Faig Ahmed

费格·艾哈迈德

In the Studio

社会与文化

2023-03-14

30 分钟
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Faig Ahmed is one of Azerbaijan’s best-known contemporary artists, and has won international acclaim for his fantastical woven artworks. Based on Azerbaijan’s ancient carpet weaving traditions, his pieces explore the visual language of classic rug design to radical effect. Pieces can distort and bulge, grow deep-tufted pelts or rise off the walls into the gallery space overhead. His work has been described as psychedelic, surreal, even iconoclastic. Speaking from his weaving workshop in Baku, the capital of Azerbaijan, Faig Ahmed talks to broadcaster and artist Bidisha Mamata about the process of making these pieces, working with a traditionally all-female team of carpet-weavers who use centuries-old techniques to create his intricate designs. Ahmed also works in other mediums including painting, video and installation, all fed by a restless curiosity and experimental zeal. So we also hear about one of his current works-in-progress: A large-scale performance piece, through which he is exploring the fundamentals of social interaction.
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  • Inspiration is for amateurs.

  • It is a wonderfully chaotic place, loud.

  • And bursting with personality.

  • How did he do this?

  • What's real, what's not?

  • I feel the vibe.

  • I need to feed off activity.

  • I want people's senses to be engaged.

  • In the studio.

  • In the studio.

  • In the studio.

  • Magical.

  • BBC World Service.

  • Okay, how do we make this thing?

  • Hi, Namulanta Kombo here and I'm excited to tell you that my award winning podcast, Dear Daughter is back for a second season and it's available now.

  • Now, find out more at the end of this podcast.

  • This week, I've been thinking a lot about the presence of the human in art.

  • Recently, an artificial intelligence chatbot has upended what we've until now considered human effort.

  • It can write poetry, compose music, even create storyboards for films that never existed.

  • If machine learning can do what people have done for centuries, but more quickly and efficiently, what does the presence of the human mean in art?