Culture | Public Affairs | Business
Photo: Aynur Badalova
BAKU – HOTBED OF HISTORY, CULTURE AND THE ARTS Also in this issue: 13-year-old injured near the ‘contact line’ Blind Judokas achieve gold in IBSA Championships French expert commentator characterises the Karabakh threat Niyaz Najafov – inheritor of the Francis Bacon mantle Sadig Alekeperov – embracing the natural
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Enter the TEAS competition and win £100 of Amazon vouchers
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Welcome to the TEAS Magazine The European Azerbaijan Society (TEAS) is a UK-registered pan-European foundation dedicated to raising awareness of Azerbaijan and fostering closer economic, political and cultural links between that country and the nations of Europe. As well as promoting the positive aspects of Azerbaijan, TEAS also highlights the plight of the 875,000 refugees and Internally Displaced Persons (IDPs) within the country. These people are unable to return to their homes and lands because of the illegal occupation of Nagorno-Karabakh and seven surrounding districts by Armenia’s armed forces – in defiance of four UN Security Council resolutions. TEAS has three main facets to its operations: • Culture – TEAS raises awareness of Azerbaijan’s rich and vibrant culture to a worldwide audience by organising cultural events and operating as a networking centre. • Business – TEAS supports its membership of European and Azerbaijani businesses. It provides a platform for organisations to establish links and strengthen their existing business relationships via a programme of networking opportunities across the regions. • Public Affairs – TEAS works to increase awareness about Azerbaijan amongst key opinionformers, key decision-makers and other political, academic and civil society stakeholders. In pursuit of its objectives TEAS: • Organises meetings with interested parties, opinion-formers and decision-makers • Arranges roundtables, seminars, lectures and conferences • Publishes pamphlets, reports, bulletins, books and produces films • Facilitates fact-finding trips by politicians and business people.
The TEAS Facebook page is your chance to learn about the latest news, events, campaigns and other Azerbaijan-related items. Visit and ‘like’ our page at: http://bit.ly/TEASFB.
Membership and Sponsorship TEAS offers a range of corporate and individual membership packages, providing such benefits as advertising, trade missions, networking, business sector advice and hotel discounts.
TEAS also offers numerous sponsorship opportunities throughout the year for its events and conferences. To find out more, e-mail: membership@ teas.eu.
Win £100 of Amazon vouchers! Firstly, our congratulations go to Firangiz Aghayeva, Private Equity Analyst at the State Oil Fund of the Azerbaijani Republic (SOFAZ), who is the winner of the competition in the July 2017 edition. To stand a chance of winning £100 of Amazon vouchers, simply answer the following five questions, the answers to which will be found in this issue of the magazine. In the case of a tie, a draw will be made. Previous winners are ineligible to enter, as are TEAS employees and their families. Please send all entries to editor@teas.eu by 17.00hrs (GMT) on 4 September: 1. What is the name given to the type of windows fitted in the Sheki Khan’s Palace? 2. Which paralympian won gold in the International Blind Sports Federation (IBSA) European Judo Championships in Walsall? 3. Who is the new Head of the EU Mission to Azerbaijan? 4. Where does Azerbaijani contemporary artist Niyaz Najafov now live? 5. In which Parisian hotel was the Gyunel A/W 2017 fashion collection launched?
From the TEAS Director
Sadly, the summer months have brought no lull in the fighting along the ‘contact line’ between Azerbaijan and the Armenianoccupied Azerbaijani territories and on the border between Armenia and Azerbaijan. Following the brutal and fatal targeting of two-year-old Zahra Guliyeva and her grandmother by Armenian armed forces, 13-year-old Ramin Yusifov was badly wounded close to the border with Armenia. The Azerbaijani Defence Ministry has also reported the deaths of two more Azerbaijani conscript soldiers. On a lighter, but not unrelated note, blind judoka Ilham Zakiyev won a gold medal in the International Blind Sports Federation (IBSA) Judo Championships held in Walsall
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in the UK. Ilham was blinded when shot through the head by an Armenian sniper whilst undertaking his national service. He has often spoken about how Judo helped rescue him from despair following his loss of sight. At the annual Gabala International Music Festival, a wide range of Azerbaijani musical talent was on display. The main overseasbased talent consisted of the UK-based all-women FeMusa Ensemble led by the talented Royal Academy of Music graduate Nazrin Rashidova, who has just released her new solo album of hitherto unrecorded music by Émile Sauret on the Naxos label. In Istanbul, the closeness of Azerbaijani-
Lionel Zetter, Director, TEAS
Turkish relations was highlighted at a business conference sponsored by TEAS Turkey. The event was hosted by DEIK, and amongst the participants was Pasha Bank Turkey. Lionel Zetter Director, TEAS
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Politics and News
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The latest fashions from Azerbaijan and beyond are paraded behind the ancient walls of Isheri Sheher (Photo: @vklybetvbaku)
Forbes highlights Azerbaijan Fashion Week
Leading US business magazine Forbes – which also writes on lifestyle issues – has highlighted the high jinks and high life of the fifth Azerbaijan Fashion Week. Coming hot on the tail of his article on the Azerbaijan Grand Prix and reflecting the emergent role of the city as a tourist destination, reporter Stephan Rabimov, Director, Fashion Journalism and Social Media Centre at the Academy of Art University in San Francisco writes: “Baku, the capital of Azerbaijan, draws visitors to the ancient shores of the Caspian Sea with its ultramodern sensibility and cosmopolitan lifestyle. One criterion of global ambition for cities and emergent markets is the presence and prominence of the fashion industry. Azerbaijan Fashion Week has just celebrated its fifth season.
