Why Should I Hesitate: Sculpture William Kentridge
24 August 2019 – 23 March 2020
Atrium and Galleries 2–8, Norval Foundation
Curated by Karel Nel, Owen Martin, Talia Naicker, Vicky Lekone
Norval Foundation To Host First Survey Of William Kentridge’s Sculptures
In Why Should I Hesitate: Sculpture, visitors will encounter a range of new and historical artworks that have been produced over the last two decades, which narrate Kentridge’s engagement with threedimensional form. Running from 24 August 2019 to 23 March 2020, Norval Foundation’s exhibition will coincide with a complimentrary exhibition Why Should I Hesitate? Putting Drawings To Work, at Zeitz Museum of Contemporary Art Africa, which takes Kentridge’s drawing practice as its focal point.
Why Should I Hesitate: Sculpture will be the first exhibition internationally to address Kentridge’s output as a sculptor, and is a unique focus on this aspect of his practice. Covering several bodies of work, and testifying to his longstanding improvisation when handling three-dimensional form, this exhibition sees the origins of these works in props from his operas and images from his animations stepping off the stage and out of the screen, confronting us directly at ground level. Why Should I Hesitate: Sculpture will also premiere new works commissioned for this exhibition.
A central concern of Why Should I Hesitate: Sculpture is an understanding that Kentridge’s sculptures have agency. Kinetic sculptures make use of megaphones on survey tripods, a deft nod to Russian Constructivism, and imply a propogandist’s broadcasting of an impersonal and mechanical authority.
In Singer Trio (2018), for example, ‘ready-made’ sewing machines are given voices for a performance enacted in unison, their megaphones synchronised as they take on a new and humorous presence in this world.
Many of Kentridge’s sculptures embody an animated spectacle. Proceeding through a seemingly random construction of abstract planes, as in World on its Hind Legs (2009), we see how graphic forms unexpectedly align, snapping into an organised whole which is visually and metaphorically charged. Move a little further, and the form dissipates once again.
Elsewhere, Kentridge’s repertoire of everyday objects and off-the-cuff ideas are translated into rows of small bronze sculptures, syntactically arranged on a shelving unit to read as lines of text on a page. In Paragraph II (2018), horse, nose, jug, camera, megaphone and others, line up to seemingly make rebuses, those visual puzzles evoking words which so delighted the early Surrealists.
Several pieces from Kentridge’s visual lexicon have been reworked into scaled-up plaster prototypes from which
monumental bronze sculptures have been cast: a gigantic corkscrew, a collapsing jug of Cubist descent, a visual flourish in the form of an ampersand, and the intense presence of an enormous ciné camera – the observing alter ego of Kentridge’s prodigious output perhaps?
The ruptured narrative, so powerfully visible in Kentridge’s work, is choreographed into serried dislocations which collide the space between the personal and the political, the operatic and the mundane, the apparently irrelevant and the socially pertinent. Approaching Kentridge’s sculptures opens us up onto a Dadaist landscape, which both challenges and beguiles.
“Norval Foundation is presenting, for the first time, an exhibition focused solely on William Kentridge’s sculptural practice, working in conjunction with the artist and his studio. Kentridges’ sculptures embrace a spontaneous approach and have recently evolved towards the massive, and the monumental.
Simultaneously, and in tension to the monumental aspects of his practice, he is revealed to be a choreographer as much as a sculptor,” – Karel Nel, Senior Advising Curator, Norval Foundation.
“Norval Foundation is proud to be hosting Why Should I Hesitate: Sculpture. A key aspect of the Foundation is our commitment to exhibiting the sculptural and installation based practices of a variety of artists, which is facilitated by our purpose-designed building. In particular, we invite artists and curators to respond to gallery eight, our largest gallery, with William Kentridge’s exhibition exemplifying this. The gallery has reinforced floors to support works that weigh as much as eight tons, and reach as high as nine metres. The monumental size of this gallery sits in an ideal contrast to the anti-monumental, spontaneous and theatrical sculptures that form part of this exhibition.” – Elana Brundyn, CEO, Norval Foundation.
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