William

Kentridge:

the

Pull

of

Gravity

review

—

romp

with

a

playful

genius

You might think of William Kentridge as a political artist. Born and raised in South Africa, the son of barristers who represented those oppressed by the apartheid system, he is internationally recognised especially for his mesmerising films that use hand-drawn charcoal animation, rubbed out and redrawn, along with live performers, to explore social injustice and the abuse of power.

So you would be right, but Yorkshire Sculpture Park’s exhibition takes a different tack, focusing on the way that, over the past couple of decades, Kentridge has shifted towards sculpture, beginning with the kinetic props that form part of his installations and theatre or opera productions.

Here only one of these, Singer Trio (2019), is functional, but it does sing at you when you approach. Made of sewing machines, it’s a nice indication of the absurdity to come. Inspired by Dada and Surrealism, there is something captivating and playful about Kentridge’s work, even when it’s in service of serious matters.