Asianet Pakistan Private Limited

Baku will host the second edition of the ‘Fly to Baku. Art Weekend. Sense the Future NOW’ festival from October 30 to November 1. The programme will bring together various forms of contemporary art, including performances, immersive experiences, and interactive projects designed to engage audiences in the artistic process.

The festival will focus on the relationship between humans and nature, environmental responsibility, memory, inclusivity, and the legacy that must be passed on to future generations.

At the Stone Chronicle Museum, visitors will be able to see Orkhan Nabizadeh’s work ‘Ancient Stone, Contemporary Memory,’ inspired by the rock art of Gobustan. Using a contemporary sculptural language, the artist explores five symbols of Azerbaijan’s natural heritage: the Caucasian leopard, goitered gazelle, grey wolf, brown bear, and imperial eagle. These images serve as symbols of contemporary memory, encouraging reflection on the natural world that will be left to future generations.

In an interview with Trend Life, Nabizadeh discussed the concept behind his project, the connection between ancient rock carvings and contemporary environmental challenges, and the role of art in raising awareness about biodiversity conservation.

The Concept Behind ‘Ancient Stone, Contemporary Memory’

Question: What is the central idea behind your work ‘Ancient Stone, Contemporary Memory’?

The central idea is to bring together the memory preserved in stone and the events and challenges of the modern world. Stone itself is a carrier of information and a source of memory. My aim is to renew this memory, preserve within it the concerns of the 21st century, and convey a message to future generations.

Question: How did the rock art of Gobustan inspire you to create this work?

The rock carvings of Gobustan have survived to the present day, reflecting the lifestyles, worldviews, and concerns of the people who created them.

The main purpose of my approach is to highlight the processes that lead to the destruction of biodiversity in our region and preserve in the memory of stone the problems that modern humans may create for the future. In this way, I encourage viewers to demonstrate greater sensitivity and responsibility toward wildlife.

Question: Why did you choose these five animals in particular?

The choice of these five animals was deliberate. Azerbaijan’s so-called ‘Big Five’ brings together some of the country’s most recognizable representatives of wildlife, including species threatened with extinction. Through these images, I want to draw attention to the need to protect them.

Question: What connection do you see between ancient rock art and modern environmental issues?

Today, we primarily view ancient rock carvings as works of art. However, they originated in the everyday experiences, needs, and beliefs of people of their time and were recorded on stone.

Ancient humans hunted to obtain food and survive. Modern humans face a different responsibility: protecting these animals and maintaining ecological balance.

In this respect, my works share both similarities and differences with ancient rock carvings. The images themselves may appear similar, but the concerns and challenges behind them are entirely different. In the hunting scenes I have created, this distinction is emphasized through the contemporary appearance of the human figures, the hunting equipment they use, and my professional artistic approach.

Art as a Call to Protect Endangered Wildlife

Question: What message do you want to convey to viewers through these works?

The modern hunting equipment, clothing, and other objects, together with the hunting scenes, raise questions about protecting endangered animals. These images highlight the unacceptability of cruel treatment of nature by humans.

My aim is to encourage modern people to leave an image in the memory of stone of a civilized human being who protects nature and acts responsibly, rather than one who destroys it.

Question: What responsibility do you believe future generations have for protecting nature?

I believe today’s young people will play an important role in preserving a healthy natural environment and fostering greater environmental awareness among future generations.

Addressing existing problems through the language of art demonstrates that these issues are also at the centre of attention of the contemporary artistic community. It also shows that modern Azerbaijanis care about the natural environment of their country.

I believe that efforts to protect nature will contribute to creating a healthier and richer ecosystem for future generations.

An exhibition titled ‘Two Perspectives, One World’ has opened at Baku’s Buta Gallery, bringing together works by Honored Artist of Azerbaijan Namig Mammadov and artist Elshan Karaji. The exhibition offers a meeting of two distinctive artistic worlds connected by a master-student relationship, a shared artistic tradition, and a common desire to convey the beauty of the world through individual perspectives. Over several days, the exhibition has attracted considerable interest from members of the creative community, young people, and international visitors, Trend’s correspondent reports from the event.

