Musique, danse, théâtre, littérature. Pour sa création qui réunit sur la scène du Châtelet de multiples formes d’art, William Kentridge a décidé de puiser dans la mythologie grecque et construit son œuvre autour de Sybille, réputée pour avoir le don de prophétie

When he was three, he wanted to be an elephant. When he was 15, he wanted to be an opera conductor. But William Kentridge followed a different path altogether — to become one of the most celebrated visual artists working today. From charcoal drawings and sculptures to immersive videos, theatre and opera productions, his work engages with politics and memory.

William Kentridge: In Praise of Shadows is a sprawling retrospective of the celebrated South African artist’s animated films, prints, bronze sculptures, theater models, installations, tapestries, and more on view at the Broad. Perhaps not surprisingly, since the work is part of the Broad’s collection, the show is built around The Refusal of Time (2012), a piece commissioned for Documenta 13. In a darkened room, five films are projected on the walls; at the center is a lumbering, bellowed, pistoned, wooden contraption moving back and forth on a track, which was inspired by pneumatic clocks, a nineteenth-century French innovation that sought to synchronize a city’s timepieces via compressed air running through underground tubes.