Babi Badalov

May 28, 2014

Geografico Demografico LinguiEastical Confusion, La Galerie, centre contemporay art, Noisy-le-Sec/Paris

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“Burocrasy diaries” – La Galerie, centre for contemporay art, Noisy-le-Sec/Paris

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May 25, 2014

Disparity and Demand, La Galerie, Contemporary Art Centre

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Babi Badalov


La Galerie, Contemporary Art Centre

Loretta Fahrenholz, My Throat My Air, 2013. Video, 16:47 minutes. Courtesy of the artist, galleries Daniel Buchholz, Köln, Berlin and Reena Spaulings, New York.

 Disparity and Demand

24 May–12 July 2014

Opening: Saturday, May 24, 2–7pm
4–6pm: A conversation about forms of affects with curator in residency Pedro de Llano, art critic Peio Aguirre and artists Babi Badalov, Mauro Cerqueira and Loreto Martinez Troncoso

La Galerie, Contemporary Art Centre
1, rue Jean Jaurès
93130 Noisy-le-Sec
Hours: Tuesday–Friday 2–6pm,
Saturday 2–7pm, and by appointment
Admission free

T +33 (0) 1 49 42 67 17

A proposal by Pedro de Llano, curator in residency

As part of the annual foreign curator in residency programme, La Galerie is welcoming Pedro de Llano (Spain).

The exhibition Disparity and Demand explores the role of affects in contemporary urban life, social networks and production systems. From domestic spaces to virtual environments, this exhibition addresses the interstitial spaces in which “effectivity” and “affectivity” struggle.

Disparity and Demand is also the title of one of Juan Luis Moraza’s works: deliberately technocratic, it wryly refers to the ambiguous status of contemporary affects. “Disparity” invites us to think about unequal relationships between individuals, but can also refer to the bureaucratic, commercial and virtual Leviathan. On the other hand, “demand” seems to suggest a kind of “vampirism” created by markets, governments and social networking that speculates upon emotions and that people have to deal with on a daily basis. Paris, a city where this bipolar nature of affects is always present and conflictual, as highlighted in much of the best contemporary French cinema (L’inconnu du lac (Stranger by the Lake) by Alain Guiraudie or Jeune et Jolie (Young and Beautiful) by François Ozon) seems to be an ideal place to start a conversation about this paradox.

An important inspiration for the exhibition was “The Affectivist Manifesto” (2008) by Brian Holmes in which he defines affect as a “shared reality”—”a split from the private self in which each person was formerly enclosed, and from the social order which imposed that particular type of privacy or privation.” This concept indicates the different scales in which affect acts: intimacy, society, the virtual world with all their possible levels or internal nuances: friendship, family, love, nation, culture, etc. The exhibition reflects the concept of expanding the private sphere to social space: it grows in a spiral movement centred around the intimate character of Juan Luis Moraza’s work. It then expands via the works installed in the rooms facing the street, with a more intense social vocation, such as the “diagrams” by Ricardo Basbaum, the stories by Loreto Martínez Troncoso or Babi Badalov’s efforts to get the political refugee status in France—dissolving the boundaries between the interior and exterior of La Galerie.

