Bu xəbəri paylaş
Exhibition of Faig Akhmed "Actual Tradition" will take place at "Kicik QalArt " gallery from May, 12th till July, 12th. Once it was believed that contemporary art and tradition are incompatible issues. It might appear at first sight, fundamental changes-projected contemporary art was struggling to set an objective on banging up linkages with the entire preceding culture. In point of fact, however, finishing academic art that had took its ancestry to Renaissance, contemporary art itself referred to ancient forms and types of traditional art. It is worth recalling of visual heritage of maestros and contemporary art founders such as Malevich, Kandinsky and Picasso to Russian iconography, medieval ages miniatures and archaic art of Sub-Saharan Africa. Breaking up links with historical academic art, the aforementioned artists revealed an unfailing spring of inspiration in traditional art full of new forms-related discoveries. Thus, from the very origin contemporary art used to quaff the waters of ancient visual art source and take it energy buzz. Mr. Faig Ahmed, a contemporary artist referred to one of the most ancient practices of Azeri visual art at the modern phase of his creative quest- he referred to carpets. Not only is it an ancient type of applied arts and crafts, but also carpet weaving is renown of being the most conservative art with zero tolerance to radical innovations. However, Faig Ahmed decided it would be best not only to make benefit from traditional carpet weaving potential in an attempt of its adaptation to contemporary art, as classical artists used to do-by combining traditions and modernity and, thus, enriching contemporary art. Just the opposite, Faig Ahmed appeals to technologies-based traditional carpets in his works- a very risky yet curious approach which might generate what would be called actual tradition. Two general points might be addressed at the carpets exhibition. The first point could be named processuality; project as a whole demonstrates the challenging process of carpets creation and could be perceived as an art action. Three exhibition halls reveal three phases of carpet weaving from conceptual perspective. In one of the halls, we can fix our gaze on enormous piles of fleece, that’s primitive beige of carpets, its “flesh and blood”. Fleece is considered to be an organic stuff of nature; it is almost living substance, which spirit feeding carpets and ensures its eternity. Soundtrack stresses fleece vividness: buzz is the primitive substance’s breath…
The second phase of carpet weaving provides threads production, which then are dyed in various colors thanks to organic, natural colorants. The threads produced and displayed in specific manner- as a visual installation- could be seen in the second exhibition hall. And, finally, long-awaited output- the carpets itself- are displayed in the third hall. Yet the carpets look fundamentally different from what we used to see in traditional version, they are presented in innovative format. Faig Ahmed subjects traditional carpets to deconstruction, changes and re-formats their visual basis, providing the carpets with new optical display possibilities based upon contemporary art techniques, e.g. op art. The process results in actual tradition, in other words, tradition revived from multiage hibernation.
The second crucial point of exhibition is particular attention of the artist to the completeness factor; he focuses on objet d’art as a self-sufficient artifact. The key focus of the exhibition is, anyway, not on processuality, but rather on the artworks itselves both two-dimensional displayed on the walls and three-dimensional objects-sculptures. The approach above straightly goes hand-in-hand with new emerging trend in world art that proclaims reverting to object d’art as it is comprehended in material sense. Harry Leman, a modern German philosopher addresses the aforementioned trend in his works. Based upon the analysis of modern situation in art, the philosopher comes to the conclusion that postmodernism is replaced by a global tendency which he called “reflexive modern’. The key sign of reflexive modern is returning of objet d’art (after many years of domination of video, performance, installations, etc.). Let’s assume the theory is truthful, and then we can affirm Faig Ahmed’s strategy focused on objet d’art is a cutting edge of actual tradition in visual art.