Few artists have been as “fiercely concerned” with their occasions as William Kentridge, stated Waldemar Januszczak in The Sunday Instances. Born right into a liberal white household in Johannesburg in 1955, he lived by way of the apartheid period at its peak, and sought to reply to the repression and resistance of the black group through his artwork.

A supremely proficient draughtsman, he grew to become recognized first for sinister black and white drawings and scratchy “do-it-yourself animations” that “morosely” communicated the “horror” of apartheid. Over the many years, he would experiment with just about each different inventive medium – “sculpture, tapestry, movie, phrase artwork, opera” – to recount “the story of the black wrestle”.

This “extraordinary” exhibition tracks Kentridge’s profession from the late Nineteen Seventies to the current day, bringing collectively “a dizzying array of varieties and media” that testify to his relentless experimentation and daring imaginative and prescient. Hardly ever will you see a show by a dwelling artist that’s “full of a lot artwork, in so many various codecs”.

Kentridge’s “political consciousness” is clear from the earliest works right here, stated Alastair Sensible in The Every day Telegraph. His giant charcoal drawings from the Eighties convey his “disdain” for South African society – authorities officers are depicted as “warthogs and scavenging hyenas”; these drawings then developed into his well-known sequence of stop-motion animated movies, Drawings for Projection, which characteristic two recurring characters – a “poor however dreamy artist” and his nemesis, a “rapacious, cigar-smoking industrialist”. 5 are on present right here, and so they make for “compelling viewing”.

Alas, a lot of the remainder of this incoherent present is “misfire after misfire”. There’s nothing flawed with an artist being erudite, but it surely’s onerous to think about many guests to the Royal Academy making sense of a multiscreen projection that “mimics the formally sanctioned operas of the Cultural Revolution”; or of a movie by which we see the artist flipping by way of an avant-garde novel by the nineteenth century Brazilian creator Joaquim Maria Machado de Assis. Kentridge is strongest when tackling themes associated to South Africa; at different occasions, he “creates with an excessive amount of head and never sufficient coronary heart”.

Kentridge’s artwork shouldn’t be straightforward, stated Jackie Wullschläger within the FT. He got down to create (in his personal phrases) political artwork “of ambiguity, contradiction, uncompleted gestures and unsure endings”. And what this spellbinding present delivers – through works that vary from a miniature mechanised theatre, that includes a colonial-era movie of a rhino hunt, to a mohair tapestry of refugee boats bobbing on a map – is a “theatre of the absurd” that quantities to a “withering critique of racist brutality and postcolonial world inequality”.

Royal Academy, London W1. Till 11 December