William Kentridge’s production The Great Yes, the Great No sees the artist use the journey of a ship from Marseille to Martinique as a prompt for unpacking power, colonialism and migration.

The story behind The Great Yes, the Great No begins in June 1941, when a converted cargo ship, the Capitaine Paul Lemerle, sailed from Marseille to Martinique. Among the passengers escaping Vichy France were the surrealist André Breton, the anthropologist Claude Lévi-Strauss, the Cuban artist Wifredo Lam, the communist novelist Victor Serge, and the author Anna Seghers. The captain of the boat is Charon, the ferryman of the dead, who calls other characters onto the deck - Aimé Césaire, The Nardal sisters, who together with the Césaires and Senghor had founded the anti-colonial Négritude movement in Paris, in the 1920s and 1930s. Frantz Fanon joins the group along with Trotsky, Frida Kahlo and Diego Rivera. The boat journey is the 1941 crossing of the Atlantic, but also references earlier crossings from Africa to the Caribbean, as well as contemporary forced sea crossings. The Great Yes, The Great No unfolds some of the techniques put into play in Oh To Believe in Another World (2022), a film that used green screens against which performers were filmed so that they could later be extracted from the background. In both Oh To Believe in Another World and The Great Yes, The Great No, Kentridge also draws on the green paper itself, and the colour assumes prominent place in the final work, rather than disappearing as a green screen usually would.