia board and paper construction on wood base
Britannica; each sheet is torn, assembled and mounted to a back- 62 65 43 cm
ing sheet of white, 400 g Vlin dArches paper with registration
marks drawn in red pencil 70. Zotropos y lento rpido rpido lento, fragmentos de La ne-
43 66.5 cm c/uea. gacin del tiempoZoetropes and Slow Quick Quick Slow, video
Edicin deEdition of 50 fragments from The Refusal of Time, 2012
Video
64. Hombre caminandoWalking Man, 2000 7 31
Linograbado sobre papel de arroz Tableau, papel japons kozo Coleccin del artista y cortesa deCollection of the artist, cour-
de 38 g y lienzoLinocut on Tableau rice paper, 38 g Japanese tesy of Marian Goodman Gallery, Nueva YorkNew York, and
kozo paper, and canvas Goodman Gallery, JohanesburgoJohannesburg yand Galeria
271 110 cm Lia Rumma, Npoles y MilnNaples and Milan
11 4 115
CRDITOS DE EXPOSICIN
71. 7 fragmentos para Georges Mlis7 Fragments for
Georges Mlis, 2003 EXHIBITION CREDITS
Instalacin de 7 fragmentos de pelculaInstallation of seven
film fragments:
Remiendo invisibleInvisible Mending, 130
Bienes mueblesMoveable Assets, 240
AutodidactaAutodidact, 510; CuraduraCuratorship
Hazaas de prestidigitacinFeats of Prestidigitation, 150 Lilian Tone
Tabula Rasa I, 250
Tabula Rasa II, 210
MUAC Museo Universitario Arte Contemporneo
Balancing Act, 120
Pelculas de 16mm y 35mm transferidas a video de 7 canales Proyectos internacionalesInternational Projects
(a color, sin sonido)16mm and 35mm films transferred to Patricia Sloane
7-channel video (color, silent)
Coordinador de la exposicinExhibition Coordination
Amanda de la Garza
11 6 117
Coordinacin de comunicacinCommunication Coordination AGRADECIMIENTOS
Carmen Ruz
Ekaterina lvarez ACKNOWLEDGEMENTS
Francisco Domnguez
Ana Cristina Sol
MuseografaInstallation Design
Andrs Reyes Gonzlez
11 8 119
WILLIAM KENTRIDGE. FORTUNA se termin de imprimir y
encuadernar el 12 de marzo de 2015 en los talleres de Offset
Rebosn S.A. de C.V., Acueducto 115, col. Huipulco, Tlalpan,
Ciudad de Mxico. Para su composicin se utiliz la familia
tipogrfica Linotype Centennial, diseada por Adrian Frutiger.
Impreso en Domtar Lynx de 216 g y Bond blanco de 120 g y
105 g. La supervisin de produccin estuvo a cargo de Periferia
Taller Grfico. El tiraje consta de 1,000 ejemplares.