An exhibition of Central Asian art at the 2013 Venice Biennale aims to start conversations about the Caucasus, Asia’s culturally complex hinterland.
“Love Me, Love Me Not,” which runs from 1 June to 24 November 2013 at the 55th Venice Biennale, brings together works by 17 artists from Azerbaijan and neighbouring countries. With the curatorial intention of “opening up dialogue,” the exhibition offers new perspectives on a politically diverse, creatively rich region.
The Venice Biennale, The Economist reminds readers, has never just been about art. The magazine points out that, as with any event at which nations convene, politics will come into play. If Ai Weiwei’s absence from his national pavilion reveals China’s political unwillingness to play ball regarding artistic freedom of expression, as Wenny Teo speculates in The Art Newspaper, and Russian artists are using myth and metaphor to critique Putin’s oligarchs, then what does collateral exhibition “Love Me, Love Me Not” reveal about the five politically unpredictable countries of the Caucasus?
Artists in “Love Me, Love Me Not”
- Faig Ahmed (Azerbaijan)
- Rashad Alakbarov (Azerbaijan)
- Afruz Amighi (Iran)
- Kutlug Ataman (Turkey)
- Shoja Azari (Iran)
- Rashad Babayev (Azerbaijan)
- Mahmoud Bakhshi (Iran)
- Ali Banisadr (Iran)
- Ali Hasanov (Azerbaijan)
- Orkhan Huseynov (Azerbaijan)
- Sitara Ibrahimova (Azerbaijan)
- Aida Mahmudova (Azerbaijan)
- Taus Makhacheva (Russia)
- Farhad Moshiri (Iran)
- Farid Rasulov (Azerbaijan)
- Slavs and Tatars
- Iliko Zautashvili (Georgia)
The Biennale: the best arena for cultural exchange
Explaining why the Venice Biennale is an appropriate forum to examine established conceptions about the countries represented in the exhibition, curator Dina Nasser-Khadivi writes in her curatorial statement,
Each piece displayed has a role of giving the viewers at least one new perspective on the nations represented in this pavilion, with the mere intent to give a better understanding of the area that is being covered. Art enables dialogue, and the Venice Biennale has proven to be the best arena for cultural exchange.
Eurasia: East of the Berlin Wall, West of the Great Wall
The exhibition succeeds in opening up “new perspectives on Azerbaijan by putting it in conversation with its neighbours,” said the Baibakova Art Projects blog. One of the groups that opens up such dialogue is Slavs and Tatars, an art collective and, in the words of their website, “faction of polemics and intimacies devoted to an area East of the Berlin Wall and West of the Great Wall of China known as Eurasia.” The exhibition borrows its title from a 2010 installation by the group, which mapped the stormy relationships between 150 cities of the former eastern bloc.
The choice of title, writes Nasser-Khadivi, is intended to capture the volatility of political relationships in Central Asia.
At first glance, the sentence “Love Me, Love Me Not” reminds us of a concept based on romance or the famous game that entails plucking the petals of a flower to determine in a rather naïve and playful fashion whether the object of our affection loves us or not…Yet upon dissection, several levels of interpretation emerge from this expression involving ideas of layers, duality, dynamics of recurrence and more importantly: aspects of complexity based on vacillating relationships.
Emerging artists of Central Asia
The exhibition is successful in drawing out the region’s complexities, blogs Aaron Cezar for The Art Newspaper, contriving both to draw attention to commonalities between artistic and cultural practice, but also to highlight the emerging talents of the Caucasus.
Cezar points to Iranian Aida Mahmudova’s large-scale assemblage as a fitting sculptural metaphor for expressing complexity. Recycled fits together a puzzle of metal window grates and stainless steel fittings over an area of 18 metres squared, almost filling the entrance to the exhibition space.
Faig Ahmed also plays with heritage and craft. Taking the traditional motifs found on Azerbaijan’s carpets, he deconstructs and reworks them into a three-dimensional thread installation, examining the rapidity of modernisation in the region.
Kutlug Ataman’s video installation also uses history as a reference point. Inspired by Trajan’s Column in Rome, Mesopotamian Dramaturgies/Column (2009) is a tower of 42 silent television screens telling the story of the Anatolian people, who Ataman feels have been marginalised throughout history.
Iranian Ali Banisadr, whose work has recently been acquired for the permanent collections of the Museum of Contemporary Art in Los Angeles and the Metropolitan Museum of Art, New York, contributes a work which refers to the shared socio-cultural histories of Iran and Azerbaijan.
- MoCA Los Angeles acquires taste for Iranian art, collects Ali Banisadr painting – March 2013 – Banisadr’s intermingling of western and eastern influences have won him plaudits from the art world’s renowned institutions
- The (potential) politics of art: China’s soft power push – August 2012 – could China’s recent interest in western art be about more than mere aesthetics? The New York Times looks closer
- East of Nowhere, important exhibition of rare post-Soviet Central Asian art in Italy, 2009 – August 2009 – artists from The Stans explore social upheaval and unrest
- How art from half of Asia has been missed, interview Leeza Ahmady, ACAW director – May 2009 – Asia is a more complicated concept than China, explains Ahmady
- Azerbaijan builds on its first Venice Biennale appearance with two group shows abroad in 2008 – January 2009 – with two shows in Germany, the country’s emerging artists push Azerbaijan’s art into the international arena
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