What is clear is that there are different moments of South African political unfolding which seemed peripheral to the projects while I was making them, but which on looking back seem very much the theme that runs through them.
In the nine films that follow Soho Eckstein's life, an increasing vehemence is placed on the health of the individual and contemporary South African society. Inhe was appointed a film-maker by Stereoscope.
He conveys it through his erasure technique, which contrasts with conventional cel-shaded animationwhose seamlessness de-emphasizes the fact that it is actually a succession of hand-drawn images. The title, Casspirs Full of Love, written along the side of the print, is suggestive of the narrative and is oxymoronic.
Initially I would always conceive Soho as an other, as an alien, very much based on images of rapacious industrialists from Russian and early Futurist propaganda drawings, of George Grosz and German Expressionism.
In each short animation, Felix Teitelbaum progressively resembles his creator William Kentridge more and more, like those self-portraits from the Renaissance in which the artist depicts himself in one corner of the picture. As the film progressed, it became less a portrait of Johannesburg than I had anticipated.
It isn't like a writer who has a story they have to tell, and so they write a novel. In his sculpture, Il cavaliere di Toledo, was unveiled in Naples. Readers may contact any Animation World Magazine contributor by sending an e-mail to editor awn.
Inhe was appointed a film-maker by Stereoscope. The four houses that I have lived in, my school, my studio, have all been less than two miles from each other. Somehow the stereoscope here works as a surrogate for the camera. Over the next few films, up to Weighing and Wanting, I understood Soho and Felix much more as two different sides of one character rather than two fundamentally different characters.
At one stage it was in the middle of the film, and I didn't understand what it was being said in response to. I have never tried to make illustrations of apartheid, but the drawings and films are certainly spawned by and feed off the brutalized society left in its wake. These extremely important works, the best of which reflect a blasted, dystopic urban landscape, demonstrate the artist's growing consciousness of the flexibility of space and movement.
You said that you start the films from the center outwards. One has a universal image of what an old typewriter looks like in one's head, so there is an image of it, but it will be bland and inaccurate. The drawings and the films interrelate in two ways: It is as if the in-depth exploration of a deeply disquieting personal memory, infused with a horrifying history and politics, is many steps too far for our contemporary awareness.Point Of View: An Anthology of the Moving Image is a DVD series that features eleven leading artists from different generations and cultural perspectives, who are among the most important artists working in film, video, and digital imagery today: Francis Alys, David Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien.
Apr 25, · According to Kentridge, the sequences with several successive transformations of words, numbers, isolated letters or sentences in other elements, work as a calligraphy associated with “automatic writing”.
Automatic writing was a common method used by the Dadaists and Surrealists’ to write poetry or to draw images. In his drawings and animations, William Kentridge articulates the concerns of post-Apartheid South Africa with unparalleled nuance and lyricism.
In the inventive process by which he created his best-known works, Kentridge draws and erases with charcoal, recording his compositions at each state.
William Kentridges animated charcoal drawings depict struggle, time, change, and thought. These common themes are woven around issues of political and social injustice, revolution, and conflicting ideologies pertaining to his home in South Africa.
In his film Automatic Writing, Kentridge portrays a world where writing and drawing merge. William Kentridge: Stereoscope. Lilian Tone. The filmed drawings, or drawn films, of William Kentridge inhabit a curious state of suspension between static to time-based, from stillness to movement.
William Kentridges animated charcoal drawings depict struggle, time, change, and thought.
These common themes are woven around issues of political and social injustice, revolution, and conflicting ideologies pertaining to his home in South Africa.
In his film Automatic Writing, Kentridge portrays a world where writing and drawing merge.Download