former Rissei Elementary School
Kyoto
310-2 Bizenjima-cho, Nakagyo-ku

William Kentridge
dal 6/2/2014 al 15/3/2014
11am-7pm, closed on wednesdays
+81-75-257-1453 FAX +81-75-257-1454
WEB
Segnalato da

Parasophia Office


approfondimenti

William Kentridge



 
calendario eventi  :: 




6/2/2014

William Kentridge

former Rissei Elementary School, Kyoto

The Refusal of Time. As a prelude to 'Parasophia: Kyoto International Festival of Contemporary Culture 2015', the Asian premiere of his large-scale video installation. It's a 5-channel video installation with a complex soundscape, megaphones, and a large breathing machine that Kentridge calls the 'elephant'.


comunicato stampa

As a prelude to Parasophia: Kyoto International Festival of Contemporary Culture 2015, almost exactly a year in advance, we will present the Asian premiere of South African artist William Kentridge’s large-scale video installation, The Refusal of Time (2012). The Refusal of Time is a 5-channel video installation with a complex soundscape, megaphones, and a large breathing machine that Kentridge calls the ‘elephant.’ The work was made for Documenta 13 (Kassel, 2012), where its deep meditation on time and the rich visual experience it offers brought critical and popular acclaim from the hundreds of thousands of visitors from around the world. It is appropriate that this important work is shown for the first time in any Asian country here in Kyoto, a city that has strong ties with the artist, with a history including his lecture at Doshisha University when he first came to Japan in 2008 by the invitation of the Agency for Cultural Affairs, his large-scale traveling exhibition (also his first solo exhibition in Japan) that opened at the National Museum of Modern Art, Kyoto in 2009, and, of course, the 2010 Kyoto Prize in Arts and Philosophy, of which he is the youngest laureate to date.

In the late 1980s, Kentridge began creating his signature ‘drawings in motion,’ which are made by photographing charcoal-and-pastel drawings with a 35 mm motion picture camera, adding new marks and erasures frame by frame to make the drawings ‘move.’ These animated works sent shock waves throughout the art world, and he continues to be a great influence on young artists everywhere.

The Refusal of Time arose in part out of a series of conversations with the American historian of science Peter Galison of Harvard University on matters including the history of the control of world time, relativity, black holes, and string theory, as well as workshops featuring the South African dancer Dada Masilo, who is especially known for her innovative and unconventional high-speed interpretations of classical ballet. The work is characterized by a kind of ambiguity, with what appears to be time’s refusal of humanity’s endless efforts to seek out its meaning, or its refusal to be defined, and, on the other hand, humanity’s refusal or attempts to escape from the rules and restrictions set by time as defined by humanity. It presents an important milestone indicating Kentridge’s current intellectual position in his ceaseless examination of the universal and primordial issues of the modern age. Of the six editions that were made of this work, most were acquired by major public collections around the world soon after its first showing at Documenta 13. This exhibition was made possible by the cooperation of the owner of edition 5/6, the Ishikawa Collection (Okayama) in Japan.

Music and soundscape: Philip Miller
Video editing: Catherine Meyburgh
Dramaturg: Peter Galison

Presented by:
Kyoto International Festival of Contemporary Culture Organizing Committee, Kyoto Association of Corporate Executives (Kyoto Keizai Doyukai), Kyoto Prefecture, Kyoto City

Under the auspices of:
Inamori Foundation, The Japan Foundation

From the collection of:
Ishikawa Collection (Okayama)

With the cooperation of:
Kyoto City University of Arts, Kyoto Institute of Technology, Kyoto Seika University, Kyoto University of Art and Design

Funded in part by a grant from:
Nomura Foundation

Approved by:
Association for Corporate Support of the Arts, Japan

Related event:

William Kentridge “Escaping One’s Fate: Commenting on The Refusal of Time”
The artist will come to Kyoto and speak about The Refusal of Time.
Lecturer: William Kentridge
Date: February 22 (Sat.), 2014 1:00–3:00 PM
Venue: Ponto-chō Kaburenjō Theater
130 Hashishita-chō, Nakagyō-ku, Kyōto 604-8003 (south of Pontochō and Sanjō)
5 min. walk from Exit 6, Sanjō Station, Keihan Main Line
10 min. walk north from Exit 1a, Kawaramachi Station, Hankyu Kyoto Line (Station HK86)
5 min. walk east from Kawaramachi Sanjō, Kyoto City Bus
* No parking available. (Paid parking lot for bicycles located near venue.)
Language: English (with consecutive interpretation into Japanese)
Maximum capacity: 350 seats
Admission: Free (no reservation required)

Access Program:
The following events in our Access Program will be held as part of our Public Program:

