Rosalind C. Morris Orden de los libros (cronológico)

Drawing on over twenty-five years of field research, the book explores the impact of gold mining in South Africa, uncovering the complex realities faced by communities living near abandoned mines. It examines the transformative aspirations associated with gold, juxtaposed with the profound social and environmental costs endured by those affected. Through detailed narratives, it reveals the intricate relationship between wealth and suffering in a landscape shaped by the pursuit of gold.

In Accounts and Drawings from Underground, published in 2015, renowned artist William Kentridge and scholar Rosalind C. Morris brought us an unprecedented collaboration, taking pages of the 1906 Cash Book of the East Rand Proprietary Mines Corporation in South Africa and transforming them into something entirely new. While Kentridge contributed breathtaking landscape drawings in response to the transient terrain mining created, Morris plumbed the text of the cash book to generate a unique narrative account.   Now, they revisit those ruined mines, with a visual and verbal addendum that provides an account of the ongoing metamorphosis of the world that gold mines created. Kentridge works on the threshold between the visible and the invisible, while Morris mines the unsaid in order to make it understandable. Together they’ve created a landmark book that chronicles the exploitation of African communities and sheds further light on global Black history. With fifteen stunning new color drawings by Kentridge and an additional coda, this revised edition of Accounts and Drawings from Underground continues its remarkable documentation of the stories of migrant laborers and the flows of capital and desire, providing us with a palpable sense of a vanished world.  

For over thirty years, artist William Kentridge has delved into themes such as subjectivity, revolution, the Enlightenment's legacy in Africa, and the nature of time. His work has pushed the limits of various media, allowing viewers to engage with landscape and self-portraiture, the boundaries of representation, and the labor involved in art. Despite this, a comprehensive guide to his art has been lacking—until now. In a five-day conversation with Rosalind C. Morris, Kentridge discusses his artistic techniques and the philosophical foundations of his work. This dialogue, titled That Which Is Not Drawn, offers an in-depth exploration of Kentridge's key concerns, including the virtues of bastardy, ethics of provisionality, the nature of translation, and the viewer's role. Together, they examine the migration of images throughout his pieces and contemplate the potential for revolutionary art that embraces transformation. Kentridge notes, “The activity and the performance, whether it’s the performance of drawing or the performance of speech and conversation, is also the engine for new thoughts to happen.” This engaging exchange serves as a much-needed guide to the dynamic and evolving work of one of today's most significant artists.