Currently

Café Avarice & Generosity

curator Azad Asifovich

  • Group show
11/23/2019 - 12/21/2019
1/13
Café Avarice & Generosity
installation view

Café Avarice & Generosity
installation view

Café Avarice & Generosity
installation view

Farhad Farzaliyev
Farhad Farzaliyev
Untitled #1, 2015
serie I Am Your Only Tiger
Textile, padding polyester and foam
110x30x44 cm or 43,3 x 11,8 x 17,3 in
Unique artwork, available

Farhad Farzaliyev
Farhad Farzaliyev
Untitled #2, 2015
serie I Am Your Only Tiger
Textile, padding polyester and foam
110x30x44 cm or 43,3 x 11,8 x 17,3 in
Unique artwork, available

Farhad Farzaliyev
Farhad Farzaliyev
Untitled #3, 2015
serie I Am Your Only Tiger
Textile, padding polyester and foam
110x30x44 cm or 43,3 x 11,8 x 17,3 in
Unique artwork, available

Tora Aghabayova
Tora Aghabayova
Remote Control, 2013
Oil on canvas
120x100 cm or 47,2 x 39,3 in
Unique artwork, available

Tora Aghabayova
Tora Aghabayova
A Eggplant Life, 2017
Oil on canvas
120x100 cm or 47,2 x 39,3 in
Unique artwork, available

Shahnaz Aghayeva
Shahnaz Aghayeva
Unlock, 2019
stone, prayer rug, paper
116x69 cm
Unique artwork, available

Ali Hasanov
Ali Hasanov
Alibi, 2016
military field stretchers, mixed media
53x150x160 cm
Unique artwork, available

Niyaz Najafov
Niyaz Najafov
Untitled iphone, 2017
oil on cardboard
76.7 x 62.9in
Unique artwork, available

Niyaz Najafov
Niyaz Najafov
Untitled, 2017
serie Flowers
oil on cardboard
76.7 x 62.9in
Unique artwork, available

Qafar Rzayev
Qafar Rzayev
Untitled #1, 2019
serie de 100 dessins
Pen on bristol card
5 drawings of 10x15 cm or 3,9 x 5,9 in each
Unique artwork, available

Press release

Due to social movements, the gallery will be closed on Thursday December 5


Click on the artist name to get more infomation

An exhibition presenting the young growing art scene from Azerbaijan, curated by Azad Asivovich, independant azeri curator.
This project is the result of a reflection and exploration of the Azeri collective memory through childhood reminiscences and the syndrome of nostalgia. At first, there was a desire to appropriate a common format. Thus was born the idea of a café where one would simply serve tea. Establishments of this type are called in Azerbaijan "Tchaikhana", which literally means the tea house. It would be a coffee place like any other one. One could come here, have a tea during the opening hours of the gallery and talk, talk about art and life. Exchange. Sitting on chairs, beside the guests conversing, there would be works of art. "


Here is what the curator told us during a phone conversation:
"Following many proposals to design an exhibition showing Azeri artists, there was a willingness to appropriate a common format. The idea of a café where one would just serve tea. Establishments of this type are called in Azerbaijan "Chaïyhana". Which literally means the tea place. It's like a coffee place, like any other. One could come there, take a tea during the opening hours of the gallery and talk. Talk about art and life. To make a change. Just a place where people can converse – surrounded by works of art.
The project is not inspired by literature, nor even by philosophy in order to discuss on the elements of its relation to the world. It is the fruit of a reflection and an intrusion in the Azeri collective memory through reminiscences of childhood and the syndrome of nostalgia.
The title “Avarice and Generosity” refers to a Japanese web novel written by Kugane Maruyama. The protagonists are using« World Items » that have the ability  to protect them from the opponents.  One of theses items has the appearance of a pair of gloves or gauntlets, a super powerful artifact, under the possession of the guild, Ainz Ooal Gown. The left gauntlet is an evil-looking thing that resembled the hand of a demon. In contrast, the right gauntlet looked like the pure, immaculate hand of a maiden. Using the metaphore of those world items, I would say that since a long time I have been using my left hand, it is now time to use my right hand, because generosity is a quality of Azeri people. "

So what about the exhibition: is it looking for an exoticism based on collective postcolonial memory, or simply the perpetual necessity of contemporary art to look for new figures?
Anton Voyl