It offers a glimpse into a nation determined to make the most of its new century of prosperity. “Baku impresses with its earnest grandeur. It’s a secular Muslim country that has managed to leave the authoritarian stylistic indoctrination in its post-Soviet past. Futuristic Flame Towers rise above the skyline as proof of the successful transition. Organisers have centralised most fashion shows and the showroom on the grounds of the popular Stone Chronicle Museum that exhibits contemporary marble artists alongside rock carvings dating back to 2000 B.C. The space itself fits the zeitgeist. It’s a converted 1920s electric power station. Isn’t it all about transforming
our outdated relations with energy now?! Seating rows for fashion week’s guests were covered in hand-woven carpets and the atmosphere was reminiscent of the nomadic royal court.” He then continues by describing the latest runway offerings from such homegrown Bakuvian talent as Lali and Sultan Gadimbayli, Elnara Bekirova, fashion house Uventa, and Libas Couture, founded by Lina Aliyeva and Zemfira Musaeva, who commented on the frontier-pushing nature of their creations: “Fear? I detest the very word. I expunge it at first inkling.” Go to http://bit.ly/forbesazfashionweek to read the full article.
Sheki Khan’s Palace and Azerbaijani cuisine feature on Euronews Lyon-based channel Euronews, seen in 156 countries, has featured reports on the remarkable Khan’s Palace in Sheki and three staples of the Azerbaijani diet – dolma, qutab and halva – in recent broadcasts. The item in the Postcards from Azerbaijan series focuses on its amazing shebeke (sliding tessellating colouredglass windows). The programme explains how the windows are made, using small pieces of glass inserted in a wooden lattice frame. It also outlines how the sourcing of this Italian Murano glass was indicative of the pivotal position of Azerbaijan on the Silk Road, where the glass was supplied in exchange for spices and silk. It concludes: “The shebeke are like light itself – fragile in appearance, but robust and reliable in everyday use.” The final programme in the Postcards series remained in Sheki to witness the creation of its specialist delicacy. The halva in that region is baked in a specific way in a pan 1m in diameter, and comprises hazelnuts and spices, with hints of thyme and saffron. The channel then broadcast two programmes in the Taste Azerbaijan series. The first is on dolma – a roll of meat, rice, spices and vineleaves – in which Elmin Shafarov, Chef, Ay Qonshu Restaurant in Baku, explains: “As kids we wanted to learn how to make it, and our families taught us. I remember we wanted to roll it on our own. The dolma you see here is stuffed with lamb, but I would say that herbs are key. Mint is a must, with coriander. If you forget one of these, it won’t taste the same.” He concludes that, to taste its best, dolma must be complemented by fresh yoghurt. In a 20-second related video, the Chef explains exactly how this delicacy is made. Taste Azerbaijan then turned its attention to qutab, a form of flatbread that is stuffed with various combinations and forms
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of meat, vegetables, pumpkins, spices, cheese and cherry or pomegranate sauces, according to the region, and then cooked on a dome-shaped iron pan called a saj. Claudio Rosmino, Reporter, Euronews, explained: “Simple yet diverse, the qutab is a multifaceted speciality. It’s a fitting symbol of Azerbaijan, where you can experience all four seasons at the same time across different parts of the country – due to its unique geography and climate. “And many would argue there’s always a good time for a qutab, whether it’s lunch, dinner or a snack. That’s why it’s typically one of the first dishes tourists taste when they set foot on the ‘Land of Fire’.” As with dolma, the report is complemented by a 20-second video on how to make stuffed qutabs. Visit http://bit.ly/euronewsaz17 to see all the recent Euronews reports on Azerbaijan.
The brilliantly luminous multicoloured shebeke windows at the Sheki Khan’s Palace – made in frames constructed without using a single nail – are featured in a new Postcards from Azerbaijan item on Euronews
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Politics and News
WorldBuild comes to Baku
WorldBuild Baku 2017 will be hosted at the Baku Expo Centre from 18–21 October. This is the 23rd Azerbaijan International Construction Exhibition, and will mark the beginning of Caspian Construction Week. This is a highly-anticipated exhibition for many experts from various countries, as WorldBuild Baku is the most important professional event in the fields of architecture and construction, design and maintenance in the region. The Azerbaijani Economy Ministry, the Azerbaijani State Committee for Town Planning and Architecture, the Azerbaijani National Confederation of Entrepreneurs, the Azerbaijan Export and Investment Promotion Foundation (AZPROMO) and Azerbaijani Architects’ Union support the exhibition. It is expected that the 2017 edition will feature over 200 exhibitors, including companies from more than 20 countries. Germany, Iran and the UAE will have
national display booths, and Turkey will also host a large stand. As has been the case during the past few years, the organisers anticipate that numerous local participants will demonstrate products under the brand name ‘Made in Azerbaijan’. The Registration Sponsor for WorldBuild Baku 2017 is Corella (NB Group). A full range of building materials will be presented, including ceramics, stone renders, marble, paints, windows and doors, interior materials, roofing and flooring, and construction machinery. It is expected that tens of thousands of professionals will take this opportunity to learn about innovations in the building industry, finalise contracts and become partners with leading manufacturers and distributors, thereby introducing the latest technologies to the rapidly-growing Azerbaijani construction industry. Visit www.worldbuild.az for full details of the event.