According to Zarifa Asadova, founder and director of Buta Gallery, the exhibition’s primary objective was to introduce audiences to the artists’ inner worlds and give visitors an opportunity to experience their works up close.

‘I wanted viewers to become more familiar with the inner worlds of such talented artists. This is particularly true of Namig Mammadov, who spends his days immersed in his studio and completely absorbed in his creative work. I wanted to introduce him to a wider audience, allowing people to discover this artist, see his works, and experience them for themselves,’ she said.

Asadova noted that Mammadov’s works can transport viewers into a distinctive artistic dimension. She was particularly impressed by his series of pastel paintings, which the artist regards as a form of prayer and meditation.

‘I believe it would have been wrong to leave these works undiscovered. Collectors and art enthusiasts should have the opportunity to see them up close and experience the emotions embedded in them,’ the gallery director emphasized.

Speaking about Elshan Karaji, Asadova highlighted his independent artistic journey and his exploration of Azerbaijan’s natural heritage. In particular, the artist has dedicated a series of works to the country’s natural landscapes, including Sarysu, Azerbaijan’s largest lake, as well as its flora and fauna.

‘Elshan is also one of those artists who first and foremost explores his inner world. Recently, he decided to return to his roots, to the places he comes from, and began celebrating the magnificent natural beauty of Azerbaijan. I particularly liked the way he captures the beauty of Sarysu, its natural surroundings, and its wildlife,’ Asadova said.

The exhibition’s concept is built around the combination of different artistic approaches and the underlying affinity between the artists’ creative worlds.

‘We thought it would be interesting to bring these two worlds together and see what viewers would discover in them. Although the artists are very different, they share many qualities, including an emotional connection and a positive outlook on life,’ she added.

Color as a Reflection of the Inner World

One distinctive feature of the exhibition is the almost complete absence of black in many of the works on display. This observation prompted a discussion about the artists’ personalities, their attitudes toward life, and the role of color in artistic expression.

Elshan Karaji said he enjoys working with bright colors, although his palette changes depending on the series and the stage of his artistic development. The exhibition features works from several of his collections, including the ‘Shaman,’ ‘Cats,’ ‘Koroglu,’ and ‘Caucasus’ series, alongside other pieces.

Karaji said Namig Mammadov had played a major role in his professional development and had become one of his principal mentors in art.

‘The master painter has been one of my greatest sources of support. He has had an enormous influence on me as an artist. I am very happy that we are participating in this exhibition together today,’ Karaji said.

He expressed particular gratitude to his mentor for the knowledge he had imparted about composition, one of the most challenging aspects of artistic practice.

‘Knowing how to draw does not necessarily make someone an artist. Creating a work of art and constructing its composition correctly are extremely challenging tasks. Namig Mammadov taught me composition from the very beginning, starting with academic fundamentals and moving on to different artistic movements, from miniature painting to modernism,’ the artist explained.

Karaji emphasized that learning to construct compositions, understand the principles governing artistic space, and create cohesive works had been among the most important lessons he had received from his mentor.

The artist himself explores modernism and experimental forms, combining different artistic techniques while developing his own visual language.

Art Can Serve as a Counterbalance to Negativity

Namig Mammadov, meanwhile, spoke about the works featured in the exhibition, highlighting the importance of color, graphic techniques, and newspaper fragments. He explained that their use reflects both artistic experimentation and his thoughts on how the information environment affects people.

‘A newspaper represents information. Today, people receive a great deal of negative information. This affects everyone, including musicians, artists, and people working in other professions. Negative information inevitably influences a person’s inner state,’ the artist said.

In his view, art can serve as a counterbalance to this constant flow of information, helping people look at the world around them from a different perspective.

‘There is plenty of positive information as well, but negative news often attracts more attention. I would like people to engage more frequently with positive information. This would improve their perception of the world,’ he emphasized.

Mammadov works with pastels and graphic techniques, incorporating newspaper elements into his artistic narratives. By combining textures, shades, and fragments of printed material, he reinterprets familiar images and transforms everyday information into independent works of art.

