Kentridge’s cine-musical creation, made to accompany Shostakovich’s 10th Symphony, is a marvel of puppetry, dance and humour, exploring humanity, grief and idealism

The Baku international arts festival in Azerbaijan is showcasing an amazing cine-musical creation, perhaps the most amazing animation I have ever seen. Oh to Believe in Another World is an hour-long collage animation with live-action choreography by the 71-year-old South African artist and film-maker William Kentridge. It is shown with the live orchestral accompaniment of Shostakovich’s 10th Symphony, and this event is partly in honour of the 120th anniversary of Shostakovich’s birth this year, and partly to honour Shostakovich’s reportedly unrequited love (and lifelong friendship) for his student, Azerbaijani pianist and composer Elmira Nazirova.

The 10th symphony was inspired by Stalin and premiered shortly after his death, so it seems probable that Shostakovich had been at work on it for some time before this, long enough beforehand for at least some of the composition to have been conceived without any sense of Stalin’s death. Could part of it perhaps have been originally intended as an obediently dramatic tribute to Stalin? Yet the music arguably combines fear, awe, revulsion, and a hysterical reaction to the mad energy of Stalin’s genocidal tyranny, a darkly ambiguous respect for the great dictator whose victory in 1945 was a mainstay of the postwar dispensation; perhaps there is also a feeling in the music’s swirl that a great and terrible era has passed away, and with it a kind of grief at all that had been sacrificed to it.

Afshar’s experiences as a young woman in Iran have shaped her artistic career in Australia, focusing her eye on the humanity within inhumane systems

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When Hoda Afshar was a teenager, coming of age in theocratic and authoritarian Iran in the 1990s, she and her friends were repeatedly arrested and physically punished by the “morality police”, for wearing their hijabs incorrectly in public and for attending underground parties. “They used to put a few of us in small solitary confinement cells together for a night or two, it was very common for my generation to experience that,” she says.

“We are part of the nasl-e sukhteh, or ‘burned generation’; the generation born after the 1979 revolution, who had to pay the price for many of the transformations and changes that happened.”

With a footprint of less than 40 sq metres, the Melbourne project required careful planning – and some spatial trickery

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Last week on a balmy spring evening, Ronnen Goren and his partner had dinner in a small pavilion on their terrace for the first time. Inside, an Aga stove was keeping their home warm. They could have retired to their sunken lounge room and cocktail bar for a nightcap, had the mood struck.

This domestic scene took place in a semi-subterranean former laundry in inner Melbourne – a space of less than 40 sq metres that was renovated at the end of 2024. On 29 October, the “exuberant” reimagining of the damp basement space in Toorak, on the grounds of the heritage-listed Quamby apartment complex, received the Emil Sodersten award for interior architecture at Australia’s National Architecture awards.