威廉肯特里奇档.doc

早期的生活和事业 Kentridge was born in Johannesburg , 2 and educated at King Edward VII School in Houghton, Johannesburg.肯特里奇出生在约翰内斯堡 ， 2 ，在约翰内斯堡霍顿，英国国王爱德华七世学校接受教育。 He earned a Bachelor of Arts degree in Politics and African Studies at the University of the Witwatersrand and then a diploma in Fine Arts from the Johannesburg Art Foundation.他赢得了在政治和非洲研究的威特沃特斯兰德大学 的艺术学士学位，然后文凭在从约翰内斯堡艺术基金会美术 学士学位 。 In the early 1980s, he studied mime and theatre at the Lcole Internationale de Thtre Jacques Lecoq in Paris .在20世纪80年代初，他研究了L巴黎高等国际剧院雅克勒科克在巴黎的 默剧和戏剧 。 He originally hoped to become an actor , but he reflected later: I was fortunate to discover at a theatre school that I was so bad an actor . that I was reduced to an artist, and I made my peace with it. 3 Between 1975 and 1991, he was acting and directing in Johannesburgs Junction Avenue Theatre Company.他原本希望能成为一名演员 ，但后来他反映：“我很幸运发现在一所戏剧学校，我是如此糟糕的演员.我被减少到一个艺术家，我和我的和平与“。 3在1975年和1991年，他在约翰内斯堡的结大道剧团的表演和导演。 In the 1980s, he worked on television films and series as art director .在20世纪80年代，他曾在电视电影和系列艺术总监 。 His father, Sydney Kentridge , is a prominent lawyer who took on civil rights cases against apartheid . 4 悉尼肯特里奇 ，他的父亲，是一个突出了对公民权利的情况下，反对种族隔离的律师。 4 edit Work 编辑 工作 William Kentridges work is heavily context-dependent given he is from South Africa, where until the 1990s non-whites were second-class citizens under apartheid .威廉肯特里奇的工作在很大程度上依赖于上下文的，因为他是从南非，在那里，直到20世纪90年代非白人的种族隔离制度下的二等公民。 Kentridge is of European descent, and as such has a unique position as a third-party observer.肯特里奇是欧洲人的后裔，因此具有独特的地位作为一个第三方的观察者。 His parents were lawyers , famous for their defence of victims of the apartheid, giving Kentridge the ability to remove himself somewhat from the atrocities committed.他的父母是著名的种族隔离受害者为他们辩护， 律师 ，肯特里奇删除自己的能力有所犯下的暴行。 The basics of South Africas socio-political condition and history must be known to grasp his work fully, much the same as in the cases of such artists as Francisco Goya and Kthe Kollwitz . 5 南非的社会政治条件和历史的基本知识，必须充分把握他的工作，在这样的艺术家弗朗西斯科戈雅和珂勒惠支的情况下大致相同。 5 Kentridge is of expressionist lineage: form often alludes to content and vice versa .肯特里奇是表现主义的谱系： 形式往往暗示内容 反之亦然 。 The feeling that is manipulated by the use of palette, composition and media , among others, often plays an equally vital role in the overall meaning as the subject and narrative of a given work.使用的调色板， 组成和媒体的操纵的感觉是，除其他外，在给定的工作主题和叙事的整体含义往往扮演着同样重要的角色。 One must use ones gut reactions as well as ones interpretive skills to find meaning in Kentridges work, much of which reveals very little actual content.我们必须使用一个人的本能反应，以及肯特里奇的工作中，寻找到意义的解释能力，其中大部分显示非常小的实际内容。 Due to the sparse, rough and expressive qualities of Kentridges handwriting, however, the viewer sees a sombre picture upon first glance, an impression that is perpetuated as the image illustrates a vulnerable and uncomfortable situation. 6 然而，由于肯特里奇的笔迹稀疏，粗糙的素质和表现，观众可以看到在乍看之下，一个图景的印象，延续的图说明了脆弱和不舒服的情况。 6 Aspects of social injustice that have transpired over the years in South Africa have often acted as fodder for Kentridges pieces.