Blind Judokas get gold
Azerbaijan won both the men’s and women’s team events on the final day of the 2017 International Blind Sports Federation (IBSA) European Judo Championships in Walsall, UK, on 6 August. The victories saw Azerbaijan top the overall medals table with four gold, one silver and two bronze medals. Second place went to Russia, with three gold, three silver and six bronze medals, and Ukraine ranked third with three gold, one silver and two bronze medals. The first bout of the men’s team final was a repeat of the up to 66kg final with European champion Davyd Khorava from Ukraine taking on Bayram Mustafayev of Azerbaijan. The battle saw Khorava get the better of Mustafayev in the individual final on 4 August, but the Azerbaijani judoka seized some redemption in the team final, achieving an ippon (highest possible score) with just 42 seconds remaining. An ippon from Paralympic gold medallist Ramil Gasimov in the second contest of the final saw Azerbaijan move to a ranking just one win away from the European title. Next to take to the mat was European champion Oleksandr Kosinov of Ukraine, pitted against the Azerbaijani Huseyn Rahimli. As Kosinov had previously known only victory against Rahmli, it was expected that this bout would keep Ukrainian gold medal hopes alive. In a tight contest, which went the four-minute distance, Rahmli outscored Kosinov with one waza-ari (second highest possible score) to secure the gold medal for Azerbaijan. However, the Ukrainian Oleksandr Nazarenko ensured this was not an Azerbaijani clean sweep as he pinned down Rovshan Safarov for an ippon in the penultimate bout. The final contest of the men’s final lasted just 11 seconds, with seven-time European champion Ilham Zakiyev demonstrating his skill and power to throw the Ukrainian Oleksandr Pominov for an ippon, thereby sealing a 4–1 victory. Zakiyev is one of the most revered Azerbaijani paralympians, having been blinded when shot through the head by an Armenian sniper when undertaking his military service near the ‘contact line’ between Azerbaijan and the Armenian-occupied Azerbaijani region of Fuzuli. He has won
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WorldBuild Baku provides an invaluable opportunity for construction professionals from across the South Caucasus to become aware of the latest developments
numerous medals, including two Olympic golds. Zakiyev commented: “Winning the European team event for a fifth time is a huge achievement. We are all very proud to represent our country at an international level and are very happy we can take the gold medal back home with us again.” In the final of the women’s team competition, the Azerbaijani pair of Sevda Valiyeva and Khanim Huseynova went head-to-head with the Turkish trio of Ecem Tasin, Gulhan Atasayar and Zeynep Celik. Azerbaijan needed to win the two bouts they were contesting to win gold. Valiyeva got Azerbaijan off to the perfect start, beating Tasin in the first bout of the final. The second contest went to Turkey, with Atasayar taking an uncontested win to set-up a winner-takes-all decider between Celik and Huseynova. In the deciding contest, Huseynova went immediately on the attack and threw Celik for an ippon under a minute into the decider to secure the gold medal for Azerbaijan. This marked a second gold for both Valiyeva and Huseynova after having won their respective individual events. Valiyeva said: “This is my first international event; so I am very happy to have won two gold medals. The event has been a good experience and a great test against competitors from around Europe, so to win two titles is wonderful for me.”