March 21, 2014

EASTERIA – Gandy gallery presents Babi Badalov – Nikolay Oleynikov

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Gandy gallery presents Babi Badalov – Nikolay Oleynikov – EASTERIAArchive | Information & News
10 Mar 2014 to 9 May 2014
Gandy Gallery
Sienkiewiczova 4
811 09
Eastern Europe
T: +421 915203082
F: +421 252635616
Artists in this exhibition:
Babi Badalov – Nikolay Oleynikov EASTERIAOpening reception: Tuesday March 10 th from 18.00 to 20.00 in presence of the artist Exhibition March 11,2014 – May 9,2014“Hysterical Materialism”From now on, we claim that hysteria should be considered not as an incidental misfortune of singular individuals in bourgeois society, but as an open possibility and a driving force for the class struggle.…the first thing about hysterical symptom is that it has a certain historical background and refers back to a certain event in the past, a traumatic event, perhaps, deeply forgotten by the hysterical subject. Something deeply forgotten thus nevertheless makes us know about it through a hysterical symptom. Hysteria therefore can be regarded as a kind of memory, an embodied memory, a memory whose subject is a material body of the patient. Hysteria thus presupposes history, and hysterical materialism can take the historical materiality of the hysterical body as its starting point. As Walter Benjamin says, the angel of hysteria looks back at the past, which still needs to be redeemed, and a hysterical symptom as a memory of the forgotten each time reveals a certain crack in the present, where a traumatic event dwells. Only that hysterical will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins.
– Oxana TimofeevaOxana Timofeeva is a Senior Research Fellow at the Institute of Philosophy of Russian Academy of Science and currently a Humboldtian Fellow at Humboldt University in Berlin. She is a member of Russian collective “Chto Delat?” (“What is to be Done”?), and the author of books “Introduction to the Erotic Philosophy of Georges Bataille (2009, Moscow, in Russian) and “History of Animals: An Essay on Negativity, Immanence and Freedom” (2012, Maastricht).Gandy gallery is very pleased to present a joint exhibition by BABI BADALOV and NIKOLAY OLEYNIKOV. This is the second time that Babi has exhibited his work at the gallery in Bratislava.BABI BADALOV was born in Lerik(1958), a small town near the Iranian border in the Talysh region of Azerbaijan, to an Azeri father and a Talysh mother. After serving two years in the Soviet Army, he moved to Leningrad (St. Petersburg) in 1980, where he quickly became a leading underground artist and a member of the unofficial artists group TEII.Badalov participated in numerous art shows with the group in Russia and abroad. In the late 1980s, he met artists Vadim Ovchinnikov and Timur Novikov, members of the New Artists Group, and became involved in a variety of their projects and art campaigns.
Badalov always found different ways of expressing his ideas through art objects, paintings, installations and live performances. He also tested himself on the movie set of avant-garde Russian film director Evgeniy Kondratiev.In addition to his visual explorations, Badalov experiments with words and writes obscure poetry, mixing the languages and mentalities of different cultures. Even though Russian is not his first language,he won the Pushkinskaya 10 poetry contest.
In 1990, Badalov mysteriously disappeared from the St. Petersburg art scene and became a legendary figure, and an inspiration and a role model for younger generations of Russian artists.
Today, Badalov continues to exhibit around the world and develop his new ideas. His latest concept was a series of ecological art objects called Dolls for Adults, where he isolated the plastic of nature inside his own clothes. He is also working on a number of visual projects dedicated to linguistic explorations, questioning how a person can become the victim of a language barrier, trying to untangle the confusion of the Cyrillic/Latin mix.
His latest exhibitions are Manifesta 8 in Murcia/Cartagena, Spain, The Watchmen, the Liars, the Dreamers in Le Plateau, Center For Contemporary Art, Paris and Lonely at the Top in MuHKA, Museum of Contemporary Art, Antwerp,RE-ALIGNED ART» Tromsø Kunstforening, Norway,15 th Jakarta Biennale,and in 2014 “Report on the Construction of a Spaceship Module”, New Museum, New York,and a solo exhibition 2010 “My life Report In Paris” Tranzit Display gallery, Prague and 2013 “PORTO – ΠOPTO” A Certain Lack of Coherence, Porto

NIKOLAY OLEYNIKOV (1976) is a Moscow based artist and activist, member of Chto Delat?, editor for Chto Delat? newspaper, member of editorial board of Moscow Art Magazine (2011), co-founder of the Learning Film Group, and May Congress of Creative Workers, member of the Arkady Kots band. Known for his didactic murals and graphic works within the tradition of the Soviet monumental school, comics, surrealist-like imaginary and punk culture. Represented worldwide by his solo projects as well as with number of collective activities, Oleynikov has had numerous international shows including Fargfabriken, Stockholm; Musée d´Art Moderne de la Ville de Paris – MAM/ARC, Paris; Serralves Museum, Porto; Cittadellarte – Fondazione Pistoletto, Biella; Museo dell Arte Contemporaneo Luiggi Pecci, Prato; Ammirato Culture House, Lecce; Lungomare, Bolzano; KOMPLOT, Bruxelles; X BALTIC TRIENNALE in Vilnius; KIBLA, Maribor; <rotor>, Graz; Welling School, London; State Tretyakov Gallery and Paperworks Gallery, Moscow. Oleynikov is an author of a book SEX of the OPPRESSED, Moscow, 2013-14

Oleynikov’s part of this significant duo’s display features a selection of graphics works which has been included in his recently published book Sex of the Oppressed (Moscow, 2013). This selection of works is eloquent; a collection can be defined as a self-portrait, a synthesis of ideas and interest, dreams and utopias. It is deeply personal. So Oleynikov’s Romantic Collection evokes a more intimate dimension, witnessed by the format of the works. Each one is like a refrain; a part of a song that becomes an intimate narration. Using the very intimate medium of hand drawings and ink on paper, Oleynikov brings together personal reactions and intimacy in a very political way, reflecting the dramatic changes recently experienced by Russian society, and more precisely resonating with the so called “anti-gay law” and its possible consequences. A new series of known Oleynikov’s textile works made especially for EASTERIA are the flags based on punk-surrealist-like story of the death of Marat. Marat though is represented as a dog-headed androginous beast involved equally in political, creative and sexual actions.