Feb. 15: Prelude: Access Program [History of Cinematography] Kiyotaka Moriwaki
Feb. 16: Open Research Program/Prelude: Access Program [Narrative Generation] Toh EnJoe
March 1: Prelude: Access Program [Social Philosophy] Masaki Nakamasa “Philosophical Consideration on the ‘Time of Art’: Implications of ‘Time Experience’ in the Discourses of Heidegger, Benjamin, and Other German Thinkers”
March 8: Prelude: Access Program [Science/Physics] Humitaka Sato “Making the Time”
March 9: Prelude: Access Program [Aesthetics & Theory of Arts] Hiroshi Yoshioka

Feb. 15: Prelude: Access Program [History of Cinematography] Kiyotaka Moriwaki

Lecturer: Kiyotaka Moriwaki (Senior Curator, Kyoto Film Archive, The Museum of Kyoto; Professional Advisory Board member, Parasophia: Kyoto International Festival of Contemporary Culture 2015)
Date: Saturday, February 15, 2014 3:00–4:30PM
Place: Study Room (Woodshop classroom, 1F), former Rissei Elementary School
Language: Japanese
Maximum capacity: 40 seats
Admission: Free (reservation required)
Reservations: Please fill in and submit the following application form (in Japanese only). Reservations are made on a first-come, first-served basis.

Kiyotaka Moriwaki // Senior Curator, Kyoto Film Archive, The Museum of Kyoto; Professional Advisory Board member, Parasophia: Kyoto International Festival of Contemporary Culture 2015. Born 1962. Moriwaki has been involved in collecting, preserving, and facilitating access to the films and related materials in Kyoto Prefecture’s collection since the Museum of Kyoto opened in 1988. Organizes screenings at the museum for more than 100 works every year, as well as other events and projects that are based in the long and rich history of cinema in Kyoto. Twitter: @mk_pai

Feb. 16: Open Research Program/Prelude: Access Program [Narrative Generation] Toh EnJoe

Lecturer: Toh EnJoe (writer)
Date: Sunday, February 16, 2014 3:00–4:30PM
Place: Study Room (Woodshop classroom, 1F), former Rissei Elementary School
Language: Japanese
Maximum capacity: 40 seats
Admission: Free (reservation required)
Reservations: Please fill in and submit the following application form (in Japanese only). Reservations are made on a first-come, first-served basis.
* This event is also part of our Open Research Program.

Toh EnJoe // Writer. Born 1972. Ph.D., Department of Arts and Sciences, Graduate School of Arts and Sciences, The University of Tokyo. EnJoe was a finalist for the 7th Komatsu Sakyō Award (2006), an award for science fiction novels, for his first novel, Self-Reference ENGINE (Tokyo: Hayakawa Shobō, 2007). The same novel was nominated for the 2014 Philip K. Dick Award in January 2014 (award expected to be announced in Spring 2014). Awards received include the 104th Bungakukai Shinjinsho, a prize for new writers by the magazine Bungakukai (literally, Literary World Newcomer’s Prize), for Obu za bēsbōru [Of the baseball] (Tokyo: Bungeishunju Ltd., 2007); the 32nd Noma Bungei Shinjinshō (literally, Noma Prize for New Writers) for Uyūshitan (Tokyo: Kōdansha, 2009); and the 146th Akutagawa Prize for Dōkeshi no chō [Harlequin's butterflies] (Tokyo: Kōdansha, 2012). In 2012, he completed Project Itoh’s unfinished novel Shisha no teikoku [The empire of corpses] (Tokyo: Kawade Shobō Shinsha, 2012), for which he received a Special Award from the 33rd Nihon SF Taisho Award. In addition to the full translation of Self-Reference ENGINE (translated by Terry Gallagher; San Francisco, CA: VIZ Media, 2013), partial translations of his work have been published in various media. Tumblr: enjoetoh.tumblr.com Twitter: @EnJoeToh

March 1: Prelude: Access Program [Social Philosophy] Masaki Nakamasa “Philosophical Consideration on the ‘Time of Art’: Implications of ‘Time Experience’ in the Discourses of Heidegger, Benjamin, and Other German Thinkers”

Lecturer: Masaki Nakamasa (Professor, Human and Socio-Environmental Studies, Kanazawa University Graduate School)
Date: Saturday, March 1, 2014 3:00–4:30PM
Place: Study Room (Woodshop classroom, 1F), former Rissei Elementary School
Language: Japanese
Maximum capacity: 40 seats
Admission: Free (reservation required)
Reservations: Please fill in and submit the following application form (in Japanese only). Reservations are made on a first-come, first-served basis.

