{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Works by South African artist William Kentridge go on show' data-url='/boclips/videos/5c54d31bd8eafeecae1e711a' data-video-url='/boclips/videos/5c54d31bd8eafeecae1e711a' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nWorks by South African artist William Kentridge go on show\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eDENMARK ART SOURCE: AP HORIZONS, LIFESTYLE, HEALTH AND TECHNOLOGY RESTRICTIONS: HORIZONS CLIENTS AND AP LIFESTYLE, HEALTH AND TECHNOLOGY CLIENTS ONLYLENGTH: 6:44SHOTLIST:AP TelevisionHumlebaek, Denmark - 15 February 20171. Various of...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eDENMARK ART SOURCE: AP HORIZONS, LIFESTYLE, HEALTH AND TECHNOLOGY RESTRICTIONS: HORIZONS CLIENTS AND AP LIFESTYLE, HEALTH AND TECHNOLOGY CLIENTS ONLYLENGTH: 6:44SHOTLIST:AP TelevisionHumlebaek, Denmark - 15 February 20171. Various of 'More Sweetly Play The Dance' 2015 on display at Louisiana Museum of Modern Art's new William Kentridge exhibit 'Thick Time'2. Various of 'Drawings for Lulu' 2012-2015 3. SOUNDBITE (English) Mathias Ussing Seeberg, Curator:\"We're showing William Kentridge's later work from 2003 to 2016, where he has expanded his artistic practice and included a lot of his personal interests like theatre and literature in these great environments that people can enter and be surrounded by living images and sound.\"4. Various of 'The Refusal of Time' 20125. Various of 'O Sentimental Machine' 20156. SOUNDBITE (English) Mathias Ussing Seeberg, Curator:\"It's kind of William's way of blending the theatre experience. So, you have the seats where people are sitting, you have the orchestra pit, you have the stage and you have the backstage area. And in William's world they are all together in the same room because you have always in a way, especially in his later work, the creation of the piece and the experience of it is like one experience.\"7. Various of 'World on its Hind Legs' 20108. Wide of 'Shadow Figure II' 2016 (left), 'Shadow Figure I' 2016 (centre) and 'Shadow Figure IV' 2016 (right)9. Tilt down of 'Shadow Figure IV' 201610. Wide of 'Fire Walker' 2009 (left) and 'Sculpture for Return (Double Half Horse)' 2008 (right)11. Various of 'Sculpture for Return (Double Half Horse)' 2008 12. SOUNDBITE (English) Joanna Dudley, Performer:\"It's certainly drawing on the history of South Africa, it's drawing on his own personal history and then also for me it's the whole world. It's life, it's death, it's the celebration of life and death, it's a celebration of birth, so it's very human, it can be very funny, but at the same time you can cry at any minute.\"13. Various of 'Untitled (Small Bellows - Closed Mechanism)' 201314. Various of 'Heartbeat Sewing Machine' 201615. Various of visitor watching 'Second-Hand Reading' 201316. SOUNDBITE (English) Joanna Dudley, Performer:\"The lovely thing with William is that even pieces like this, they're also theatrical pieces in themselves and then of course you've got the installations that are, it's film, it's performance, it's dance, it's philosophy and they are entire art worlds as well as political worlds.\"17. Various of 'Drawing for Other Faces' 201118. Various of 'He That Fled His Fate' 201119. Various of 'Rubrics' 201220. SOUNDBITE (English) Mathias Ussing Seeberg, Curator:\"He talks about not wanting to adhere to the purity of form and I think that's something that's very closely connected to Johannesburg. Because on one side he says; 'You could say it's a terrible city,' I mean there's so many social problems in the city and in the country as a whole, but at the same time I think to him it's such an inspiring and dynamic place to be because there's no one way to do things. So, one community will do things one way and another community will do things another way.\"21. Various of 'Drawing for Sobriety, Obesity \u0026 Growing Old' 199122. Wide of Louisiana Museum of Modern Art23. Wide of sculpture on display, sea in backgroundLEADIN:Parading brass bands, immersive video installations and detailed charcoal sketches are the later works of renowned South African artist, William Kentridge, now on show in Denmark.Best-known for confronting dark themes, including South Africa's apartheid, in recent years Kentridge has created video works inspired by his love of theatre and literature.STORYLINE:Parading through Denmark's Louisiana Museum of Modern Art, the complex work of well known South African artist, William Kentridge.In this video installation, named 'More Sweetly Play The Dance', Kentridge has created a processional work, including a merrily playing brass band.But look beneath and there are refugees, prisoners and hospital patients, all wandering through life.Louisiana art museum (around 35 kilometres north of central Copenhagen) is presenting its new major spring exhibit, which explores Kentridge's more recent work.It focuses on prominent works from 2003 onwards, particularly large video installations which have dominated his work for the last 15 years.There's also these simple charcoal drawings for which Kentridge is perhaps best known.\"We're showing William Kentridge's later work from 2003 to 2016,\" explains Mathias Ussing Seeberg.\"Where he has extended his artistic practice and included a lot of his personal interests like theatre and literature in these great environments that people can enter and be surrounded by living images and sound.\"In this large installation, named 'Refusal of Time', Kentridge mixes opera, theatre, literature, music, film, drawing, performance and sculpture all in one work.It examines the development of the measurement of time.In this installation, named 'O Sentimental Machine', the South African artist takes aim at Russian revolutionary Leon Trotsky.The title refers to Trotsky's claim that humans are sentimental, programmable machines. Kentridge's artwork makes a humourous attempt to explore that claim.\"It's kind of William's way of blending the theatre experience,\" explains Ussing Seeberg. \"So, you have the seats where people are sitting, you have the orchestra pit, you have the stage and you have the backstage area. \"And in William's world they are together in the same room because you have always in a way, especially in his later work, the creation of the piece and the experience of it is like one experience.\"The exhibit also includes a number of smaller film works, drawings, sculptures and complex-looking machines.\"It's certainly drawing on the history of South Africa, it's drawing on his own personal history and then also for me it's the whole world,\" says performer Joanna Dudley, who's worked with Kentridge for years. \"It's life, it's death, it's the celebration of life and death, it's a celebration of birth, so it's very human, it can be very funny, but at the same time you can cry at any minute.\"Born in 1955, Kentridge is known for confronting dark themes in his work, including the oppression and brutality of apartheid.His father was a prominent anti-apartheid lawyer in South Africa. Cultural boycotts due to apartheid meant Kentridge had to develop his own unique style without being influenced by major art centres around the world.In 'Drawing For Other Faces', Kentridge captures the unique Johannesburg landscape in this trademark charcoal drawing.Ussing Seeberg says Kentridge found inspiration in Johannesburg, particularly it's colourful, perhaps imperfect nature. \"He talks about not wanting to adhere to the purity of form and I think that's something that's very closely connected to Johannesburg,\" he says. \"Because on one side he says; 'You could say it's a terrible city,' I mean there's so many social problems in the city and in the country as a whole, but at the same time I think to him it's such an inspiring and dynamic place to be because there's no one way to do things. \"So, one community will do things one way and another community will do things another way.\"'William Kentridge - Thick Time' runs 16 February - 18 June 2017 at Denmark's Louisiana Museum of Modern Art. ====Clients are reminded: (i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com. 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