方面的社会不公平已经经过多年来在南非经常作为饲料肯特里奇的作品中。 Casspirs Full of Love, viewable at the Met Museum, appears to be nothing more than heads in boxes to the average American viewer, but South Africans know that a casspir is a vehicle used to put down riots, a kind of a crowd-control tank . “Casspirs全部的爱”，在大都会博物馆可见，似乎是没有头箱以上美国人的平均观众，但南非人都知道， casspir使用的车辆放下骚乱的人群，一种控制坦克 。 The box, then, is the casspir and the heads are those of people who have been killed in riots and demonstrations, people who have been put down.该框，然后，是casspir，负责人是那些被杀害了骚乱和示威，人们已经“放下”的人。 The title, Casspirs Full of Love, written along the side of the print, is suggestive of the narrative and is oxymoronic.的标题，Casspirs：“完整的爱”，沿一侧的打印，暗示性的叙述，是自相矛盾的。 A casspir full of love is much like a bomb that bursts with happiness - it is an intangible improbability.充满爱的是一个casspir就像一个炸弹，阵阵幸福与 - 它是一种无形的不可能性。 The purpose of a machine such as this is to instil peace by force, but Kentridge here is pointing to the fact that it was used as a tool to keep lower-class natives from taking colonial power and money. 7 像这样的一台机器的目的是灌输“和平”的力量，但肯特里奇这里是指向一个事实，即它是用来作为一种工具来保持较低级的当地人从殖民权力和金钱。 7 edit Prints and drawings 编辑 素描 By the mid-1970s Kentridge was making prints and drawings. 20世纪70年代中期，肯特里奇印刷品和图画。 In 1979, he created 20 to 30 monotypes , which soon became known as the Pit series. 1979年，他创造了20至30 李奇登斯坦 ，很快成为被称为“坑”系列。 In 1980, he executed about 50 small-format etchings which he called the Domestic Scenes. 1980年，他执行了约50小格式蚀刻，他所谓的“生活场景”。 These two extraordinary groups of prints served to establish Kentridges artistic identity, an identity he has continued to develop in various media.这两个非凡的打印服务，建立肯特里奇的艺术身份，一个身份，他在各种媒体上不断发展。 Despite his ongoing exploration of non-traditional media, the foundation of his art has always been drawing and printmaking.尽管他不断探索非传统媒体的基础一直是他的艺术绘画和版画。 In 1987, he began a group of charcoal and pastel drawings based, very tenuously, on Watteaus Embarkation for Cythera . 1987年，他开始了木炭和柔和的图，非常稀薄，华托（Watteau）的登船Cythera 。 These extremely important works, the best of which reflect a blasted, dystopic urban landscape, demonstrate the artists growing consciousness of the flexibility of space and movement.这些非常重要的作品，反映了喷砂，反乌托邦式的城市景观，展示了艺术家的成长空间和运动的灵活性意识。 My drawings dont start with a beautiful mark, writes Kentridge, thinking about the activity of printmaking as being about getting the hand to lead the brain, rather than letting the brain lead the hand. “我的画不以”美标“，写道：”肯特里奇，思考的活动版画的手，领的大脑，而不是让大脑导致的手，。 It has to be a mark of something out there in the world. It doesnt have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion. “它具有的东西，在那里在世界上是一个标记。它不必是一个准确的绘图，但它具有放置的观察，没有东西是抽象的，像一个情感”。 2009年，肯特里奇，与格哈德马克思合作，创造了一个高10米的雕塑，他的家乡约翰内斯堡题为消防沃克 。 In parallel of the Five Themes exhibition at the Jeu de Paume in Paris (2010), the artist is featured at the Louvre.在平行的五大主题展在JEU Paume在巴黎（2010年），艺术家的特点是在卢浮宫。 The Louvre show, Carnets dEgypte , includes drawings of the artist, presented next to works from the museum collections, and videos shown in Louis XIVths bed.