Artist William Kentridge joins Rail Editor-at-Large Charles Shafaieh for a conversation. We conclude with a poetry reading from Kit Schluter.
Often drawing from socio-political conditions in post-apartheid South Africa, William Kentridge’s work takes on a form that is expressionist in nature. Kentridge was born in 1955 in Johannesburg, South Africa where he currently lives and works. His process of recording history is constructed from reconfigured fragments to arrive at a provisional understanding of the past. His work spans a diverse range of artistic media such as drawing, performance, film, printmaking, sculpture and painting. Kentridge has also directed a number of acclaimed operas and theatrical productions.
Editor-at-large for the Brooklyn Rail, Charles Shafaieh’s writing on theatre, visual art, literature, film, and music has appeared in numerous international publications including The New Yorker, Artforum, The Irish Times, and The Weekend Australian Review. Originally from Montana and now based in New York City, he writes regularly on opera for Opera News and on architecture and design for Harvard Design Magazine. His essays have also appeared in multiple books, such as The Touch: Spaces Designed for the Senses (gestalten 2019). With the Brooklyn Public Library, he co-curates Litfilm, an annual film festival focused on writers.
The Rail has a tradition of ending our conversations with a poem, and
we’re fortunate to have
Poet-translator & bookmaker living in Mexico City, Kit Schluter’s poetry & stories have appeared in Boston Review, BOMB, Brooklyn Rail, Folder, Hyperallergic, and in the chapbooks Inclusivity Blueprint, Journals, Translations of Forgetting, Without is a Part of Origin, and the newly released collections of stories and drawings, 5 Cartoons/5 caricaturas (tr. Mariana Rodríguez, Juan Malasuerte Editores) and The Good in Having a Nuclear Family (Despite Editions). Soon to be published is a bilingual edition of the story An Umbrella.