Art@Site William Kentridge Il Cavaliere di Toledo Naples

William Kentridge


Il Cavaliere di Toledo

Il Cavaliere di Toledo
Il cavaliere di Toledo (“The Knight of Toledo”), a statue created by the artist in 2012 for the Toledo Underground station in Naples, in which a tragicomic knight-nose revolutionizes the tradition of equestrian statues.
“The knight of Toledo” is a striking piece created in 2012 by the south african artist William Kentridge, who, with the city of Naples, a very close relationship. He was the designer, the Spanish Oscar Tusquets Blanca, in synergy with the artistic coordinator Achille Bonito Oliva to ask Kentridge collaborate in the embellishment of the nascent bus via Rome, by the same artist are also two mosaics inside the church (in the one set up in the mezzanine, there is also a self-portrait of the author, represented among the people of the town and the San Gennaro; the other, in the lower levels, it depicts two people with a cart full of symbols of the republic of naples of 1700, and a cat, inspired by the mosaics of Pompeii).
Thrian statue made in the surface, is about 6 meters and is built with a special steel “autoprotegge” corrosion of weathering due to the formation of a special surface patina.
It was placed in the axis of the equestrian monument of piazza Bovio, in order to revive one of the typical customs of the aesthetic of the boulevard of the nineteenth century.
“Il cavaliere di Toledo” è una suggestiva opera realizzata nel 2012 dall’artista sudafricano Wlliam Kentridge, il quale ha, con la città di Napoli, un rapporto molto stretto. La statua equestre si trova in prossimità della stazione Toledo della metropolitana, all’incrocio con via Diaz.
Fu il progettista, lo spagnolo Oscar Tusquets Blanca, in sinergia con il coordinatore artistico Achille Bonito Oliva a chiedere a Kentridge di collaborare all’abbellimento della nascente fermata di via Roma dello stesso artista sono anche due mosaici custoditi all’interno (in quello sistemato nell’ammezzato c’è anche un autoffigurato tra la gente del popolo e San Gennaro; l’altro, nei piani inferiori, raffigura due persone con un carretto pieno di simboli della repubblica partenopea del 1700 e un gatto ispirato ai mosaici di Pompei).
La statua equestre realizzata in superficie, è alta circa 6 metri ed è costruita con uno speciale acciaio che si “autoprotegge” dalle corrosioni degli agenti atmosferici grazie alla formazione di una speciale patina superficiale.
Fu posizionata in asse al monumento equestre di piazza Bovio, in modo da riproporre una delle tipiche consuetudini estetiche proprie dei boulevard ottocenteschi.
The “Knight of Toledo” is a work of art created by William Kentridge in corten steel, six meters high. The installation aroused, as always happens on these occasions, the feelings swinging between the harsh, critical and definite approval.
Some called it “monster of the tin”, the others did not hesitate to associate the name of the opera to legend of thedo, mythological characters in Favignana in the fifteenth century, laid the foundations of that system criminal that over the centuries has spread throughout the Southern tyrrhenian sea, and over, and assumes, depending on the region of the roots, the name of the camorra, cosa nostra and ’ndrangheta.
However, the time has done its work and the steed prancing with essential shapes and the metal is joined to the full title of the urban landscape. The was the equestrian, in fact, located near the metro station of Toledo, to provide added value to what is universally defined as “the most beautiful station in Europe”, but unfortunately it was temporarily besieged by an enormous christmas decorations and a horrible box office of a multinational mobile and fixed telephony. It's so sad to see it so...
l “Cavaliere di Toledo” è un’opera d’arte realizzata da William Kentridge in acciaio corten, alta sei metri. Alla sua installazione suscitò, come sempre accade in queste menti oscillanti tra l’aspra critica e la convinta approvazione.
Alcuni la definirono “mostro di latta”, altri non mancarono di associare la denominazione dell’opera alla leggenda dei cavalieri di Toledo, mitologici personaggi che a Favignana nel XV secolo, posero le basi di quel sistema criminale che nei secoli si è diffuso in tutto il Sud tirrenico, ed oltre, e che assume, a seconda della regione di radicamento, l’appellativo di camorra, cosa nostra e ’ndrangheta.
Tuttavia il tempo ha svolto il suo lavoro ed il destriero rampante dalle forme essenziali e metalliche è entrato a far parte a pieno titolo del paesaggio urbano. La stata equestre, infatti, collocata in prossimità della stazione metro di Toledo, per costituire un valore aggiunto a quella che universalmente è stata definita “la più bella stazione d’Europa”, purtroppo è stata momentaneamente cinta d’assedio da un enorme addobbo natalizio e da un orrendo box office di una multinazionale della telefonia mobile e fissacosì...
The mosaics that Kentridge designed for the Toledo Underground station in Naples also hark back to the structure of the tapestries, in which various technique such as collage, silhouette and drawing are composed together, while city maps serve as a background to a story that is as local as it is universal, as intimate as it is collective.
This megastar of contemporary African art practices the art of sculpture along with a myriad other things in his repertoire. Born in 1955 in SA, William Kentridge has a cross fertilisation of mediums and genres.