Masaki Nakamasa // Professor, Human and Socio-Environmental Studies, Kanazawa University Graduate School. Born 1963. Ph.D., Department of Area Studies, Graduate School of Arts and Sciences, The University of Tokyo. Nakamasa is especially known for his critical analyses of various contemporary social and political topics from a philosophical perspective, with a focus on freedom, justice, law, publicness, and common good. Publications include Shūchū kōgi! Nihon no gendai shisō: Posutomodan tows nandattanoka [Intensive course: Japanese postmodernism] (Tokyo: NHK Publishing, 2006), Ima koso Ārento wo yominaosu [Rethinking Hannah Arendt] (Tokyo: Kodansha, 2009), Varutā Ben’yamin: “Kiki” no jidai no shisōka wo yomu [Walter Benjamin: Reading the thinker of the age of “crisis”] (Tokyo: Sakuhinsha, 2011), Ima wo ikiru tame no shisō kīwādo [Critical keywords for survival in contemporary society] (Tokyo: Kodansha, 2011), and Kiki no shigaku: Herudarin, sonzai to gengo [The poetics of crisis: Hölderlin, being and language] (Tokyo: Sakuhinsha, 2012).

March 8: Prelude: Access Program [Science/Physics] Humitaka Sato “Making the Time”

Lecturer: Humitaka Sato (Visiting Professor, Konan University; Professor Emeritus, Kyoto University)
Date: Saturday, March 8, 2014 3:00–4:30PM
Place: Study Room (Woodshop classroom, 1F), former Rissei Elementary School
Language: Japanese
Maximum capacity: 40 seats
Admission: Free (reservation required)
Reservations: Please fill in and submit the following application form (in Japanese only). Reservations are made on a first-come, first-served basis.

Humitaka Sato // Also known as Fumitaka Sato. Visiting Professor, Konan University; Professor Emeritus, Kyoto University. Born 1938. Sato was a Professor at Kyoto University from 1972 to 2001, and the Director of the Yukawa Institute for Theoretical Physics from 1976 to 1980 and Dean of Faculty of Science from 1993 to 1995 at Kyoto University from 1976 to 1980. He is a prolific writer on the sciences, especially theoretical physics, general relativity, and astrophysics. Publications include Ainshutain ga kangaeta koto [What Einstein thought] (Tokyo: Iwanami Shoten, 1981), Kodoku ni natta Ainshutain [Isolated Einstein] (Tokyo: Iwanami Shoten, 2004), Einstein no hanran to ryōshi kompyūtā [Einstein’s rebellion and the quantum computer] (Kyoto: Kyoto University Press, 2009), and Ryōshi rikigaku wa sekai wo kijutsu dekiruka [Can quantum mechanics describe the world?] (Tokyo: Seidosha, 2011). Currently running a blog on the Scientific Education Exchange: EINSTEIN’s website: jein.jp/blog-sato.html (in Japanese only).

March 9: Prelude: Access Program [Aesthetics & Theory of Arts] Hiroshi Yoshioka

Lecturer: Hiroshi Yoshioka (Professor of Aesthetics and Theory of Arts, Kyoto University; Professional Advisory Board member, Parasophia: Kyoto International Festival of Contemporary Culture 2015)
Date: Sunday, March 9, 2014 5:00–6:30PM
Place: Study Room (Woodshop classroom, 1F), former Rissei Elementary School
Language: Japanese
Maximum capacity: 40 seats
Admission: Free (reservation required)
Reservations: Please fill in and submit the following application form (in Japanese only). Reservations are made on a first-come, first-served basis.

Hiroshi Yoshioka // Professor of Aesthetics and Theory of Arts, Kyoto University; Professional Advisory Board member, Parasophia: Kyoto International Festival of Contemporary Culture 2015. M.A., Graduate School of Letters, Kyoto University. Editor of the critical journal Diatxt. (Kyoto: Kyoto Art Center, 2000–03), Director of Kyoto Biennale 2003, Co-Director of Ogaki Biennale 2006, Chairman of International Convention on Manga, Animation, Game and Media Art (ICOMAG) 2011–13. His article “Nihon de Kentrorijji wo miru” [Seeing Kentridge’s work in Japan], published in the National Museum of Modern Art, Tokyo’s newsletter (No. 579, December 2009–January 2010), can be read on his blog (in Japanese only). Blog: chez-nous.typepad.jp/tanukinohirune Website: www.iamas.ac.jp/~yoshioka/SiCS Twitter: @hirunenotanuki

