In the work of Keelkush, Ali Hasanov brings to a climax the state of the production movement,

which is fixated on its own plastic.  

The almost manic state of movement-statics-dying-resurrection is considered by Hasanov as an analogy of symbolization of a gesture, special circumstances of the movement.  

This tactic of Rebecca Horn in the movement of solidification and disclosure, overcoming the symbolic connection and the meaning of its significance becomes more than its own inner meaning.  

Hasanov in his animalistic states is more likely reminiscent of the fact that remembering is prohibited and, by and large, impossible to sustain as evidence of the lack of involvement, but rather an empathic exception, which turns into a political symbolization of “constrained” plastic.

author Karina Karaeva