Ilham Zakiyev stands tall and proud with his IBSA gold medal, alongside other medallists
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Politics and News
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IPSE geopolitical expert acknowledges the Nagorno-Karabakh tinderbox
Jean-Marie Collin, Vice-President, Initiatives pour le Désarmement Nucléaire and a renowned defence and international security expert and blogger for the Alternatives Economiques site has interviewed Ilan Scialom, Expert on Geopolitics and Associate Researcher at the Paris-based l’Institut Prospective et Sécurité en Europe (IPSE). He characterised the nature of the conflict, saying: “This Azerbaijani territory, occupied by Armenia for over 25 years, is at the epicentre of an ongoing conflict that has caused tens of thousands of deaths and hundreds of thousands to become refugees and internally displaced persons (IDPs) since 1991. Sadly, since the ceasefire in 1994, combat has sporadically continued. In April 2016, the ‘Four-Day War’ caused around 200 deaths. In the latest episode, on 4 July, two civilians – a grandmother and a little girl of 2 years – were killed in a mortar attack by the Armenian forces. This attack was deliberately directed towards the village of Alkanli, located around 5km from the ‘contact line’. There were numerous reactions to this attack. In an ‘open letter’, Norica Nicolai, Rapporteur on Azerbaijan, European Parliament, and Ryszard Czarnecki, Vice-President, European Parliament, firmly condemned this Armenian aggression, declaring it to be “an assault deliberately directed at civilians, women and children, which is unacceptable under any circumstances and must stop immediately.” According to Erkin Alikhanov, Director, International Relations Department in the Office of the General Prosecutor of Azerbaijan: “This recent attack jeopardises the negotiation process and risks expansion of the war in the Caucasus.” Mr Scialom outlined the risks to international security, should the conflict reignite: “The consequences of the conflict on the region would be dramatic, having a severe environmental impact. The Metsamor Nuclear Power Plant, located 30km from Yerevan, the Armenian capital, is dilapidated and poorly maintained. The International Atomic Energy Agency (AIEA) has recommended its closure, but
Ilan Scialom, an expert on religion and geopolitics, accurately described the precipitous nature of the conflict
the authorities have refused – the plant supplies 40 per cent of the power for the Armenian population. This would have a severe impact if the conflict degenerated.” He remained critical of the current state of negotiations, saying: “The situation is under scrutiny from numerous observers but, due to the protracted nature of diplomacy, this has not produced any tangible results. Although resolution of the issue is far from impossible, it must be considered that there is a weakness of the international community to address this question. In effect, the Nagorno-Karabakh issue is not considered to be a priority.” Mr Scialom then goes on to outline the four outstanding UN Security Council resolutions passed against Armenia that specify the immediate withdrawal of Armenian forces, but continues: “A peace treaty has never been completely resolved between the two parties, uniquely for a ceasefire, and violations continue. The recent attack directed against civilians and the war of April 2016 were the most flagrant examples of this.” Mr Scialom then goes on to describe the work of the OSCE Minsk Group, tasked with establishing a negotiated peace between the parties. He continues: “Azerbaijan, a
Muslim, yet secular country, has developed relations with Brussels over many years, and has hosted many major European events, notably the Baku2015 European Games and, in May it also hosted the Islamic Solidarity Games.” Mr Scialom concludes by calling for greater attention to be paid to the issue, saying: “Taking place within the confines of Europe, and impacting the Turkic, Persian, Russian and Arab worlds, the NagornoKarabakh conflict merits much greater attention than it currently receives… we must encourage stabilisation of the region. Touching the Middle-East, and located in the South Caucasus, there is the need for a complete reworking of relationships between countries and to find the space for appeasement and peace. The return of Moscow behind the scenes will truly test the EU and US. The latest developments call for an important new proactive solution regarding Baku, in terms of politics, diplomacy and the military. This small Caucasian republic is the only stable ally of Washington and Brussels in the region, and these latest developments demonstrate the need for our precious support!” Visit http://bit.ly/ scialomcollin to read the entire interview (in French).
Jankauskas – new Head of EU Azerbaijan office The new Head of the EU Mission to Azerbaijan is Lithuanian diplomat Kestutis Jankauskas, who has worked at the Lithuanian Ministry of Foreign Affairs since 1991, and was formerly posted at the Lithuanian Embassies in Washington DC and Stockholm. Prior to his appointment, he led the EU Monitoring Mission to Georgia. Replacing Malena Mard, he will take up his new position in September.
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Lithuanian career diplomat Kestutis Jankauskas has long experience of working in Georgia
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Personalities – Niyaz Najafov
The Flower Series results of Niyaz’ Parisian public art project (Copyright: Niyaz Najafov, 2017. Courtesy of Gazelli Art House)
Niyaz Najafov – a brave humane examination of existential angst Niyaz Najafov is one of the most challenging contemporary Azerbaijani artists, and has been exhibited across the world, including at the Azerbaijani Pavilion for the Venice Biennale and the Fly to Baku exhibition, which was hosted in London, Paris, Dubai and many other cities. Previously a soldier, Niyaz has been resident in Paris for some years, and his most recent work was showcased during a major exhibition at the Gazelli Art House in London, comprising challenging figurative works, landscapes and the results of public artwork. Entitled Absorb, Adhere, Advance, the exhibition ran from 21 April–3 June to great critical acclaim. Neil Watson caught up with Niyaz during his rare trip to London to find out more:
Our last interview took place in 2013 during the Dancing on Bones exhibition. How has your work developed since that time? I don’t think the work has necessarily developed, although it possibly has a
different feel, just because I have passed through various experiences since the last show. The selection for this show is different to the last – there are more flowers and landscapes, and some have suggested that the figurative works are less aggressive. But to me, I have not changed the style or my technique – works akin to those in my last show are there, but I simply did not select them for the exhibition.
Can you explain the motivation behind your Paris-based public art project? My work is a response to my surroundings, the streets I walk through, and to the places and buildings that I see. I never intended it to be a social art project, nor had any thoughts of making this into a form of public or street art in the back of my mind. I have painted flowers all my life, but it eventually made sense to stick them around the streets of Paris. In this way, I feel connected to the passers-by. They see my work and they either tear it
off, or leave it behind. Either way, them seeing my work make the whole process worthwhile. How has this been realised as an artwork in itself? For me, flowers are the most therapeutic of the subject matters that I paint. I can complete 30–40 a day at A5 size (currently displayed as part of the exhibition), which is the best size upon which to work, as it fits in my palm. The colours I select are instinctive, just like the streets I choose to glue the work on. Do you see yourself participating in further public art projects? Everything I do is organically and instinctively developed, on an internal level. The artworks emerge in different forms, and are processed and developed in various ways – the bodies of work, projects, and interactions are something of which I let go, and allow to develop before my eyes.
