"The older generation, having grown up in the relatively liberal atmosphere of glasnost and perestroika, has proved more resistant to propaganda, and its work has remained correspondingly less inhibited.
Body covering is evident in Chingiz's (born 1964) 2003 performance Silver, in which the artist wandered around the ruins of a former KGB prison - the site of mass executions during the Stalinist purges - while wrapped from head to foot in tin foil, pausing occasionally only to decorate a piece of rusting ordinance with the same material.
In both these works - one irreverent and playful, the other a quiet act of commemoration - a radical hiding or sealing off of the body from its environment becomes a precondition for the aesthetic act: an indication both of that environment's hostility, and how defenceless artists feel against it."
Da Flash Art, Londra. Nathaniel McBride.


by Marika Vicari

In the culture of Chingiz Babayev the carpet has a particular significance and prayer: it is almost a “prayer” dedicated to nature, humanity, life and love.
His works are made of substances: flowers, leaves, fruits and vegetables and of accidences that are: color, tactile structure and visible form. Deviation produced in his work with braking of an immobility of artistic thing as an installation, photography or a canvas, gives to a spectator, thanks to a capability to see, a possibility to experience a originally fragmentary sense of real, the truth of permanent and so a bond with a human existence.Chingiz Babayev defines himself as a conceptual artist.
His work (a selection of drawings, pastels and photos) present at with the exhibition Oriental tag, strongly recalls rituals, traditions, processes and artistic movements: land art and environmental sculpture.His artistic operations reflect the approach to new visual dominant tendencies in international contemporary art on one side and cover the tradition and the presence of its traditional roots on the other; therefore the tie with a past that continues to the present.