威廉・肯特里奇1955年生於南非約翰尼斯堡,創作形式橫跨繪畫、影像、雕塑及劇場,為當代最具影響力的藝術家之一。此次回顧其19部短片作品,分為兩選輯放映,包括其最著名的炭筆動畫「素描投影」。同步選映與他長期合作的人類學家羅薩琳德.莫里斯記錄南非非法礦工的《我們是Zama Zama》,互為參照。
 
礦產豐富的南非曾歷經荷、英殖民統治,種族分治燃起常年衝突,並隨1948年執行種族隔離後達到高峰,至1990年代初期才邁向轉型。父母均為人權律師的肯特里奇,或許自小便意識到歧視如何以法制之名大行其道,也見證地景與人性如何被制度化的暴力蹂躪。
 
對政治現實的反思固然為其創作底蘊,他卻不在作品中再現或指涉特定事件,取而代之的是將殖民歷史、種族衝突、階級問題轉化為想像力奔馳的線條構圖。於是在「素描投影」中,資本家的咖啡濾壓壺成了直通暗黑地底的鑽地機具,死於警察暴力的抗爭者屍首也瞬間化為滋養城市的養分。在墨黑筆觸的抹去與重構之間,南非的歷史記憶一如紙上殘跡般如影隨形。
 
肯特里奇筆下的藝術創作無所謂全知,真實也如流動善變的手繪筆跡,僅是片刻暫存的標記。他或許並非典型的紀錄片作者,然其對歷史記憶的轉化,以及對媒介如何記錄與詮釋真實的警醒,在在對影像與現實的關係提出反思,也為所謂的寫實延伸出更複雜多義的可能。
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代表圖片

Shadow Procession

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Journey to the Moon

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Sibyl

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.

 

Second-hand Reading

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Tango for Page Turning

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Sonnets

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Carnets d'Egypte

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Soft Dictionary

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.
 

Johannesburg: 2nd Greatest City after Paris

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time.

Monument

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time.

Filmmaker in Focus: William KENTRIDGE

William KENTRIDGE was born in 1955 in Johannesburg, South Africa. Versatile and prolific, with creative works spanning drawing, film, sculpture and theatre, he is regarded as one of the most influential contemporary artists.

Mineral-rich South Africa was once colonised by both the Dutch and the British. Racial division during those times fueled perennial conflicts, reaching a peak with the implementation of apartheid in 1948. It was not until the early 1990s that the country finally began to transform. With both parents working as human rights lawyers, he might realise from an early age how discrimination could be perpetuated in the name of the law, and also witness how a land and humanity could be ravaged by institutionalised violence.

Though reflections on political realities form the foundation of his creations, he does not reproduce or refer to specific events in his works. Instead, colonial history, racial conflict and class struggle are converted into wildly imaginative line compositions. In the charcoal animated Drawings for Projection series, the capitalist’s coffee press became a driller heading straight into the dark underground; the corpses of protesters killed by police violence instantly turned into nutrients nourishing the city. Between the repeated erasing and reconstructing of ink-black pen strokes used to create these short films, the historical memories of South Africa lurk like the traces left behind on paper, following closely like a shadow.

KENTRIDGE’s works see no ‘omniscience’, while ‘truth’ is just like the flowing, fickle traces of his hand-drawn strokes, merely marks of temporary moments. He is perhaps not a typical documentary filmmaker, yet his transformation of historical memories and alertness towards how media can document and interpret truth tend to always offer reflections on the relationship between images and reality, as well as extend the possibility of more complex meanings of so-called ‘realism’.

Films

Carnets d'Egypte

Carnets d'Egypte

2010
2013
South Africa
34min
威廉.肯特里奇
William KENTRIDGE

City Deep

City Deep

2020
South Africa
10min
威廉.肯特里奇
William KENTRIDGE

Felix in Exile

Felix in Exile

1994
South Africa
9min
威廉.肯特里奇
William KENTRIDGE

History of the Main Complaint

History of the Main Complaint

1996
South Africa
6min
威廉.肯特里奇
William KENTRIDGE

Johannesburg: 2nd Greatest City after Paris

Johannesburg: 2nd Greatest City after Paris

1989
South Africa
8min
威廉.肯特里奇
William KENTRIDGE

Journey to the Moon

Journey to the Moon

2003
South Africa
8min
威廉.肯特里奇
William KENTRIDGE

Mine

Mine

1991
South Africa
6min
威廉.肯特里奇
William KENTRIDGE

Monument

Monument

1990
South Africa
3min
威廉.肯特里奇
William KENTRIDGE

Other Faces

Other Faces

2011
South Africa
10min
威廉.肯特里奇
William KENTRIDGE

Second-hand Reading

Second-hand Reading

2013
South Africa
7min
威廉.肯特里奇
William KENTRIDGE

Shadow Procession

Shadow Procession

1999
South Africa
7min
威廉.肯特里奇
William KENTRIDGE

Sibyl

Sibyl

2020
South Africa
10min
威廉.肯特里奇
William KENTRIDGE

Sobriety, Obesity and Growing Old

Sobriety, Obesity and Growing Old

1991
South Africa
8min
威廉.肯特里奇
William KENTRIDGE

Soft Dictionary

Soft Dictionary

2016
South Africa
3min
威廉.肯特里奇
William KENTRIDGE

Sonnets

Sonnets

2012
South Africa
3min
威廉.肯特里奇
William KENTRIDGE

Stereoscope

Stereoscope

1999
South Africa
8min
威廉.肯特里奇
William KENTRIDGE

Tango for Page Turning

Tango for Page Turning

2012
South Africa
3min
威廉.肯特里奇
William KENTRIDGE

Tide Table

Tide Table

2003
South Africa
9min
威廉.肯特里奇
William KENTRIDGE

Weighing... and Wanting

Weighing... and Wanting

1998
South Africa
6min
威廉.肯特里奇
William KENTRIDGE
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