Currently on display at the Yarat Art Center in Azerbaijan is the captivating exhibition titled “Equinox,” a collaborative endeavor by seven Georgian artists curated by Tamuna Arshba and Tata Ksovreli. Delving into the intricate interplay between individual and collective experiences over time, the exhibition unfolds against a backdrop of light and darkness, offering viewers a thought-provoking journey through philosophical concepts and visual metaphors.
Art critic Ulker Aliyeva offers insights into the thematic framework of the exhibition, which is divided into three distinct parts: memory, continuum, and individuality. Each section is imbued with symbolic significance, inviting viewers to contemplate the complexities of existence and the passage of time.
The memory section, as elucidated by Aliyeva, immerses viewers in a dialogue between past and present, with works such as Gia Edzgveradze's “the great propeller” and Andro Semeyko's “we write our own history” serving as poignant reflections on collective memory and historical narratives. Edzgveradze's depiction of two fighters locked in eternal struggle, which upon closer inspection reveals the silhouette of a butterfly, serves as a metaphor for transformation and renewal, drawing inspiration from philosophical musings on metamorphosis.
In the continuum section, Konstantin Mindadze's “İn the very heart of yellow” (Solaris Aurum) and TAMARA K.E.'s “the Great Twilight boom III” invite viewers to contemplate the shifting shades of existence, from darkness to light, from past to present. Mindadze's exploration of the spectrum of yellow symbolizes the journey from obscurity to enlightenment, while TAMARA K.E.'s multimedia installation captures the zeitgeist of modernity, reflecting the collective experiences of contemporary society.
Aliyeva astutely observes the interconnectedness of the exhibition's works, noting how Luke Lazar's “moving shots” seamlessly continue the thematic thread established at the entrance with the butterfly motif. This interplay between works invites viewers to engage with the exhibition as a cohesive whole, unraveling its rich tapestry of ideas and concepts.
While acknowledging the intellectual depth of the exhibition, Aliyeva cautions that some works may appear deceptively simple upon initial viewing. However, she emphasizes the importance of approaching the exhibition with a keen eye for detail and an appreciation for the curator's overarching vision, which guides viewers through a labyrinth of philosophical inquiry and visual exploration.
In the context of contemporary Azerbaijani art, exhibitions like “Equinox” represent significant milestones in fostering dialogue between artists and curators, blurring the lines between creator and interpreter. Through collaborative efforts such as this, the boundaries of artistic expression are pushed, offering viewers a glimpse into the ever-evolving picture of visual culture.
“Equinox” stands as a testament to the power of artistic collaboration and conceptual exploration, 
inviting viewers on a transcendent journey through the realms of memory, continuum, and individuality. As visitors traverse the exhibition's labyrinthine corridors, they are encouraged to ponder the dualities of existence and the eternal dance between light and darkness that defines the human experience.
Culture
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In a long-awaited moment for Azerbaijani cinema, local directors unveiled their latest works, bringing a mix of animation, drama, and childhood reveries to the silver screen. The films, Erkən Hisslər by Nurlan Həsənli, Tərsinə Kölgələr by Hacı Səfərov, and Nərqız, an animated feature by Məsud Pənahi, were met with both enthusiasm and critique as they debuted to eager audiences.
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Events in history are not merely dates or fragments of historical memory; they leave deep marks on cultural memory as well. Artists, in particular, transfer these events into their works, shaped by their personal perceptions and interpretations. January 20 is one such event that has found its place in cultural memory. Although this topic is relatively less explored in contemporary art, it has never lost its relevance. How should this historical memory be represented? How does it manifest in art?
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Each year, on January 13, Lithuania commemorates the Day of Freedom Defenders, honoring the heroes who sacrificed their lives for the country’s independence in 1991. This pivotal moment in Lithuanian history marked the triumph of an unyielding will for freedom over Soviet oppression. Fourteen lives were lost, hundreds were injured, but the desire for liberty remained unshaken. The Day of Freedom Defenders is a solemn occasion for Lithuanians to reflect on their past and the true cost of freedom.
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