We tried to find the Museum of Modern Art twice. Our first attempt was unsuccessful, but our second (after asking for directions twice) worked out. In our defense the exterior of the building is not as obvious as it could be and doesn't have (too much) signage. It was a Friday after class and we had gone with a friend from school with no idea what to expect. Perhaps it was our complete lack of expectations, but all three of us were blown away by the main exhibit: a collection of sketches and short illustrated films by William Kentridge. The MOMA has a link to a similar exhibit which you can, and should, check out
here. It will be much more interesting and informative than the rest of this post.
In case you don't check out the website, here's the rundown. Kentridge's work was deeply influenced by conditions in Apartheid South Africa and the post Apartheid truth and reconciliation process, but he also tackled modernity, identity and dislocation. For us, his pieces seemed to vacillate between two different sets of extremes: political allusions and outright commentary, and playfulness and pain.
Primarily done in charcoal, his art came across as pointedly imprecise and unfinished. This impression was underscored in his films, as each sketch seemed to grow into the next without ever fully being able to shrug the past image. The shadows of old mistakes informed and gave meaning to the new ideas.
While the films were reactions to his country, the absence of traditional narration in the films allowed each of us to fill the films with our own experiences, histories and beliefs. We left the exhibit speechless, and then could not stop ourselves from talking about (and dwelling on) his work. His exhibit has particular poignancy in Colombia, a country that has struggled with its own civil conflict and is just now taking the first steps towards reconciliation.
The exhibit was truly transporting, and we hope you have a chance to see his work.
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