William Kentridge on Memory and how we deal with it

Interviewed by Carolyn Christov-Bakargiev, William Kentridge says:

All my work is part of a single project. I don’t see a great shift. In Il Ritorno d’Ulisse I was looking at the body as a metaphor for our relationship to memory and the unconscious, acknowledging that there are things happening under the surface, which we hope will be well contained by our skin. We hope that our skin will not erupt, that parts of us will not collapse inside. The body in this sense is other to us; we shepherd it along like an ox, hoping it will come quietly to market and not run away. In recent works such as stereoscope I’m interested in the co-existence of all those contradictory strands, and what it means to synthesize them into one subjectivity.

Stereoscope is about the cost of trying to bring these disparate parts of oneself together.

In Cameron, Christov-Bakargiev, Coetzee. “William Kentridge” (1999) London, Phaïdon, p.23.

To watch Kentridge’s Stereoscope, click HERE.

The CAC of Málaga (Spain) is exhibiting Kentridge’s work until 13 May 2012. I just can’t wait to go, see it and meditate. (http://cacmalaga.org/?p=5046)


“No, this isn’t me”: on hidden memories


Hubo un lugar [reconstructed] 2012

« 3.

No, this isn’t me, someone else suffers,

I couldn’t stand it. All that’s happened

They should wrap up in black covers,

The streetlights should be taken away…

Night. »

1939. Requiem, Anna Akhmatova.[1]

Reconstructing Historical Memory[S]: click HERE to access the project’s page

Hubo un lugar, 40 x 80 cm & reconstructed X-ray (2012)

[1] A. Akhmatova, Requiem. English translation by Lyn Coffin. New York/ London, W.W. Norton & Company, 1983, p. 84.