---

William Kentridge // Born 1955 in Johannesburg, South Africa. Lives and works in Johannesburg, South Africa. 2010 Laureate of the Kyoto Prize in Arts and Philosophy. Especially known for his ‘drawings in motion’, or hand-drawn animated films made by photographing drawings frame by frame, and for his prolific work in printmaking, installations, performance, puppet theater, and opera. Also active in many other fields, including acting, producing and art direction, writing, and more. Awards include the 1999/2000 Carnegie Prize (1999), the Kaiserring Kunstpreis der Stadt Goslar (2003), the Oskar-Kokoschka-Preis (2008), and the 26th Kyoto Prize in Arts and Philosophy (2010). A large-scale solo exhibition organized by the New Museum of Contemporary Art (New York) and the Museum of Contemporary Art (Chicago) traveled through venues in the United States and South Africa from 2001 to 2003. The solo exhibition William Kentridge: Five Themes organized by the San Francisco Museum of Modern Art and the Norton Museum of Art (West Palm Beach, Florida) traveled extensively in the United States, Europe, and Israel from 2009 to 2012. Operas produced by Kentridge include Mozart’s The Magic Flute (performed in 2005–11 at La Monnaie/De Munt, Brussels, et al.) and Dmitri Shostakovich’s The Nose (performed in 2010–13 at the Metropolitan Opera, New York, et al.). Kentridge has been invited to many international exhibitions, such as the 10th Biennale of Sydney (1996), Documenta 10 (1997), the 48th International Art Exhibition of the Venice Biennale (1999), the 3rd Kwangju Biennale (now known as the Gwangju Biennale, 2000), Yokohama Triennale 2001, Documenta 11 (2002), the 51st International Art Exhibition of the Venice Biennale (2005), the 16th Biennale of Sydney (2008), and Documenta 13 (2012). Kentridge visited Kyoto for the first time in 2008 with the invitation of the Agency for Cultural Affairs, and delivered lectures at Doshisha University (Kyoto), the National Museum of Modern Art, Kyoto, and Marunouchi Café (Tokyo). His first solo exhibition in Japan and one of his largest-scale exhibitions to date, William Kentridge—What We See & What We Know: Thinking About History While Walking, and Thus the Drawings Began to Move…, opened at the National Museum of Modern Art, Kyoto in 2009 and traveled to the National Museum of Modern Art, Tokyo and the Hiroshima City Museum of Contemporary Art in 2010. During this exhibition, Kentridge delivered a lecture/performance titled “I am not me, the horse is not mine”, which he first delivered in 2008 at the 16th Biennale of Sydney, in Kyoto (Kyoto Kaikan concert hall, 2009) and Hiroshima (Minami Ward Community Cultural Center, 2010). He came to Kyoto for the third time when he was awarded the Kyoto Prize in 2010. In the process of making The Refusal of Time (2012), an exhibition by William Kentridge, Peter Galison, and Philip Miller titled The Negation of Time, Prologue (2011) was presented at Le Laboratoire (Paris) as “experiment No 12”, and a two-week performance program organized by Kentridge titled “Refuse the Hour” (2011) was presented at Market Theatre (Johannesburg). After creating the work, an opera also titled Refuse the Hour (approx. 1 hour 25 minutes) was presented at the 66th Festival d’Avignon (Avignon, France, 2012).

Image: William Kentridge, The Refusal of Time, 2012. 5-channel video with sound, 30 min., with megaphones and breathing machine (‘elephant’). A collaboration with Philip Miller, Catherine Meyburgh, and Peter Galison. Video stills © William Kentridge

Images requests and other press inquiries:
press@parasophia.jp

Press preview: Friday, February 7, 2–6pm

Auditorium, former Rissei Elementary School
310-2 Bizenjima-chō, Nakagyō-ku, Kyōto 604-8023 (south of Kiyamachi and Takoyakushi)
3 min. walk north from Exit 1a, Kawaramachi Station, Hankyu Kyoto Line (Station HK86)
5 min. walk northwest from Exits 4 or 5, Gion-Shijō Station, Keihan Main Line
* No parking available. (Paid parking lot for bicycles located near venue.)

Dates & Hours:
February 8 (Sat.) – March 16 (Sun.), 2014 11:00AM–7:00PM
* Closed on Wednesdays, doors close at 6:30PM

Admission:
Adults: 500 (400) JPY // University students: 300 (200) JPY
* Discounted rates in ( ) apply for advance tickets and groups of 20 or more.
* High school students and visitors under 18 or over 70 will be admitted free of charge (identification required).
* Persons with disabilities and 1 attendant/caregiver will be admitted free of charge (proof of disability required).

IN ARCHIVIO [1]
William Kentridge
dal 6/2/2014 al 15/3/2014

Attiva la tua LINEA DIRETTA con questa sede