Niyaz Najafov, a man of vision, humour and angst, described by artist and gallery owner Lorenzo Belenguer in the HuffPost as the “successor to Francis Bacon” (Photo: Andrew Kovalev)
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Personalities – Niyaz Najafov The paintings in Dancing on Bones were notable for their violence and darkness. Has there been a paradigm shift in the nature of your work? There hasn’t been a fundamental shift; it is a reflection of what I have experienced over the past four years. The same stories I remember from the past, the ideas I have about life and my doubts and my internal struggles are all the same. Every time I paint, I always wonder if the artwork is good enough and, if it isn’t, I ensure that I bring it up to the level with which I am happy. As such, I grow and learn from my surroundings – I want to develop as an artist and am always receptive to change. However, style never changes, nor do my interests. To what extent does humour and satire permeate your work? When I was en-route to London for the opening, Eurostar was delayed as someone was caught smoking. I could have easily panicked and thought the worst of this situation (ie. the train catching fire, me running late). Instead, I chose to laugh at it. Everything around and surrounding us has two sides, and it is always the funny side to which I am drawn. In my work, certain scenes that I paint are tied to a real story (even if in an indirect way) and real emotions, but you have to have a sense of humour and satire, and to be comical in life. Otherwise, it becomes too serious and too real. You have lived in Paris for many years. Have any specifically French artists influenced your work? I like Paris, and living here gives me a certain creative boost. However, no specifically French artists have influenced my work. I like a few artists (generally), but no-one really inspires me. The core group of artists that I like are Van Eyck, Velazquez,
Niyaz’ work is always brave; never complacent – this piece operates as five landscapes, or equally as one elliptical work in five parts, using a distantiation device to alienate viewers (Copyright: Niyaz Najafov, 2017. Courtesy of Gazelli Art House)
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Untitled, Park and Present, Niyaz’ unique examination of landscapes, nature and people – laced with his own sardonic wit – permeated the exhibition (Copyright: Niyaz Najafov 2017. Courtesy of Gazelli Art House)
Rembrandt, Goya, Cezanne, Bacon, and Azerbaijani artist Ashraf Murad. In the past, you have focused on people and animals, whereas now you are also painting landscapes. What was the reason behind this change? I have always painted landscapes, but they were always confined to a specific region or maybe influence. Now they seem to be wider, all-encompassing and more universal. Do you see yourself drifting further towards abstraction? No – I enjoy what I do, albeit it is a struggle at times. It gets even worse though when I do not paint what I feel – that which I see and feel around me. Visit http://bit.ly/najafov2017 for a description of the exhibition Absorb, Adhere, Advance on the Gazelli Art House website.
Niyaz’ angst and struggle for self-expression are manifested in Scramble 1 (Copyright: Niyaz Najafov, 2017. Courtesy of Gazelli Art House)
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Personalities – Sadig Alekperov In his Brussels showroom, Sadig Alekperov stands alongside examples of the Green Mood vertical gardens and preserved and pigmented mosses
Thinking outside the box – Sadig Alekperov – bringing Azerbaijani pomegranate juice and green wall concepts to Europe and the world Sadig Alekperov is one of the most innovative young Europebased Azerbaijani entrepreneurs. Resident in mainland Europe for 13 years, his office and showroom is located in the shadow of the iconic Atomium sculpture and museum, constructed as the centrepiece of the 1958 Brussels World’s Fair. With multinational and multilingual experience behind him, Sadig is now focusing on two widely diverse businesses with one common factor – the natural world. Neil Watson travelled to Brussels to find out more:
What brought you to live and work in Belgium? I was born in Baku, and originally came to Europe in 2003 to live and study in France. Following graduation from my Bachelor’s in Business Administration course, I undertook a Master’s in International Procurement and Trade. I then gained a job here in Brussels working in sourcing and as a buyer. I operated as a consultant across many different sectors and countries, including France and Switzerland, and traversing the pharmaceutical, railway and aircraft industries. I focused on the engineering sector, and particularly on a company that developed and marketed aircraft seats to Airbus and Boeing, including the belts and interactive TV screens/entertainment centres embedded in the seats. In particular, I was involved in buying the metal belts and the screens. One interesting element was that the seats for private jets in the UAE had to be gold-plated. I have experience in many different sectors, including working for the aircraft division of Bombardier; pharmaceutical company Merck Serono, working in sourcing; and steel fabricator ArcelorMittal, where I was in charge of transportation and logistical services. At this stage, I was predominantly a buyer and project manager. I was also very heavily involved with the logistical elements involved in maintaining an ongoing supply of such components. This experience assisted me when I came to establish my own business, which involves bringing products from Azerbaijan to Europe. Our logistics suppliers are entirely sourced from Eastern Europe. After four years of consultancy work, I decided to establish my own company. This initially focused on kitchenware, mainly working in collaboration with Turkish companies and suppliers, where I was buying and reselling to French supermarkets and hypermarkets, such as Auchan and Carrefour. The business was based around private label supply, which enabled us to produce in Turkey and resell to France. However, the 2012 financial crisis had a detrimental impact on the business, so I decided to create Green Mood at the end of 2013. Green Mood is a method of using a natural product – preserved moss – in an artistic manner on wall panels to impart a natural aesthetic. This led us to move here, in a business park near the
