Medicine Chest. 1999. Charcoal on paper. Courtesy of the artist.
On February 7, the Henry Art Gallery will open two fantastic exhibitions in the North Galleries. The Henry is proud to present the exhibition William Kentridge, an array of the South African artist’s work in visual art, including three of his celebrated films, as well as drawings, prints, sculpture, a performance work i am not me, the horse is not mine (on March 9), and a selection of recent stereoscopic images he produced as photogravures in conjunction with Pacific Operaworks, Seattle’s new chamber opera company, premiere of Kentridge’s staging of the Monteverdi opera, The Return of Ulysses for the West Coast at the Moore Theater in March and the exhibition +ROOM-ROOM, a pair of new sound works by Yann Novak (Los Angeles) and Jamie Drouin (Victoria, BC) with a performance by the artists on February 6.
South African artist William Kentridge has garnered international fame and admiration for performance, sculpture, drawings, and work in many other media, but his most indelible contribution is in animated film. Kentridge makes large-scale charcoal drawings that he erases and redraws continually, adding new elements or transforming one subject into a very different other, filming each subtle shift to animate them, literally giving movement, meaning, and life to the images he creates.
Kentridge’s interest in character and seriality, which is key to understanding his embrace of film, are both derived in part from his considerable experience working in theater. By scripting, directing, acting, and designing the sets, costumes, and posters for dozens of productions from 1975 to the present, Kentridge has become a master of finding the single gesture that sums up an entire personality.
Jamie Drouin & Yann Novak. +ROOM–ROOM preparation view. June 2007. Courtesy of the artist. Photo: Jamie Drouin.
+ROOM-ROOM is a pair of sound installations for two adjacent galleries at the Henry. Artists Yann Novak and Jamie Drouin will each individually explore how the perception of these familiar places is transformed by sound. Through contrasting sensory experiences, the installations create an experiential divide between the two virtually identical rooms and restructure notions of architectural solidity and singularity in favor of more flexible, intuitive perceptions. The aural compositions, based on actual ambient noises recorded in the galleries, turn attention onto the spaces themselves and encourage us to rethink the ways in which we process physical location, and create assumptions about our surroundings. In collaboration with the artists, the Henry will produce a CD of stereo versions of the works.
Stay tuned to Hankblog as we feature these exhibitions, artists, and events in a series of posts in the next month.
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