Louisiana Channel:
"There is a desperation in al certainty. The category of political uncertainty, philosophical uncertainty, uncertainty of images is much closer to how the world is", says South African artist William Kentridge in this video presenting his work.
"The films come out of a need to make an image, an impulse to make a film, and the meaning emerges over the months of the making of the film. The only meaning they have in advance is the need for the film to exist".
William Kentridge (b. 1955) is South Africa's most important contemporary artist, best known for his prints, drawings and animated films. In this video he presents his work, his way of working and his philosophy.
He tells the story of how he failed to be an artist:
"I failed at painting, I failed at acting, I failed at film making, so I discovered at the age of 30 I was back making drawings". It was not until he told himself he was an artist with all he wanted to included in the term - that he felt he was on the right track. "It took me a long time to unlearn the advice I had been giving. For for me the only hope was the cross fertilization between the different medias and genres."
William Kentridge talks about the origin of his animated films with drawing in front of the camera. "I was interested in seeing how a drawing would come into being". "It was from the charcoal drawing that the process of animation expanded". With charcoal "you can change a drawing as quickly as you can think".
"I am interested in showing the process of thinking. The way that one constructs a film out of these fragments that one reinterprets retrospectively - and changes the time of - is my sense of how we make sense of the world. And so the animated films can be a demonstration of how we make sense of the world rather than an instruction about what the world means."
"Uncertainty is an essential category. As soon as one gets certain their voice gets louder, more authoritarian and authoritative and to defend themselves they will bring an army and guns to stand next to them to hold. There is a desperation in al certainty. The category of political uncertainty, philosophical uncertainty, uncertainty of images is much closer to how the world is. That is also related to provisionality, to the fact that you can see the world as a series of facts or photographs or you can see it as a process of unfolding. Where the same thing in a different context has a very different meaning or very different form."
"I learned much more from the theatre school in Paris, Jacques Lecoq, a school of movement and mime, than I ever did from the art lessons. It is about understanding the way of thinking through the body. Making art is a practical activity. It is not sitting at a computer. It is embodying an idea in a physical material, paper, charcoal, steal, wood."
William Kentridge will work on a piece not knowing if it will come out as a dead end or a pice of art, giving it the benefit of the doubt, not judging it in advance, he says.
The artist has been compared to Buster Keaton and Gerorge Méliès. He mentions Hogarth, Francis Bacon, Manet, Philip Guston, Picasso, the Dadaists, Samuel Beckett and Mayakovski as inspirations. This video shows different excerpts from the work: 'The Journey to the Moon' (2003), 'The Refusal of Time' (2012) 'What Will Come (has already come)' (2007).
William Kentridge was interviewed by Christian Lund at the Deutsche Staatstheater in Hamburg in January 2014 in connection with the performance of the stage version of 'The Refusal of Time', called 'Refuse The Hour'.
William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be altered and filmed this way until the end of a scene. These palimpsest-like drawings are later displayed along with the films as finished pieces of art.
Kentridge has created art work as part of design of theatrical productions, both plays and operas. He has served as art director and overall director of numerous productions, collaborating with other artists, puppeteers and others in creating productions that combine drawings and multi-media combinations.
Kentridge believed that being ethnically Jewish gave him a unique position as a third-party observer in South Africa. His parents were lawyers, well-known for their defence of victims of apartheid. Kentridge developed an ability to remove himself somewhat from the atrocities committed under the later regimes. The basics of South Africa's 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 Käthe Kollwitz.
Kentridge has practiced expressionist art: form often alludes to content and vice versa. 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 narratie of a given work. One must use one's gut reactions as well as one's interpretive skills to find meaning in Kentridge's work, much of which reveals very little content. Due to the sparse, rough and expressive qualities of Kentridge's handwriting, the viewer sees a sombre picture upon first glance, an impression that is perpetuated as the image illustrates a vulnerable and uncomfortable situation.
Aspects of social injustice that have transpired over the years in South Africa have often become fodder for Kentridge's pieces. Casspirs Full of Love, viewable at the Metropolitan Museum of Art, 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.
The title, Casspirs Full of Love, written along the side of the print, is suggestive of the narrative and is oxymoronic. A casspir full of love is much like a bomb that bursts with happiness – it is an intangible improbability. Theurpose of a machine such as this is to instil "peace" by force, but Kentridge noted that it was used as a tool to keep lower-class natives from taking colonial power and money.
In 2009, Kentridge, in partnership with Gerhard Marx, created a 10m-tall sculpture for his home city of Johannesburg entitled Fire Walker. In 2012 his sculpture, Il cavaliere di Toledo, was unveiled in Naples. Rebus (2013), referring in title to the allusional device using pictures to represent words or parts of words, is a series of bronze sculptures that form two distinct images when turned to a certain angle; when paired in correspondence, for example, a final image – a nude – is created from two original forms – a stamp and a tele