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famous Atomium in Brussels, where we could have a workshop, exhibition room, and warehousing facilities. From the outset, I planned to export, and this seemed the ideal location. When the logistics trucks come, there are many loading places. Our Green Mood wall artworks are large and fragile, being distributed on pallets, and there is sufficient room for loading the trucks. Green Mood international representation is based on franchising, which we have proposed for adoption across many countries. Our franchisees would pay a license fee, the level of which is determined by the size and potential of the country. Thereafter, they are able to use the brand name. We will construct a language-specific website for their country, together with printed brochures in their languages. We provide all the support, skills and instruction. It is only necessary for them to buy the license fees, a stock of standard Green Wall panels, and to rent showroom and warehousing facilities. This enables them to develop their business far more quickly and successfully than if they created a new brand. Thereafter, their focus is purely on selling the product. The franchise approach enables entrepreneurs to start their own business with just a small budget. For example, the license for countries such as Poland, Denmark and Romania is a mere €20,000 (£18,200). Naturally, it is necessary to maintain stocks in the warehouse, so the total establishment cost is between €20–50,000 (£18,200–£45,500). There has been a lot of interest across Europe, as the concept is very unusual. The installations require absolutely no maintenance, and are realised solely on request. For example, we are soon installing a gargantuan Green Wall in Baku. We currently have franchises in Denmark, France, Germany, Luxembourg, Poland, Romania, Taiwan and Turkey. Actually, our representations in Germany and France are not franchises in the true sense of the word, but instead are resellers. We are expanding quite fast as the product is receiving widespread enthusiastic acceptance. Green Mood brings a green touch to the office, and can be completely personalised, such as the map of Azerbaijan that now greets visitors to the TEAS Benelux office. How did you develop the concept of the Green Mood? I had seen a French company that was offering very smallscale versions of the Green Mood concept. Like us, they offered it in a format that could be wall-hung, but it used living plants, necessitating removal for watering and feeding, thereafter being rehung. Such panels are time-consuming to use as the clients often forgot to water them, and there was some element of danger when fixing and refixing the panels, as this resulted in some damage to the walls.
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Personalities – Sadig Alekperov
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My idea was to make the panels completely versatile and entirely maintenance-free. I researched dried and preserved moss suppliers, and found one who was colouring the moss with food pigments. The preserved moss will remain preserved for up to a decade, provided it is not touched or exposed to direct sunlight. We use reindeer moss. I went to the forest and saw people harvesting the moss. I saw them picking it piece by piece. They then send it to the factory for the special treatment. It is harvested in Scandinavian and French forests, depending on the variety. The moss is originally white, which makes it easier to pigment. What is the difference between the vertical gardens and moss walls? Neither requires any care – although there are fundamentally two formats. The first is the moss walls, as discussed above, and the second is the vertical gardens. Before designing and producing the panel, we visit the site and survey the wall upon which it will be fixed. This determines the size of the panel and the fixing system. The dried, preserved and pigmented plants – whether moss, or a vertical garden – are glued on MDF panels, which are available in a range of thicknesses. After this is installed, we undertake the final touch of disguising the lines between the panels of plants. The beauty of the vertical garden is that it occupies very little space. Like the moss walls, it can be loaded on a pallet, and sent to any country. It is only necessary for the installer to release the garden from its packaging, take the unit and screw it on the wall. One wall can be installed in three hours or less. Our team undertakes all the installations themselves, the most distant of which has been for a Filipino hotel chain. Our team accompanies the panel as it passes through the logistics process, ensuring that it is not damaged en-route. We know how to organise everything, and have all the necessary certification for export. Despite the fact that the plants are dead and preserved, they still require sanitary certifications in many countries. Exporting to the US is the most straightforward, as the authorities solely require a packing list and invoice. However, exporting to either Russia or Turkey necessitates the use of myriad documents and certificates. It can take an extraordinary number of days to get the panels into these countries, and it is fortunate that they do not require any maintenance. Does air-conditioning affect the state of the moss or garden? As the moss is already dead and preserved, it is simply necessary to avoid direct sunlight and, more than anything, ensure that human hands do not touch it. Moss likes ambient humidity, and it is very flexible when dried. Keeping away from sunlight is essential. However, it must be borne in mind that the moss is not growing – it is frozen, or mummified. As it doesn’t need to grow, it has no requirement for light, and can last for a decade, maintaining true colours, under artificial illumination. We pride ourselves that anything is possible. The vertical gardens are produced using the Two of the many formats of Granartum pomegranate juice that are being marketed to the organic panEuropean market
