The appeal to the “concealment” tradition concerns Hasanov in the sense that he expresses the ultimate position in which the status of the performer is overthrown, suppressed and absorbed by the state of unparalleled usurped authority. 

What he is trying to portray is not focused on the relationship between the subject-object, but rather about violence over the thing and the redirection of this violence through the thing to itself. 

However, Hasanov pursues a further state of pain and imbalance as a principle of sensitivity loss.  

On the one hand, there is a machine (a Trojan horse), from which the performer exits, then his movement is directed towards the indistinguishability of the sign, which could be seen as a motivation of behavior.  

On the other hand, there is the sound that diverges from the state of the being, and on the third, an object/subject, where there is no isolation, which is a distribution of meaning. 

The convulsive motivation is the redistribution of energy, it’s going beyond behavior, beyond the common game in which behavior balances between pain and pleasure.  

An attempt to transfer the voltage to the insensitive region is defined as the position that is strictly determined by the situation, outside the distribution of the ability to fit into the unwritten space.  

The activity zones are divided into a simulated space – an analog of a Trojan horse or a wooden snail, or a Bauhaus object, or reproduced in a zero architecture of a village building, the space of sound, the space of a mattress deformed in the “mismatch” position.  

Pulled out of the cocoon, Hasanov changes his condition and attempts to be bogged down in the position that is “out of position”.  

This gesture is like a jerk of suprematism, leaving the viewer at a state of zero, the point of zero at which the artificial is trying to be natural. Disappointment in the discrepancy is expressed through an incomplete fallback, a stopping of non-existence, and a pause in history and myth.

author Karina Karaeva