"From Finite to Infinite" Exhibition: The Impossible Becomes Possible in Contemporary Art

The graduates of the 2nd class of the YARAT Contemporary Art School share their creative imaginations with the audience through an exhibition titled "From Finite to Infinite."

Art historian Ulkar Aliyeva states that the "From Finite to Infinite" exhibition introduces art lovers to the new generation of artists, as well as curators and art managers. This is perhaps the arrival of fresh perspectives in local contemporary art and an indication of future growth.

Exhibitions Are Not Just for Artists

She explains that, regarding the activities of the YARAT school, the school, founded under the initiative of Sabina Shikhlinskaya, is not only focused on artists but also on the development of curators and art managers. This directly addresses filling the gap currently present in local art. In order to present high-quality work, there must be not only an artist but also a curator and manager involved.

"Furthermore, considering the presence of debuting artists in the exhibition, the YARAT school represents a significant step for many in the local art scene."

The "From Finite to Infinite" exhibition, organized under the leadership of Azerbaijan's Honored Artist Sabina Shikhlinskaya, presents the concept of infinity through four different conceptual approaches. Each part of the exhibition is the result of creative collaboration between the curator and graduates. Here, the audience encounters a wide range of expressive forms, from traditional art forms to digital installations, performances, and collages. Each work tells a different story, reflecting the search for meaning in human identity and life in contemporary times. The four main concepts of the exhibition—"Fragments of Utopia," "Changing Identities," "The End of Infinity," and "Freedom from the Circle of 3"—invite the audience not only to journey into the depths of art but also to question their inner worlds and their own questions.

Art historian Ulkar Aliyeva mentions that upon entering the exhibition space and following the flow of the direction, she first encounters the work of Javid Hasanli.

"The colors of the artwork caused me to pause for a moment where I stood. Javid Hasanli 's piece is part of the 'Fragments of Utopia' concept within the exhibition."

Desire for the Non-Existent

Ulkar Aliyeva states that the exhibition "Fragments of Utopia," curated by Murad Mirzadeh and art-managed by Agnessa Tariverdiyeva, presents a paradoxical space where we are constantly drawn to an ideal that is always unattainable but simultaneously "unreal." This utopia represents both what we desire and what we can never achieve, presenting the ebb and flow of our existence in such a space. This directly raises questions about human nature itself. The word "fragments" evokes the idea that utopia can never be a whole. According to the art historian, if we consider each work by the artists as independent fragments in the exhibition, the show subtly conveys the message that "perhaps each fragment is complete in itself."

"The exhibition is multi-channel, where visitors might encounter anything from traditional oil paintings to installations, from carpet art to performances, and even kitsch accents."

Ulkar Aliyeva also draws attention to Javid Hasanli’s diptych "Seeding the Universe," which combines traditional oil painting with text. She mentions that visitors who read the text during their visit would have essentially read a significant portion of the "Fragments of Utopia." According to her, the artist, who questions the concept of time, poetically intertwines the idea of utopia in our consciousness with scientific and philosophical ideas like the theory of relativity and parallel universes in the text that forms the second part of the diptych.

"Everything happens in the human mind. In the artwork, we see that brain. However, in the depiction of the brain, large and small human silhouettes within it, in a form reminiscent of the womb, reflect the infinite cycle of the universe from beginning to end and back again."

The Infinite Cycle of the Universe

In addition to the artworks, the performances shown during the exhibition also captured the attention of both the audience and the art historian. In Aliya Bayramova's live performance, she depicted our entry into the world by emerging from an egg, prompting the audience to reflect throughout the performance.

Ulkar Aliyeva explains that after presenting a sense of urgency, the artist returns to where she began and interprets the infinite cycle through the process of human birth.

The art historian adds that Jala Azizova continues the idea of the infinite cycle of the universe in her textile art "From Fantasy to Infinity" by using circular forms. This idea is then aligned with the infinity of human desires.

Endless Desires and Utopian Spaces

The art historian states that one of the most utopian spaces that humans desire to exist in is heaven, and in her work, Maryam Yusifaliyeva "Reminds us of Heaven." However, in the depiction of this heaven, the artificiality of the series of works is subtly revealed, as the piece at the far left corner, labeled "Heavenly Bliss," pulls us from the utopian space into reality with a piece of chocolate, something we recognize as "heavenly pleasure." The artwork evokes a nostalgic and kitsch atmosphere.

The art historian also discusses Zarifa Ramazanova 's work. In her installation "Vox Interna" (Latin for "The Voice Within"), she offers a contemporary interpretation of the famous phrase by Imadaddin Nasimi, depicting intergenerational cultural conflict.

"Kamran Velizadeh's interactive installation 'Material Situations' presents small still lifes that showcase simple fragments of real life. However, the possibility of hanging these small paintings in any way we wish reflects the utopian possibilities equivalent to the number of visitors in the room, reminding us that life is sometimes built upon unpredictability."

The art historian notes that the exhibition, while not offering us an ideal space like utopia, does not promise to answer any of the questions we face in our life filled with uncertainties.

Timur Zaripov's audio-visual performance, at the end of the evening with "The Last Fantasy," gathers some of these questions and presents chaotic fragments of real life.

The Changing World and People in the Flow of Time

The art historian explains that as soon as she hears the title of the concept "Changing Identities," curated by Mansura Mammadaliyeva and art-managed by Nigar Nagdiyeva, the word "changing" for some reason reminds her of slime, which can be shaped into various forms at our fingertips. Indeed, the exhibition emphasizes that in our new world, it is impossible to explain gender and sex with fixed and traditional concepts, highlighting that these are mutable terms.

