Only one chance

Rasulov draws his subject from the traditional cultural practices that slowly become erased from the Azerbaijani collective memory in face of a rapidly modernizing and globalizing social-political context. Throughout the exhibition, traditionally carved objects as crates, pallets or a dart's board, deal with the pseudo historical value of new created ornaments. At the same time, they represent a humble search for new meaning inside old Azeri cultural practices. While the presented objects are a respectful gesture towards local culture, Rasulov provokes by evoking a radical situation. The artist uses the exhibition space as a studio, bringing the carving process inside the exhibition. While a master is meticulously carving new materials, two other workers are taking the newly produced “works” and destroy them inside the same room. The final result of this gesture is wood-dust that is collected, as if precious, and offered as an unnumbered edition of works to the visitor. The exhibition juxtaposes “analyzed artwork” with a situation questioning the value of the work of art in itself. Only one chance is a provocation. It is an iconoclastic act that symbolizes the loss of value of traditional culture by challenging the classical Azerbaijani understanding of an artwork.