卢浮宫显示， 证上DEgypte，包括图纸的艺术家，作品从博物馆藏品的旁边，显示的视频在路易第十四届床上。 An article about Kentridge by Calvin Tomkins appears in the 18 January 2010 issue of The New Yorker .约肯特里奇卡尔文汤姆金斯将出现在1月18日2010年发行的“纽约客”杂志的一篇文章。 雕塑 消防沃克是在约翰内斯堡的城市内部的公共艺术雕塑。 The piece is located on Sauer and Simmonds Street, off of the Queen Elizabeth Bridge.这件作品是位于关闭的英国女王伊丽莎白大桥在Sauer和西蒙兹街，。 The sculpture represents a woman carrying a brazier on her head in commemoration of the activity which took place in the area in recent years, when ladies would prepare and sell their fires to others preparing food in the surrounding areas.该雕塑是一个女人背着一个火盆在她的头上，以纪念发生在该地区的活动，在最近几年，当女士们准备在周边地区的人准备食物和销售他们的火灾。 Designed by William Kentridge and Gerhard Marx , the 10 meter-tall sculpture was constructed out of fragmented steel pieces to create the feeling of the figure disintegrating or becoming reassembled, depending on the angle from which it is viewed, hinting at the fragility of spaces and the people who pass through them.由威廉肯特里奇和格哈德马克思的设计，建造的10米高的雕塑是分散的钢铁件的身影崩解或成为重组，取决于它被认为是从哪个角度，暗示了空间的脆弱性和创造的感觉通过他们的人谁。 The piece has been called “Johannesburgs own Statue of Liberty.” The Fire Walker is one of many pieces found amongst Public Art in Johannesburg .这件作品被称为“约翰内斯堡的自由女神像。：”消防沃克是公共艺术之间找到在约翰内斯堡的许多作品之一。 动画电影 Between 1989 and 2003 Kentridge made a series of nine short films that he eventually gathered under the title 9 Drawings for Projection. 8 In 1989, he began the first of those animated movies, Johannesburg, 2nd Greatest City After Paris . 1989年至2003年，肯特里奇取得了一系列的9个短片，他最终聚集在9图纸进行投影。 8在1989年，他开始了第一次的那些动画电影， 第二个最大的城市约翰内斯堡，巴黎之后的标题。 The series runs through Monument (1990), Mine (1991), Sobriety, Obesity & Growing Old (1991), Felix in Exile (1994), History of the Main Complaint (1996), Weighing and Wanting (1998), and Stereoscope (1999), up to Tide Table (2003) and Other Faces , 2011. 9 该系列贯穿纪念碑 （1990年）， 矿山 （1991）， 清醒，肥胖与渐老 （1991）， 菲利克斯在流亡 （1994年）， 历史的主诉 （1996）， 称重和希望 （1998年），和立体镜 （ 1999年）， 潮汐表 （2003）和其他人脸 ，2011。 9 For the series, he used a technique that would become a feature of his work - successive charcoal drawings, always on the same sheet of paper, contrary to the traditional animation technique in which each movement is drawn on a separate sheet.他的系列，采用的技术，将成为他的工作的一个特点 - 连续木炭画，总是在同一张纸上，相反传统的动画技术，在每一个动作上绘制一个单独的表。 In this way, Kentridges videos and films came to keep the traces of the previous drawings.以这种方式，肯特里奇录像和薄膜来保持先前附图的痕迹。 His animations deal with political and social themes from a personal and, at times, autobiographical point of view, since the author includes his self-portrait in many of his works.他的动画处理政治和社会的主题，从个人，有时，自传的角度来看，因为包括他的自画像在他的许多作品。 The political content and unique techniques of Kentridges work have propelled him into the realm of South Africas top artists.肯特里奇工作的政治内容和独特的技术，推动他进入南非顶级艺术家的境界。 Working with what is in essence a very restrictive media, using only charcoal and a touch of blue or red pastel, he has created animations of astounding depth.