The artist also discussed his creative process, explaining that producing his works requires complete concentration and solitude. At times, he needs to switch off his phone, close the studio door, and immerse himself entirely in his work.

‘When I am working, I sometimes need to shut myself off from the outside world. I switch off my phone, close the door, and remain alone with myself and my art,’ he said.

Mammadov also clarified that the absence of black in his paintings is not the result of a deliberate decision to avoid the color. On the contrary, he considers black beautiful and expressive, capable of creating distinctive shades and emphasizing other colors.

‘I do not avoid black. It has its own beautiful shades and can give a work particular expressiveness. Sometimes, however, a certain inner state emerges during the creative process, making me want to use other colors,’ he explained.

A Dialogue Between Generations and Artistic Worlds

‘Two Perspectives, One World’ demonstrates that artistic continuity does not mean repetition. The student and his mentor retain their individuality, develop their own artistic languages, and interpret the world around them in different ways.

In Elshan Karaji’s works, viewers encounter urban landscapes, architecture, human figures, movement, and the beauty of Azerbaijan’s natural environment. Namig Mammadov’s works, meanwhile, unfold through rich colors, layered textures, graphic techniques, and newspaper fragments, reflecting his thoughts on memory, information, and the human condition.

What unites the two artists is their desire to move beyond simply depicting reality and convey things that cannot be seen at first glance: emotions, memories, personal experiences, and individual attitudes toward life.

This is the central idea behind the exhibition: the same world can look entirely different depending on who is looking at it.

Two artists, two independent creative journeys, and two artistic languages come together in a single space, inviting visitors to do more than simply admire the paintings. They are encouraged to explore the works and discover meanings of their own.

The exhibition will remain open to the public until November 24. Admission is free.

Venue: Buta Gallery, 28 Zarifa Aliyeva Street, Baku, Azerbaijan.

Instagram: Buta Gallery on Instagram

Website: Buta Gallery official website

Media partners: Trend.Az, Day.Az, Milli.Az, and Azernews.Az.

Azerbaijani citizens can earn money by selling surplus electricity generated by their own systems to state-owned electricity distribution company Azerishiq after meeting their household needs, Deputy Energy Minister Elnur Soltanov has said.

Speaking on Wednesday at the ninth Sustainable Development Goals (SDG) Dialogue in Baku, Soltanov said Azerbaijan had already established an ‘active consumer’ framework that allows citizens to generate electricity for their own consumption and earn income from excess production.

‘We already have a concept called the ‘active consumer,’ and the foundations for it are in place. Every citizen, whether a legal entity or an individual, can generate up to 150 kilowatts of electricity for their household or company. That is a very large amount. There is practically no household that consumes that much electricity; it is equivalent to around 300 solar panels,’ the deputy minister said.

According to Soltanov, consumers can sell any electricity they generate beyond their needs to Azerishiq and receive payment for it.

‘They can use as much electricity as they need and sell the surplus to Azerishiq to earn money. This is already possible. Anyone can visit Azerishiq today, submit an application and begin the process,’ he emphasized.

Soltanov said Azerbaijan currently has nearly 1,800 active consumers, more than 95% of whom are located in Karabakh.

‘Nearly 1,800 active consumers are currently operating in Azerbaijan, and more than 95% of them are in Karabakh. The vast majority of our residents there generate electricity for their own consumption and sell the surplus to Azerishiq to earn income. This demonstrates the practical implementation of our country’s efforts to establish a ‘green energy zone’ in Karabakh,’ he said.

The deputy minister noted that the activities of these consumers form part of broader efforts to establish Karabakh as a green energy zone.

According to Soltanov, active consumers across Azerbaijan currently generate approximately 8 megawatts of electricity through this mechanism.

He also addressed the payback period for investments in solar energy systems, saying that the initial investment typically takes seven to eight years to recover.

After that period, consumers can continue earning income by selling surplus electricity to Azerishiq, he added.