The Green Mood vertical gardens and moss walls impart a contemporary sense of nature and well-being, in addition to being excellent sound insulators
same treatment, using an identical plant preservation process. We buy the preserved plants as our raw materials – here in Brussels we are focusing on the design, gluing to the panels, logistics and installation. The moss can also be used to produce acoustic panels. It is a very effective natural acoustic baffle, and therefore ideal for noisy modern open-plan offices. Furthermore, if there is no place on the wall, all rooms have ceilings, and we have undertaken many such installations on ceilings, including the Louis Vuitton office in Brussels. Many of the ideas emanate from architects and interior designers, who share their ideas and ask us to realise something. The word ‘no’ is absent from our vocabularies. We can work on subdividing panels, and realise logos and company names in plants. The concept makes out clients seem different, indicates that that they work within a fashionable green environment and are ecologically aware. We already have two clients in the UK and all the necessary permits to export there. The concept retains its novelty value, as companies are increasingly drifting towards the green environment, yet the general public remains relatively unaware of the product. We are also designing a standard acoustic panel for companies dealing with office furniture that will be colour- and design-matched as part of their packages. Our franchise holders often adapt the product according to the styles and tastes that are prevalent in their countries. We also give the potential for franchise holders to personalise the range that they offer. We pride ourselves on our flexibility, as otherwise one of our very few competitors will take the business. We are also thinking of developing moss walls and vertical gardens for external applications. These would be artificial and impart an excellent maintenance-free aesthetic to the buildings. In comparison with their internal counterparts, the building exterior is gargantuan, and unlikely to be touched, but also cannot be maintained.
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10
Personalities – Sadig Alekperov
The other major element of your business is the marketing of Azerbaijani pomegranate juice under the Granartum trade mark. How did you go about getting Azerbaijani pomegranate juice into the Belgian-based Exki chain of health food snack restaurants? We undertook in-depth research into the juice market, and saw that there was high competition, as there are many local and foreign brands with significant market positions. This pushed us to create a new niche market for pomegranate juice in the healthy causal fast food sector, being the first to do so in Europe. Azerbaijani pomegranate juice is of the highest quality, due to the soil and climatic conditions, and the variety of pomegranate that is propagated, which is round, red, dark, juicy and full of antioxidants at a competitive price. The fruits achieve the correct balance between sugar and acidity. Our pure squeezed organic pomegranate juice with appropriate labelling – marketed under the Granartum trade mark – satisfied all criteria to fit with the Exki healthy food concept, and we successfully succeeded in convincing them to test our product. They had never previously stocked pomegranate juice in their shops and are now carrying it in the 200ml glass bottle format. We have all the organic certifications, and work with the German Lacon GmbH and Belgian Certisys to control the product from production to transportation and distribution. We do not source from any single factory in Azerbaijan, instead working with a range of factories to obtain the best quality juice, which provides us with a comparative advantage and enables this to be sold in the European market. This enables us to switch factories, for whatever reason, whilst maintaining quality. We are now researching new products from Azerbaijani producers in order to extend our range.
This serves to complement government-led attempts to diversify the economy and support the Azerbaijani export field under the ‘Made in Azerbaijan’ brand. We are currently dividing our pomegranate juice marketing strategy into three parts – mass-market hypermarkets, organic wholesalers and snack restaurants, where the most lucrative mark-up is possible. Exki has more than 100 branches in four countries, including Paris and Brussels airports, and we are delighted that a specifically Azerbaijani product is being stocked there. Both the 200ml and l litre bottles are also currently being sold in Dutch and Belgian organic shops. We are able to supply juice in any packaging format desired by the customer – whether in Tetrapaks, glass bottles or a vat of raw juice that can be pasteurised and packaged by the end-user. How do you transport the pomegranate juice? The juice is transported in refrigerated trucks, and takes about nine days to come from Azerbaijan, having passed through Russia and Poland. It is important that the juice is not frozen upon arrival, as it can lose its nutritional qualities and taste. We have recently entered into a partnership with some Belgian organic wholesalers distributing our products in one litre bottles across the country. We are now looking to get into the UK, and are in contact with a very big distributor in France, who has also been very positive. Of one thing, I am certain – the new world is a natural one. Both Green Mood and the pomegranate juices prove that we are returning to our roots, and this can only be good for business and the future of humanity.
Go to www.greenmood.be and www.granartum.be for more information.
The Azerbaijani map – a colourful, unique and artistic moss wall now decorating the TEAS Benelux office in Brussels
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Culture
11
The Gyunel A/W 2017–18 collection hits the Parisian catwalk The London-based Gyunel Couture fashion house – led by Azerbaijani Gyunel Rustamova – inaugurated its Autumn/Winter (A/W) 2017–18 collection in Paris during Haute Couture week.