"This concept explores how gender and sex theories, formed in the 20th century, need to be reconstructed and changed in the contemporary world. The exhibition asserts that individuals have the right to create and change their identities, offering an inclusive, boundless, and multi-dimensional understanding of identity while challenging traditional gender roles."

Ulkar Aliyeva says that this approach illuminates a transformation process towards a more inclusive and harmonious world, where identities interconnect, shift, and interact with one another, welcoming the concept with understanding.

The concept is based on Simone de Beauvoir's 1960s thesis "One is not born, but rather becomes a woman," which emphasized that gender is a social and cultural construct, not biological, and Judith Butler's theory of "performative gender identities." The exhibition, surrounded by such colorful identities, encourages us to look beyond our own color, to see and accept the colors around us, offering a broader perspective through empathy.

Art Is Timeless and Boundless

The art historian notes that the concept "The End of Infinity" uses the homonymy of the word "infinity" in Azerbaijani to equate permanent existence with art. A true creative person earns the right to eternity. The exhibition, curated by Sofiya Frank and art-managed by Tunar Amirov, also challenges the traditional notion of the museum space, pushing the limits of contemporary art into digital realms and bringing its eternal life to its peak.

Ulkar Aliyeva states that artist Aliya Gadarli’s (The Mushroom) works, inspired by motifs from the "Dədə-Qorqud" epic, the traditional Dervish image, and some folklore elements, bring to life a completely new, unreal, but equally fascinating world. In the animation "The Mercy of the Universe," the process of human birth is equated with the creation of art, reinforcing the idea that "art is eternal." The irony used in the video "The Medicine of Infinity" invites the audience to rethink a sensitive topic. Aliya’s attempt to collaborate with Bayandur Khan, as suggested in the title of the animation, truly disrupts the concept of time and space as an artist.

"You’ll find it more interesting to see for yourself whom Bayandur Khan’s three differently colored tents are given to in Mushroom's parallel world."

Ulkar Aliyeva also notes that Ellada Aghayeva invites the audience to a "Transformation" from the limited real world to the infinite universe filled with boundless imagination. She likens the construction of life to a puzzle game, creating an imitation of real life with art. While the puzzle is difficult to assemble, it is fragile and can quickly fall apart, just like life itself. "Creation" is an animation that shows human life as finite, while the creation itself is infinite.

" Khayala Akbar's three-video work illustrates the continuity of 'samsara,' meaning infinity, and the recurring difficulties women face in new forms from generation to generation, while the image persistently searches for itself and its truths. The gendered expressions used in the videos starkly present the real problems that continue to exist today."

"From the Circle of 3 to Freedom for One"

The exhibition, which caught the attention of both the art historian and the audience by its title, also raised questions for them.

Ulkar Aliyeva explains that the last concept, which draws attention with its humorous title, addresses the paradoxes of incompleteness and perfection from a scientific, philosophical, and human nature perspective, asking us a very simple question: "Given the many gaps and incompleteness in nature, and even in science, how accurate is it for humans to expect perfection from themselves and others?" If nature itself, in its incomplete harmony, is perfect with all its gaps, can we also find harmony within our limitations? In the exhibition curated by Amina Manafova and Elchin Huseyn, and art-managed by Ibrahim Mirzayev, the artists embrace these imperfections.

In the installation "BAXO" (by Bakhtiyar Zaidzadeh), the artist depicts ideal circular foam shapes along the walls of the space, reflecting the desires believed to bring humanity closer to perfection, which caught the art historian's attention. She says that, like foam, which is ready to disappear at any moment, human desires are unstable. The work symbolizes not perfection, but the value of the experiences gained on the path to the goal. The cosmic sounds accompanying the piece further amplify its emphasis.

The Connection Between Infinity and Humanity

In Nurlan Babazadeh's series of photographs, titled "Can Infinity Exist Without Humans?" the artist expresses that, despite the absence of any human figures in the images, their traces are apparent. The art historian asks, don’t these traces make the seemingly "perfect" landscapes truly so? She explains that the work, with its humanless, simplistic landscapes, hints at the beginning of the world’s creation, referring to an undefined starting point. She also notes that a connection is created between certain real landscapes on display and the undefined, original landscape.

"Lamia Kamilova, drawing from the myth of 'Pygmalion and Galatea,' explores the source of human infinite expectations. The chalk-written comments along the wall contribute to the resolution of the overall concept."

Challenges in Understanding the Exhibition

Ulkar Aliyeva concludes by stating that the exhibition is the final project of the graduates, and for many, it's a debut. She believes that this, in itself, is already a success. She emphasizes her confidence that these artists will produce interesting works in the future.

The art historian mentions that a different presentation could have made the exhibition more understandable for the audience. "However, in general, I questioned the appropriateness of having four exhibitions open to the audience simultaneously. On the opening days, it was difficult to understand which concept was being presented in the exhibition hall. This made interpreting the works challenging."

She suggests that if the concepts had been grouped in pairs for display, we could have gotten a deeper understanding of each. Drawing from last year's graduates’ presentation as an example, she recalls that in the first YARAT school's final exhibition, artists, curators, and managers were presented with three separate exhibitions.

"Although I only visited those exhibitions once, the concepts and works are still memorable. In any case, I will need to visit the 'From Finite to Infinite' exhibition again to fully digest it. Overall, I am eagerly looking forward to the next exhibition of the YARAT Contemporary Art School in the new season."