Exposición William Kentridge Enough and Too Much

Exposiciones | del 1 de noviembre al 19 de marzo

Exposición William Kentridge Enough and Too Much
Upon finishing his degree in Politics and African Studies at the University of the Witwatersrand in Johannesburg, William Kentridge (Johannesburg, 1955) moved to Paris for a year to study theatre and mime. He continued working in theatre and the film industry after returning to South Africa in 1982, yet it was the visual arts which opened the world’s eyes to his output in the early nineties, particularly after his participation at the first Johannesburg Biennial (1995). From this juncture, the artist has continued to hone his stage and visual art work in parallel and side by side: both languages feed into and complement each other, overlapping to such an extent that one cannot be understood without the other.

William Kentridge. Enough and Too Much focuses on his stage work, including theatre, opera and performance, and takes this perspective to approach his sculptural projects. The cornerstone of the show is cemented by Woyzeck on the Highveld (1992), Faustus in Africa! (1995) and Ubu and the Truth Commission (1997), and the operas Il ritorno d’Ulisse (The Return of Ulysses, 1998), The Nose (2010), Lulu (2015) and Wozzeck (2017). The selection constitutes an opportunity to put in place a transversal survey which brings into focus certain constants throughout Kentridge’s work — stories with one leading character interweaving different situations and engendering more complex realities; dramas where the absurd often becomes an ally to effectively strip back and straighten out specific circumstances and contexts. The characters of Woyzeck, Ubu, Lulu, Ulysses, Faustus, and even the Nose, are either victims or tormentors of restrictive structures which punctuate, in the public and private sphere, the blight of tyranny, authoritarianism, maliciousness and corruption.

The importance placed on the creative process is another key component in Kentridge’s output — during the formulation of the foregoing pieces, drawings, prints and films are intertwined to mark the point of departure, and are either produced from them or produced simultaneously and as an accompaniment. Therefore, the exhibition compiles a broad selection of materials and mediums which pay heed to the synergies between the artist’s visual art and stage work, in addition to the different focal points and formalisations set out in each project.


Lunes 10:00 - 21:00 horas.
Martes Cerrado, incluido festivos.
Miércoles - sábado10:00 - 21:00 horas.
Domingo Consultar horarios de apertura.
Festivos Consultar los días de cierre.


Desde 3€

Museo Reina Sofía

C/ de Santa Isabel, 52 (Embajadores)
91 774 10 00
La apertura del Museo Nacional Centro de Arte Reina Sofía en 1990 supuso la creación de un museo de arte moderno y contemporáneo en España de nivel internacional, aunque no han sido pocos los avatares sufridos por el edificio hasta alcanzar tal fin.

La primera fundación del Hospital San Carlos, actual sede del Museo, se debe al rey Felipe II, quien, en el siglo XVI, centralizó en este lugar todos los hospitales que estaban dispersos en la Corte. En el siglo XVIII, Carlos III decidió una nueva fundación, al resultar insuficientes las instalaciones para la ciudad. El actual edificio es obra de los arquitectos José de Hermosilla y Francisco Sabatini, debiéndose a este último gran parte de la obra.

En 1788, tras la paralización de las obras con la muerte de Carlos III, el edificio fue ocupado para asumir la función para la que había sido construido, la de Hospital, aunque lo edificado no fuera sino sólo un tercio del proyecto de Sabatini.

Desde entonces sufrió varias... [leer más]
Metro: Atocha (L1)
Autobús: 6 , 8 , 10 , 14 , 19 , 24 , 26 , 27 , 32 , 34 , 36 , 37 , 41 , 45 , 47 , 54 , 55 , 57 , 59 , 60 , 78 , 85 , 86 , 102 , 116 , 118 , 119 , 141 , 148 , 247 , E3 , Circular
Cercanías: C2, C3, C4, C5, C7, C8, C10