Soltanov said the mechanism encourages greater public participation in the transition to green energy while expanding the use of renewable energy sources across the country.

On 1 November, the Heydar Aliyev Center will host Inside the Studio, an open rehearsal with Sharon Eyal, one of the most distinctive voices in contemporary choreography. The event is part of the parallel programme of the Baku International Arts Festival (BIAF), held from 28 October to 8 November 2026 with the support of the Heydar Aliyev Foundation and the Ministry of Culture of Azerbaijan.

As an Official Partner, CHELEBI continues to expand its engagement with contemporary culture, supporting artistic experimentation and exchange across disciplines. Rooted in Azerbaijan’s cultural heritage, the brand sees collaborations with international artists and cultural institutions as an essential part of its evolving creative identity.

Inside the Studio offers a rare opportunity to witness a performance in the making. The programme begins with a 20-minute documentary film, followed by a 30-minute live presentation featuring Héloïse Jocqueviel, Darren Devaney, Johnny McMillan and Juan Gil. The dancers will perform three excerpts: Christina, a duet inspired by Into the Hairy, and an excerpt from Delay the Sadness. The programme concludes with an open conversation with Sharon Eyal and the dancers.

Founded in 2013 by artist Aida Mahmudova, CHELEBI is an Azerbaijani design brand that reinterprets cultural heritage through contemporary furniture, objects and artistic collaborations. Working with local artisans and international designers, the brand brings traditional craftsmanship into a contemporary context. Beyond the creation of objects, CHELEBI seeks to foster cultural exchange, connecting Azerbaijan’s creative heritage with the international cultural landscape.

Sharon Eyal’s practice, bringing together choreography, music and visual expression, resonates with CHELEBI’s interest in the relationship between artistic disciplines. The partnership reflects a shared appreciation for creative freedom and the exploration of new forms of expression.

‘As an artist, I have always been interested in the creative process – in the experimentation, intuition and dialogue that shape a work before it reaches its final form. Sharon Eyal’s practice is a remarkable expression of this creative freedom. Through CHELEBI, we are delighted to support an opportunity for audiences in Baku to experience this process from within,’ says Aida Mahmudova, founder of CHELEBI.

Sharon Eyal is an internationally acclaimed choreographer whose distinctive language combines physical intensity, rhythm, music and a powerful visual sensibility. In 2013, she founded her company, S-E-D, with her longtime collaborator Gai Behar. In 2022, the duo relocated to Paris, establishing a new base for their creative practice. Alongside the company’s repertoire, Eyal has created works for leading dance companies internationally, establishing herself as one of the defining figures in contemporary choreography.

Date: 1 November 2026, 13:00

Venue: Heydar Aliyev Center

Duration: 60 minutes

Language: English

Tickets and further information are available through the official BIAF website.

The second meeting of the Joint Military Cooperation Committee between the Ministries of Defense of the Republic of Azerbaijan and the United Arab Emirates (UAE) was held.

Chief of the International Military Cooperation Department, Major General Elchin Abdullayev met with a delegation led by Director of the Directorate of International Affairs at the UAE Ministry of Defence, Brigadier General Jamal Ebrahim Mohamed Almarzooqi.

The meeting emphasised importance of mutual exchange of experience between the two armed forces. The participants also held an extensive exchange of views on the current state of military cooperation and other issues of common interest.

At the conclusion of the meeting, the Protocol of the Second Meeting of the Joint Military Cooperation Committee between the Ministries of Defense of the Republic of Azerbaijan and the United Arab Emirates was signed, along with a Roadmap for Cooperation for 2027-2029.

An event featuring artist Farid Rasulov and art lovers was held at the Azerkhalcha exhibition hall in Icherisheher.

The discussion focused on how Rasulov’s works take on a new artistic form through carpet-making, as well as on Stitches That Keep Tales Alive: Karabakh Carpets, a collection created in collaboration with OJSC Azerkhalcha.

The conversation explored how an artistic idea is translated into a carpet, the creative collaboration between an artist and a carpet maker, the artistic value of handwoven carpets, and the place of traditional craftsmanship in contemporary art. Participants also discussed the carpet as both a work of art and an interior piece, the collection’s limited edition, and new ways of expressing Azerbaijan’s carpet-weaving traditions.

