by How is it for Vanity Art: William Kentridge sits briefly in the air on a horse like a Roman emperor while checking his horse. In addition to this statue, it is not as solid as it sounds, but a photographic murals from Kentridge in the riding of pile behind a skeletal wooden horse, which was built from parts of the artist’s seasons with a saddle that was slaughtered above his cardboard tubes. Kentridge mocks himself and mocks the demands of the sculpture. Or? There is a confident show off brilliance for this illusion and the parallel to a former great artist is obvious.
Another sculpture, a firmer goat, is a swirling line that goes through in space and is covered with the goat’s head. It is a tribute to Picasos 1950 sculpture, the goat. When you see Picasso’s art, it is not so much a specific work that affects you as a limitless flow of creativity that moves from one style to another in an inexhaustible, playful stream. Kentridge is entitled to this inheritance here – and with justification. He is almost the only artist who can make it comparably dizzy with the abundance of his creativity, while his impulses from drawing to the film to Collage and back to draw.
Related: Is that an artist – or a coffee pot? The great William Kentridge reveals the strange secret of a great self -portrait
Always draw. In his 2015 film, dance, dance, reality and magically play out with each other: a Silhouetted procession of real people who dance to jazz and African music through a blown -out landscape and wear banners and sculptures that are actually Kentridge drawings. Sketches are worn in the air as if they were flags, while the airlines are partially covered. It is genius.
More cute play the dance that was created as an elegy for victims of Ebola is the kind of collective works of art in which Kentridge is characterized. This Johannesburg artist does political art, not as much through declamatory content as through cooperation with communities of musicians, dancers, actors. It can capture collective tragedies and include modern history. The power of this film is improved by showing several screens, a hug that moves constantly moving panorama with noise from reused gramophonic horns. In the same demonstration room, in which one can believe in another world, its animated history of the Soviet Russia becomes an even more threatening farce than it was recently shown on a single screen with live orchestra on the south bank.
On the whole, Kentridge film art is much more convincing than his sculptures. He brings everything together on the screen and encourages his drawings, collages and dolls, using sound as excellent as a conductor that makes sense. When he was three years old, Kentridge wanted to be elephant, but when he was 14 years old, his dream was to lead an orchestra.
He became an artist in both ambitions. Self-portrait as a coffee pot tells this autobiographical story in a number of nine films that are shown on a large television screen in a corner of a gallery that is newly created-and it takes all day before it can see in its entirety. It should be on television, because in a documentary with Kentridge as a key “moderator”, which speaks in his deep voice and his soft accent, it is created in a way that reminds of the big television autor moderators of the past like Jacob Bronowski or Robert Hughes. Unless he is always interrupted by his own double.
The technological magic that enables Kentridge to debate with yourself is so state -of -the -art art that you see twice. Both Kentridges wear their usual white shirt and speak with the same convincing voice, but they disagree. When Kentridge One remembers a picnic in children when the family ate cooked eggs and sardines in a spreading newspaper, Kentridge differs two. “What newspaper was it?” “The Sunday times.” “Our mother would never have spread a newspaper for a picnic and, above all, not the Sunday times.”
As they argue, they draw and the drawings flow exquisite when he remember reminded landscapes, self -portraits and still life. But as his title suggests, this is not an uncomplicated denominational work of art. How can you know who you are when you can’t even agree with your esteemed memories?
Kentridges true identity that I, that counts, is indeed a US. He looks in the mirror to admire his own noble characteristics, in a sequence that is inspired by the delicat soup of the Marx Brothers, and instead sees a black woman who looks back on him. While a Kentridge says he is most himself while he is introspectively drawing, the other claims that he works most in theater himself, opera, as you call it. These two facets show a subtle soul that happily moves between private ideas and public designs.
Movement is the essential. The cinema is in every fiber of its being. It shows a number of small bronze sculptures on the shelves and it is like a film role. So freeze his pictures as a monumental sculpture, such as the attempt to remedy a childhood memory in your head? No. These sculptures are just another experiment for an artist who is always in motion and always ready to share. At the top of the Green Hill above the gallery is its huge bronze sculpture of an amplifier (&). Dark and strong and yet funny and warm, the typographic symbol for “and” is a perfect symbol for its art art.
• William Kentridge: Gravity takes place in Yorkshire Sculpture Park, Wakefield, from June 28th to April 19th