Please do not hesitate to contact the gallery for any further information.
We look forward to welcoming you!
Best regards, Nadine Gandy

Gandy gallery
Sienkiewiczova 4
Bratislava – Slovakia
+421 915203082













February 22, 2014

“Report on the Construction of a Spaceship Module”, New Museum, New York, 01/22/14 – 04/13/14

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December 16, 2013


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Lettres, mots, dessins, photos, tissus, sacs, T-shirts, chaussures, papiers, cartons, murs, détritus, objets perdus ou jetés, puis glanés dans la rue par l’artiste, Babi Badalov transforme tout en matériau artistique, surtout lorsqu’il est pauvre dans sa valeur d’usage. Lettre, mot, phrase, image, tout est déconstruit, libéré de la contrainte de la norme, de la logique convenue. Signifiants et signifiés sont amplifiés, séparés, déliés pour acquérir une autre forme, un sens nouveau ouvert à une multitude d’interprétations pour muter vers une poésie très personnelle et très politique à la fois, ce qu’il appelle « Poésie visuelle ». Contrepèteries, jeux de mots basculent les conventions, moquent les grands noms et les phrases toutes faites. Même les acquis des quatre années de formation au collège artistique de Bakou volent en éclats. Les langues, la structure des signes, les alphabets, les sujets personnels et politiques, la mort de sa mère, la nostalgie du village de Lerik, l’histoire de l’art, sa détention au Royaume-Uni, son identité sexuelle, son image et celle des autres, les abus et les dérives du pouvoir sur toute la planète. Tout se confond, tout est déhiérarchisé. Une confusion des langages, un brouillage des frontières, une déliquescence des systèmes qu’il provoque pour questionner la vraie signification de la rigueur de la norme.
Pourtant, entre les mots et les images, Babi dessinent des lignes, comme les liens invisibles unissant pensée et langage. Comme si des lignes se formaient entre l’intérieur de sa tête et le monde qui l’entoure. Des lignes sur du papier marqué par les stries du stylo qui se changent en boyaux, en arborescence végétale ou damier d’un échiquier. La ligne est passage, la ligne est trait d’union, la ligne est lien. Elle est pensée, lettre, mot, elle est visage. La lettre aussi peut devenir visage. Babi cherche avec le dessin automatique qu’il pratique méthodiquement à mettre du liant. Dans un élan pulsionnel, il donne une forme à des processus psychique d’association et de mise en relation. Le dessin, le signe, le mot, l’ornement sont aussi réparateurs de l’image souvent meurtrie des humains. Ils viennent combler une béance, permettre les passages, mettre en liaison, reconstituer une identité questionnée.
Les matériaux sont pauvres, comme les techniques : collage, coloriage, écriture griffonnée sur des cahiers, des feuilles de papier, des bouts de draps qui font office de tenture, de panneau d’écriture. Babi Badalov ne cherche pas le beau, la maîtrise, la virtuosité. Son ornementation reste celle d’un enfant coloriant son cahier d’écolier. L’artiste se fait aussi quotidiennement chiffonnier pour collecter toutes ces photos, cartes de visite, étiquettes et prospectus qu’il utilise dans ses collages. Cet attachement au matériau de récupération, au geste de tous les jours se veut même, chez lui, plus qu’un reliquat d’habitude soviétique, un acte, une posture
politique. Même la réutilisation des courriers administratifs comme support de collage et de dessin est un pied de nez à l’Etat français dévoreur de papier. Tout ce qui l’entoure et l’assaille au quotidien, est ingurgité et digéré et transformé. Ainsi en va-t-il de ses nombreuses expériences de vie, que ce soit les foisonnantes années de l’underground pétersbourgeois ou l’humiliante expulsion du Royaume-Uni, jusqu’aux tracas consulaires d’un simple détenteur d’un « Titre de voyage », passeport du réfugié pour voyager hors d’Europe. Plus, il fait de ses difficultés sa force, ses atouts : la confusion des langues (l’artiste en parle six, mais aucune parfaitement), l’isolement social et culturel (il a grandi dans un village de la frontière iranienne en Azerbaïdjan alors soviétique), le statut d’exilé, homosexuel, banni de chez lui. Il en fait chronique sur tout ce qu’il trouve de supports simples et légers quitte à remplir les espaces d’exposition de son journal mural. Car pour Babi Badalov l’art est existentiel, l’art est politique.

Mireille Besnard

uma certa

November 19, 2013

15th Jakarata biennale

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September 11, 2013

RE-ALIGNED. From ‘Post-’ to ‘Pre-’ , Tromsø Kunstforening,

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April 7, 2013

“Enchanted Wanderer” The Garage Center for Contemporary Art, project for Chukotka

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November 7, 2012

“From Below, as a Neighbour” 25 October – 6 November 2012, Drugo More, Rijeka, Croatia

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