Created in partnership with OJSC Azerkhalcha, Stitches That Keep Tales Alive: Karabakh Carpets presents the traditions of Karabakh carpet-making through a contemporary artistic language. The collection treats this tradition not merely as a remnant of the past, but as a living part of contemporary art. The project reactivates ancient patterns in a modern visual context. Its central idea is to create a meaningful dialogue between heritage and modernity, bringing together our tales and history with contemporary artistic thought in every woven stitch.

Created especially for the International Carpet Festival, the collection was first presented there, where it was warmly received. It features six carpets: The Tale of the White Horse and the Birds, The Legend of the Karabakh Horse, The Pattern of Elegance, Echoes of Golden Feathers, The Tiger in the Stitches and Pomegranate, Crown of the Night. Made from a wool-and-silk blend using a 3D technique, the collection is built on the idea that preservation alone is not enough: cultural heritage must remain dynamic to stay relevant.

During the event, guests had the opportunity to view the carpets up close and touch them.

The carpets from the collection, created by Farid Rasulov in collaboration with OJSC Azerkhalcha, will also be on display at the Beyond Memory exhibition, presented at QGallery in Icherisheher during the festival Flight to Baku. Art Weekend: Feel the Future NOW, taking place from 30 October to 1 November.

The second day of the 7th World Forum on Intercultural Dialogue is taking place in Baku, with a series of panel discussions scheduled to address women’s empowerment, youth engagement, interfaith dialogue and cultural heritage.

The day’s programme includes sessions titled ‘Knowledge, Voice and Leadership: Empowering Women and Girls Across Cultures for a Shared Future,’ ‘Youth Dialogue: Putting Impact at the Forefront,’ ‘Dialogue of Religions: A Roadmap to a Shared Future,’ and ‘Museums and Heritage Sites as Spaces for Intercultural Dialogue.’

The 7th World Forum on Intercultural Dialogue is being held in Baku on October 27-29 under the theme ‘Dialogue for a Shared Future: Building Bridges in a Divided World.’

The forum is a major international event within the Baku Process, launched in 2008 at the initiative of Azerbaijani President Ilham Aliyev.

First held in 2011, the forum brings together countries, international organizations, experts and civil society representatives to promote intercultural dialogue and cooperation.

‘We are pleased with the dynamic development of Azerbaijan-Czech relations, which are rooted in rich traditions,’ President of Azerbaijan Ilham Aliyev said in his congratulatory letter to Czech President Petr Pavel on the occasion of the Czech Republic’s National Day.

‘Active political dialogue provides a solid foundation for expanding our cooperation in the economic, energy, transport, defense industry, humanitarian and other fields,’ the head of state emphasized.

Azerbaijan plans to join the Mecca Convention on combating corruption, Prosecutor General Kamran Aliyev has said.

Speaking on Wednesday at the third high-level meeting of heads of anti-corruption law enforcement agencies from member states of the Organization of Islamic Cooperation (OIC) in Baku, Aliyev said Azerbaijan had already ratified several major international conventions aimed at fighting corruption and organized crime.

These include the United Nations Convention against Corruption, the United Nations Convention against Transnational Organized Crime, and the Council of Europe’s civil law and criminal law conventions on corruption.

Aliyev noted that Azerbaijan had undertaken extensive legal and institutional reforms to establish a modern legal framework aligned with international anti-corruption standards. Reforms had also been implemented across the judicial and law enforcement systems to ensure the effective enforcement of relevant legislation.

The prosecutor general emphasized that Azerbaijan’s anti-corruption efforts extend beyond punitive measures to include a strong focus on prevention.

According to Aliyev, the country’s ASAN Service centers have made a significant contribution to improving transparency in public administration by providing government services in a transparent and accessible manner.

He also stressed the importance of cooperation with international partners and the exchange of experience in combating corruption, highlighting the role of international collaboration in strengthening anti-corruption efforts.