US Yareah magazine highlights YARAT`s YAY Gallery

27 May 2014 16:09 | 890

The US-based Yareah magazine has published an article highlighting YARAT`s YAY Gallery on its website SIA reports.
The article says: "Yay Gallery, based in Baku, Azerbaijan, is delighted to announce its participation in the inaugural START Art Fair presented by Prudential. Held at the Saatchi Gallery, London, START will mark Yay Gallery’s first UK art fair".
"Yay Gallery (meaning "share" in Azerbaijani) was founded by YARAT, the leading non-profit contemporary art organisation in Azerbaijan. Opened in 2012 as part of YARAT’s on-going commitment to growing local art infrastructure in the Caucasus, Yay Gallery supports international dialogue for the arts and shares its proceeds between the artists and YARAT."
"A collaboration between the Saatchi Gallery and the Global Eye Programme, START is dedicated to supporting international emerging artists from around the world. Bringing together cutting-edge galleries from Asia, Europe, UK and USA, START is the ideal platform for Yay Gallery.
Presenting work by Farhad Farzaliyev (b. 1989) and Nazrin Mammadova (b. 1989) Yay Gallery brings to the fore the first generation of artists to mature since Azerbaijan’s independence in 1991. Reflecting the rapid cultural and aesthetic changes Azerbaijan has undergone over the last few decades, Yay Gallery’s stand will shed light on a new and burgeoning art scene."
"Farhad Farzaliyev’s (b. 1989) Granny’s Vocabulary series, 2014, considers nostalgia for the Soviet era, combining rudimentary Soviet textiles with neon slogans from his grandparents generation. Using Cyrillic script, which was replaced by Turkic script after independence in 1991, his work immediately speaks of the pre-independence era of Soviet rule and the tumultuous history of Azerbaijani script, which has changed officially three times in the last seventy years," says the magazine.
"Nazrin Mammadova’s (b. 1989) Alti Agach series, 2014, uses majestic photography of the Caucasus Mountains, which dominate the geography of the region. Interlacing their contours with plexi-glass sections of saturated colour, Mammadova shows how the cultural symbolism of the Caucasian mountains is becoming intertwined with the rapidly developing consumer culture of the region, symbolised by the artifice of the lurid, mass-produced materials.