Monday Oct 15 - Saturday Oct 20
264 Fox Street, Maboneng, City Centre
The Centre for the Less Good Idea is a non-commercial collaborative space hosted at William Kentridge’s art studio in Maboneng that supports experimental and cross-disciplinary arts projects by bringing together artists, musicians, poets, dancers, actors and filmmakers to create new performative works. The theme of the fourth season is "Collapsed Conference", and collaborators include theatre-maker Tony Miyambo, pianist Kyle Shepard, Japanese performance artist Michikazu Matsune and William Kentridge.
Highlights of the Season 4 include:
Oct 16 at 19:00
Walid Raad - Performance and In Conversation Double Bill
Hugo Boss award-nominated and Guggenheim Fellowship award-winning artist Walid Raad kicks off the fourth season with a performance followed by an In Conversation discussion with William Kentridge. Taking a tongue-in-cheek look at South Africa’s fascination with archival information, due to the gap left by Apartheid censorship, Raad makes his debut on the programme with a “public lecture” performance piece featuring fictionalised archives with surprisingly plausible reasoning.
Oct 17–18 at 19:00
Salt and Goodbye Double Bill
Playwright, actor and performer Billy Langa (writer of the award-winning Tswalo) tackles the biblical story of Lot’s wife Edith in his newest production Salt. Joined by actor Mahlatsi Mokgonyana, Langa interpetes minimalism into performance, seeking to refine performance into its simplest and most truthful form. Austria-based Japanese performance artist and choreographer Michikazu Matsune's performance is enigmatically titled Goodbye.
Oct 17 at 20:30
At Kentridge Studio: Ursonate
At its core, William Kentridge’s Ursonate is a lecture about music and language, with Kentridge taking on the role of lecturer in a set that boasts nothing more than a lamp, a book and a series of accompanying projections. The words in Ursonate appear to make little sense, and the images – be it the free-spirited charcoal drawings or the stop-motion animations – do not necessarily correspond to what is being said. With deliberate chaos and confusion, Kentridge offers a new way of understanding with which gibberish might just turn to prophecy.
Oct 18 at 20:30
At Kentridge Studio: Collapsed Concert
This season of performances features a number of pianos in various states of disrepair as well as one pristine Steinway grand piano (a brand best known for their handcrafted pianos of exceptional quality). While South African pianists Jill Richards and Kyle Shepherd will engage with almost all of the pianos over the course of the season, for the Collapsed Concert they make use of the Steinway for a double bill piano performance. Best known for her interpretations of Western classical masterpieces, Richards tackles the notoriously difficult Sonata No.2 by French composer Pierre Boulez while Shepherd deviates from his history of concert piano performance, incorporating spoken, non-musical and aural recordings into his performance.
Oct 19-20 at 19:00
Pan Troglodyte and Vi Die Wat Wil Weet/For Those Who Need Knowing Double Bill
A new production by Centre for the Less Good Idea curator Jane Taylor, Pan Troglodyte is envisioned as the performed presentation of a paper on primate intelligence, artificial intelligence and race theory. The speaker is none other than a chimp puppet by leading South African puppeteer company Handspring Puppet Company, and manipulated by Tony Miyambo and Terry Norton. Featuring projected video performances by Jill Richards, Pan Troglodyte goes on a journey through philosophies from the likes of German psychologist Wolfgang Kohler and Irish novelist Samuel Beckett. Architect, writer and scholar Ilze Wolff’s Vi die wat wil wiet / for those who need knowing is a multimedia performance exploring the quiet and underground history of the neighbourhood of Maboneng, formerly known as “City and Suburban”.