Goodman Gallery presents What Have They Done with All the Air?, an exhibition of new drawings and sculptures by William Kentridge. Works featured relate to a new theatre production in the making, titled The Great Yes, the Great No, in which the artist uses the journey of a ship from Marseille to Martinique as a prompt for unpacking power, colonialism and migration.
The story behind The Great Yes, the Great No begins in June 1941, when a converted cargo ship, the Capitaine Paul Lemerle, sailed from Marseille to Martinique. Among the passengers escaping Vichy France were the surrealist André Breton, the anthropologist Claude Lévi-Strauss, the Cuban artist Wifredo Lam, the communist novelist Victor Serge, and the author Anna Seghers. The captain of the boat is Charon, the ferryman of the dead, who calls other characters onto the deck - Aimé Césaire, The Nardal sisters, who together with the Césaires and Senghor had founded the anti-colonial Négritude movement in Paris, in the 1920s and 1930s. Frantz Fanon joins the group along with Trotsky, Frida Kahlo and Diego Rivera. The boat journey is the 1941 crossing of the Atlantic, but also references earlier crossings from Africa to the Caribbean, as well as contemporary forced sea crossings.
In both Oh To Believe in Another World and The Great Yes, The Great No, Kentridge also draws on the green paper itself, and the colour assumes prominent place in the final work, rather than disappearing as a green screen usually would.
The exhibition features a series of new drawings that are used as backdrops in the performance. There are portraits of the characters in The Great Yes, The Great No, as well as imagined scenes from the boat’s arrival in Martinique - an idea of the exotic Caribbean, which is in fact the domestic garden of Kentridge’s Johannesburg studio. Densely packed vegetation is punctuated by fragments of text - phrases such as “the house of justice has collapsed” or “we want no prophets in this garden”. The phrases come from the theatre production and prompt the idea of a drawing being what you read as a text, or a text that, in this case, turns into a garden
Featured Artworks
Create a Goodman Gallery account to view pricing of available artworks and access purchasing.
The exhibition will debut a set of new hand-painted, aluminium and steel sculptures in vivid colour. The origin of these sculptures are a series of small paper sculptures, made from the torn and coloured pages of a 19th century accounting journal from the Chiesa di San Francesco Saverio in Palermo.
Though not directly related to The Great Yes, The Great No, this Paper Procession speaks to the process of costume-making. During periods of intensive workshops in the making of a theatre production, Kentridge and his collaborators work with paper as a way to think about costumes, and their colours. Paper collages become proto-costumes, which sometimes become self-standing figures - as with the For Degas puppets which are also shown.
The Paper Procession figures, like many sculptures in Kentridge’s practice, start as torn paper. The glyph bronzes begin as torn pieces of black paper which find a silhouette. As Kentridge says “it’s finding the silhouette, rather than knowing the silhouette…it’s about recognizing an image as it emerges, rather than knowing it in advance…the randomness of a torn sheet of paper, the imprecision of it, is important.” The offcuts of black paper turned into the Bull, a new bronze sculpture included in the exhibition.
Bringing together these sculptures and drawings, the centrepiece for the show becomes the common point of conception for the work: the act of prototyping with raw materials. This can be seen in the experimental trials of costume design, puppets and props imagined through torn paper, and the cardboard models which can become part of the projection of the performance. Through this process, the building blocks of each new and ongoing project are woven from a common thread.
Artist Bio
William Kentridge (b. 1955, Johannesburg, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions.
In 2024, in Venice, Kentridge premiered a new nine-episode video series, 'Self-Portriait as a Coffee Pot,' - a site-specific installation curated by long-time collaborator and curator Carolyn Christov Bakargiev at the Arsenale Institute for Politics of Representation. Following this, in October, MUBI presented: William Kentridge’s, ‘Self-Portrait as a Coffee-Pot’ Premiere in New York.
In conjunction with the world premiere of his newly commissioned opera, 'The Great Yes, The Great No,' which debuted at LUMA Arles in July 2024, the solo exhibition, 'Je n’attends plus' (I’m Not Waiting Any Longer) presents a collection of major works, some of which had not been seen in Europe before.
Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. An iteration of Kentridge's Royal Academy survey opened at the Taipei Museum of Fine Arts in May 2024. In the same year Kentridge opened another major survey exhibition, 'In Praise of Shadows,' at The Broad, Los Angeles. In 2023, this exhibition traveled to the Museum of Fine Arts, Houston.
Kentridge’s work has been seen in museums across the globe since the 1990s, including the Luma Foundation, France (2024); Arsenale Institute for Politics of Representation, Venice (2024); Taipei Fine Arts Museum (2024); Museum of Modern Art, New York (1999, 2005, 2010); Albertina Museum, Vienna (2010); Musée du Louvre, Paris (2010); National Museum of Modern and Contemporary Art, Korea; Reina Sofia Museum, Madrid (2015); Kunstmuseum Basel (2019); Norval Foundation, Cape Town (2019). The artist has also participated in biennale’s including Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).
Collections include: MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; Haus der Kunst, Munich; Sharjah Art Foundation, Sharjah; National Museum of Modern Art, Kyoto; Guggenheim, Abu Dhabi and Zeitz MoCAA, Cape Town.
Kentridge lives and works in Johannesburg, South Africa.
