Orkhan Mammadov (b. 1990, Ganja, Azerbaijan)
Relic D, 2022
Video / 1:00 / loop / color / 3840 x 2160 px
Curated by Dalbin / Minted on SuperRare
Edition 1 of 1
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About the work
“Relic - Carpet Data Painting D/4” is available on Dalbin Table.
This NFT is sold separately from the Table
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The file resolution is 3840 x 2160 px (4K UHD).
Hanging on walls inside homes since time immemorial, hand-woven carpets are vessels of history. They contain tradition, symbolism and memories threaded into finely knotted craftsmanship. With their geometric patterns being as important as the textile itself, the carpet as an artwork occupies a position far beyond a piece of ornamental decoration, rather an integral part of Middle Eastern cultural heritage. Yet for Orkhan Mammadov, the carpet as artwork belongs as a piece of futuristic heritage.
Through a densely complex mathematics-based art practice Mammadov reinvents traditional carpet design techniques by employing machine learning and Artificial Intelligence (AI). He uses his personal heritage as raw data, carefully documenting historical sources of ornamental carpet patterns and recontextualizes that data into the digital age. In this act, he is placing himself, the artist, simultaneously as a researcher and exhibitor in the process of creating his art.
‘Relic’ reveals a new visual language of carpet pattern through a collaboration between artist and machine. Harnessing the power of AI, Mammadov uses GAN algorithms to study the visual similarities of a massive carpet pattern archive collected over seven years of intensive research. Then, using a specifically designed coding structure, the relationship between artist and machine produces unique yet familiar patterns. Deliberately relinquishing part of his authority over the final product, Mammadov is questioning cultural appropriation and dissolution of deep-rooted cultural traditions in a globalized world. Yet he is also reclaiming ownership of them within a contemporary context and rewriting their position as relics of the past.
Mammadov expands the interpretation of patterns, moving them away from the craftsmanship of carpet weaving, to computing systems that recognize regularities in data sets. In this process, what was formerly historical data, now becomes the threads of information for the digital carpet. In Mammadov’s eyes we are looking at equally important objects that store information and reflect on societies; the lines between fine art and crafts blur when manifested through technology. The physicality of the screens and the machine learning is further accentuated by tangled wires that are visible from behind the screens. They reveal the mechanisms of the art and are also reminiscent of the authenticity of real carpets, which are verified by knots upon the underside.
Exploring the possibilities that new technologies can bring to heritage, ‘Relic’ transforms the way we understand culture and how it morphs through the lens of societal changes. It proposes alternative futures, creating ways of communicating with history and giving rise to a new age of multiculturalism across technologies. Within ‘Relic’, the old and the new unite to reinvent each other.
Medium: New Media Art
Physical companion (on-demand): Dalbin C43 Invisible
Digital: Generative Video (color, silent), 1 min, seamless loop.
Edition: 1 Unique edition + AP
Certificate: SuperRare Smart Contract + Physical Certificate
Credits: Creative Producer: Generative Gallery
Curated by Dalbin
About the artist
Orkhan Mammadov
Born in 1990, Ganja, Azerbaijan
Lives and works in Dubai, UAE
New media artist & creative director, working with a focus on representing eastern culture through innovative art-making methods. Orkhan immersed himself in new media flows in global trends and became fascinated by local youth subcultures to investigate the redemption of history and culture. He examines the alternative conditions of cultural heritage perception with artificial intelligence & generative art. As a primary core of his practice, Mammadov focuses on how the cultural and historical codes integrate a new forward-looking medium, virtual reality, into contemporary views of our everyday life.
Born and raised in Azerbaijan’s culturally rich Ganja city Orkhan was immersed by his deeply personal interest in digitalizing and regenerating cultural heritage. His spatial juxtaposition is a kind of experiment that emerges for the audience, raising questions about the intellectual, emotional, and aesthetic implications of artificial visual cultural artifacts. By strong research-based practice, Orkhan’s works unquestionably display the significance of the traditions and history to understanding and caring for the legacy of tangible and intangible heritage assets from Azerbaijan and the Middle East.
Internationally he is recognized for his cultural data sculptures and dynamic carpet installations, which explore the alienation and escapism felt by a disaffected and displaced culture that casts itself as a fictional but physical element. The interplay between virtual and real worlds, utopia and dystopia, and the body and technology would remain major themes for Mammadov as his cultural commentary became increasingly pointed. Orkhan’s practice explores the relations between machine intelligence and cultural heritage as a conversation starter for such narratives. Using the Girih patterns and carpet illustrations as a dataset, he emerges the many official and unofficial emblems that represent the middle eastern’s cultural heritage to create digital alternatives for future generations.
Orkhan exhibited at several international biennales, festivals, and fairs, including Art Dubai in Dubai, UAE (2022), Art Basel in Miami, USA (2021), Moscow International Contemporary Art Biennale in Moscow, Russia (2019), Venice Biennale de Arte in Venice, Italy (2019), Nasimi Festival in Baku, Azerbaijan (2018), Gamma Festival in ST. Petersburg, Russia (2018), IF Istanbul International Film Festival in Istanbul, Turkey (2017), ACCU Festival in Prague, Czech Republic (2017), Dave Festival in Dresden, Germany (2017).
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