工作在本质上是一个非常严格的媒体是什么，只使用木炭和淡淡的柔和的蓝色或红色的，他创造了惊人的深度的动画。 A theme running through all of his work is his peculiar way of representing his birthplace.一个主题贯穿他的工作是他特有的方式表示他的出生地。 While he does not portray it as the militant or oppressive place that it was for black people, he does not emphasize the picturesque state of living that white people enjoyed during apartheid either; he presents instead a city in which the duality of man is exposed.虽然他没有描绘成激进的或压迫的地方，这是对黑人，他 不强调风景如画的国家的生活，白色的人喜欢在种族隔离 ，相反，他提出了一个城市中，人的双重性暴露。 In a series of nine short films, he introduces two characters - Soho Eckstein and Felix Teitlebaum.在9个短片，一个系列的，他介绍了两个人物 - SOHO Eckstein和费利克斯Teitlebaum。 These characters depict an emotional and political struggle that ultimately reflects the lives of many South Africans in the pre- democracy era.这些人物描绘的情感和政治斗争，最终体现在很多南非人的生活的前民主时代。 In an introductory note to Felix In Exile , Kentridge writes, In the same way that there is a human act of dismembering the past there is a natural process in the terrain through erosion, growth, dilapidation that also seeks to blot out events. In South Africa this process has other dimensions. The very term new South Africa has within it the idea of a painting over the old, the natural process of dismembering, the naturalization of things new.在按语菲利克斯在流放地 ，肯特里奇写道，“以同样的方式肢解过去，有一个人的行为，是一个自然过程中的地形侵蚀，生长，破旧，也旨在涂抹事件。南非这个过程中有其他方面。非常长期的“新南非”已在一幅画的想法过老，肢解，入籍的新事物的自然进程。“ Not only in Felix In Exile but in all of his animated works do the concepts of time and change comprise a major theme .他的动画作品，不仅在菲利克斯在流放 ，但在所有的时间和变化的概念，包括一个主要的主题 。 He conveys it through his erasure technique, which contrasts with conventional cel-shaded animation , whose seamlessness de-emphasizes the fact that it is actually a succession of hand-drawn images.他通过他的擦除技术，对比与传统的CEL-阴影动画 ，强调了一个事实，它实际上是一个连续的手绘图像的无缝传递。 This he implements by drawing a key frame , erasing certain areas of it, re-drawing them and thus creating the next frame.这一点，他实现了绘制关键帧 ，它删除某些领域，重新绘制它们，从而创造下一个帧。 He is able in this way to create as many frames as he wants based on the original key frame simply by erasing small sections.他是能够以这种方式，因为他希望只需通过清除小部分的原始关键帧的基础上，创造尽可能多的帧。 Traces of what has been erased are still visible to the viewer; as the films unfold, a sense of fading memory or the passing of time and the traces it leaves behind are portrayed.已被删除的痕迹仍清晰可见，给观众的电影展开，褪色的记忆或通过时间和留下的痕迹，它被描绘的感觉。 Kentridges technique grapples with what is not said, what remains suppressed or forgotten but can easily be felt.肯特里奇的技术都要啥也不说了，剩下的抑制或遗忘，但可以很容易地感受到。 In the nine films that follow Soho Ecksteins life, an increasing vehemence is placed on the evanescing health of the individual and contemporary South African society .在九部影片，按照SOHO埃克斯坦的生活，被放置在越来越激烈的evanescing健康的个人和现代的南非社会 。 Conflicts between anarchic and bourgeois individualistic beliefs , again a reference to the duality of man, indicate the idea of social revolution by poetically disfiguring surrounding buildings and landscapes . 诗意毁容周围的建筑和风景之间的冲突无政府主义