 William Kentridge is one of the most well-known and most admired artists working today. In the exhibition we present drawing, works on paper, films, which are animated drawings, sculptures and large-scale installations which bring together drawing, projection, film, music, dance and sound. Among the recurring motifs that we can see in the exhibition are landscape, in particular the motif of the tree, as well as the motif of the procession and the idea of history. History as a procession, but history is also something that points to the future, but a future that we cannot fully grasp. The exhibition itself has been designed with the studio very much in mind and we were able to work with the set designer, Sabine Turnison, who is a long-time collaborator of Williams and who has in fact worked with him on numerous operas and Sabine was able to help us with the selection of works in conceiving of an installation that evokes the studio. So we see drawings that are laid out on tables. We see provisional presentation structures. Everything is in a state of dynamic display, I would say. All of these things are meant to evoke in fact the world of William, his world of the studio in Johannesburg, but it's also where the studio becomes a metaphor for the world itself, a place where we make sense of that world, constantly working with different forms, constantly trying to elaborate them but also to read them, to give meaning to them and to understand what our relationship is to them and to the world itself. So you can no doubt hear as I'm speaking many different sounds whose sound is incredibly important to William, it comes through particularly in the form of music and the entire exhibition has been choreographed not only in terms of the different works that we're presenting and the different moods and the different experiences of each of the three principal spaces of the exhibition but also in relation to sound and music. So it's almost like a composition itself where we have different soundtracks which are compositions for the films, the two key films waiting for the Sibyl and City Deep as well as the installation more sweetly plays the dance and then in the Great Hall this extraordinary sound installation where we have the monumental megaphones from which emits the seven different specially composed pieces which compose together almost don't tremble. Most sweetly play the dance dates from 2015 and it's considered one of William's most important works. It actually brings together every dimension of his practice I would say from drawing to drawings for projection to working with stage, music, dance and opera and it is in effect like a small opera that's presented before us as we enter the space. It's theme is the procession but the procession as it relates to the procession of time the procession of history but also thematically it's related to the theme of the dance of death. The procession is a theme that actually dates back much earlier and we see it in the very earliest drawings and engravings of William and indeed in some of his earlier sculptures and we have a beautiful sculptural piece dating from 2000 in the exhibition consisting of many bronze figures that form themselves a procession so it's a theme that recurs but it's also in most sweetly play the dance it also brings to the fore the theme of the shadow and the shadow procession which for William has a very important relationship to the history of the Republic and the narrative written by Plato where he talks about the slaves who abound in the cave and their only experience of the world is through the shadow of people who are passing on the outside and at a certain point these slaves when they're liberated they're brought out into their light and they're completely disoriented because they don't recognize this world for what it is so there's many different layers that exist within that work but at the same time when we experience it we experience something that's jubilant that's also tragic, incredibly moving and we are certainly transported when we are doing it