Astonishments and violences fill the Royal Academy’s survey show of Johannesburg-born artist William Kentridge. Glimpses of hangings and torture, sex in the pool, old footage of a white hunter skipping towards the rhino he has just downed in order to give it a final shot in the head. An ampersand turns into a gallows and bits of a body are flushed away in the shower. Snatches of crackly operatic aria, lilting African song and paranoid voices on the telephone fill the air, along with the regular chink of a miner’s hammer against a rock. Kentridge’s show is filled with sounds and furies.

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