Babi Badalov, Halluci Nation (Orna-mental poetry), 2014, Courtesy, Galerie Jérôme Poggi, Paris

Born in 1959 in Lerik (Azerbaïdjan). Lives and Works in Paris. Babi Badalov’s pratice is a constant exploration of the limits of the language. He is particularly interesting in the way that language is able to isolate individuals from the people who don’t share the same language. Thereby, the artist covers current geo-political topics that echoes his own personnal experiences.

After having lived in Russian, he tried to settle in Cardiff (UK), but his asylium application was refused. Sent back in Azerbaijan, he finally got the right to stay and live in France in 2011. Great traveler and poet himself, Babi Badalov often introduces his own texts in his work : by combinating it with manipulated political pictures, he creates installations, objects, paintings and happenings that he used to qualified as « visual poetry »

Several Babi Badalov’s artworks are part of international public collections such as Russian Museum in St. Petersburg  (Russia), MuHKA Museum Contemporary Art Antwerp, Azerbaijan State Museum of Art in Baku (Azerbaïjan),  Kunstmuseum of Emden (Germany),  Martigny Art Museum (Switzerland), Oetcker Collection in Bielefeld (Germany), Arina Kowner Collection in Zurich (Switzerland) and Zimmerli Art Museum (New Jersey, USA).

Galerie Jerome Poggi



Sexo, Guerra y Bertolt Brecht


Minerva Cuevas, Sex,War,and Bertolt Brecht at ZONAMACO SUR, images of the booth Kurimanzutto 

kurimanzutto presents the individual project by Minerva Cuevas Sex,War,and Bertolt Brecht at ZONAMACO SUR. The artist has positioned the figure of the German playwright as the starting point for her installation. With this body of work, Cuevas explores the frontiers between theatre and reality that lead Brecht to the culmination of his own work. While at the same time, Cuevas articulates her interest in the very place culture holds within a proletarian society and the implications of class with respect to art and politics, concerns that are central to Brecht’s thought.


Minerva Cuevas, Sex,War,and Bertolt Brecht at ZONAMACO SUR, images of the booth Kurimanzutto 

Cuevas places the processes of research at the center of her practice, the artworks in this installationare a tangible display of such method. Following this approach, the artist has used a photograph from Kriegsfi bel (War Primer), a book that Brecht created during World War II combining newspaper clippings and poems. A carrot is the only image in it that references something beyond the general context of the book and allows us to perceive, aside from the writer’s reflections on war, his sense of humor. For Cuevas, the figure of the “sexy carrot” is a signal, an element with which she identifies with Brecht’s human side. This figure is an important part of the proposal and is presented with formal variations throughout the body of work.


Minerva Cuevas, Sex,War,and Bertolt Brecht at ZONAMACO SUR, images of the booth Kurimanzutto 

The artist proposes a creative exercise with media including drawing, sculpture, and theatrical action, which interrelate in her investigative methodology visible in Sex, War and Bertolt Brecht. These are symbols of social emptiness, responding to the black holes where our current political fate is manifest. For instance, the mural with the inscription that reads “What happens to the hole when the cheese is gone?”, in which the 1 cheese refers to war and its holes to peace –while also borrowing again from the materiality and color of the carrot–, proposes a parallel to the situation of tension that the artist considers relevant to our current society. Here the artist invites viewers to reflect on the transcendence of Brecht’s thinking and on contemporary culture, as well as on a reinterpretation of the news media and its widening effects.