The star-studded presentation took place amidst the Napoleon III-style opulence of the Hotel d’Evreux, overlooking the Place Vendôme, comprising a runway show attended by actress Marisa Berenson; fashion icon Christina Pitanguy; bloggers Kristina Bazan, Daniela Botero and Zara Alexandrova; and designer Olivier Lapidus with his two daughters, Milla and Koukla, amongst others. The catwalk hosted model Petra Nemcova in the Fitna and the Bull creation, which saw her carry a bull-shaped sculpture on her shoulders, allegorically representing the women’s empowerment principles that have served to motivate Gyunel. Inspired by the books 1984, the dystopian masterpiece by George Orwell, and the 2002 film Equilibrium by Kurt Wimmer, the latest couture collection by Gyunel combines avant-garde architectural lines with natural elements. She describes the collection as: “What I imagine the characters would try to create for their utopia, after destroying the dystopian regime.” Her outfits represent an impression of nature and abstract modern architecture working together to create an otherworldly universe, perfectly balanced between the modern and the organic.
the two contrasting worlds of nature and urban modernity fuse together in perfect harmony. Techniques include twisted bugle embellishments, and structured translucent organza surfaces with visible loose metallic threads woven with jacquard to emphasise the turmoil through which one must pass when plotting against pre-existing ideals. The geometric diamond cuts coupled with soft metallic abstract prints highlight femininity and demonstrate strength within the muse. From a dark past, our muses move towards an optimistic, idealistic future. Gyunel was a successful artist before expanding her horizons towards fashion and couture. Each of her collections starts with her creative oil paintings, thereafter being transformed into working fashion designs. These paintings are subsequently made into prints on duchess, organza, crêpe de chine and georgette created in-house in her London atelier. Gyunel is known for her ethereal prints and unique designs, and the supernatural theme of this collection continues to prove her signature creativity. Friends of the brand include Natalie Portman, Sharon Stone, Michelle Yeoh, Eva Longoria, Cara Delevingné, Olivia Palermo, Erin O’Connor, Yasmin Le Bon, Coco Rocha, Izabel Goulart, Nina Agdal and HRH Princess Al Said of Oman. Visit www.gyunel.com to see the A/W 2017–18 range.
This collection tells the story of a girl who teleports through time and space, from old books to parallel universes and mythological lands. Gyunel describes her muses as film director Luc Besson’s “Lucy, a character who takes drugs and begins to acquire increasingly enhanced physical and mental capabilities, such as telepathy, telekinesis, mental time travel, and the ability not to feel pain, nor other discomfort”, and Fitna from the Azerbaijani Seven Beauties epic by poet Nizami Ganjavi. This describes how a young girl carries a calf on her shoulders every day until adulthood, by which time the calf has grown into a full-sized bull, thereby imparting a lesson to the king that one can achieve everything with practice. There is a beautiful sense of escapism in this particular story, and the colour palette follows this journey, as the collection flows from dark to light. Throughout, structured textiles representing
The allegorical struggle of Fitna and the Bull, as penned by the immortal Nizami Ganjavi, is manifested in this provocative look (Photo: Victor Boyko)
Three stunning natural, yet irrefutably avant-garde, looks from the Gyunel A/W 2017–18 collection (Photos: Victor Boyko)
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12
Culture Playing in Gabala, FeMusa – led by Nazrin Rashidova – were a colourful delight for the eyes and melodious rhapsody for the ears
Nazrin featured on Radio 3 and in Gabala
The London-resident Azerbaijani violinist Nazrin Rashidova has been featured on one of the most popular magazine programmes broadcast on BBC Radio 3 – Record Review, introduced by Andrew McGregor. The programme focused on the debut recording of the first seven of the solo 24 Études-Caprices op.64 by Émile Sauret (1852–1920). First published in 1902, the pieces for each key of the violin were composed during his professional tenure at the Royal Academy of Music.
Sauret was regarded as of the greatest virtuosi of his time by Sarasate, Brahms and Liszt, amongst others, and is now bestknown as the composer for the technically-challenging cadenza to Paganini’s First Violin Concerto. During his lifetime, Sauret was renowned for his elaborations on works by Moritz Moszkowski (1854–1925), whose pieces were featured by Nazrin on an earlier Naxos album. A reviewer for MusicWeb International wrote: “Their
violinist is the most impressive Nazrin Rashidova. She is recorded in a vibrant acoustic with a middlingly forward balance. In this setting you catch the full range of the music and the playing in an impact that is grippingly vivid.” Go to http://bit.ly/sauretrashidova to order this landmark and virtuosic recording for all lovers of the violin. Meanwhile, Nazrin and her all-female chamber ensemble FeMusa have headlined at the Gabala International Music Festival. Performing a rich blend of Azerbaijani and European works, their participation was featured on the Lyon-based Euronews channel, which is available in 156 countries. The report includes some reflections from Nazrin and double-bassist Katy Furmanski, in addition to an excerpt from the piece Three Valentines by British composer Paul Lewis, written specifically for FeMusa and premiered in Gabala. Go to http://bit.ly/gabala2017euronews to see the report.
Ninth Gabala Music Festival concludes to great acclaim
The ninth Gabala International Music Festival – hosted in the shadow of the Caucasus Mountains – took place from 29 July–3 August. The official opening concert was an open-air performance of Uzeyir Hajibeyli’s Leyli and Majnun, based on the epic verse by Muhammed Fizuli, written in 1908, being the first Azerbaijani opera and first opera of the Muslim East. Seamlessly combining mugham and western classical music, this concert performance was given by the Azerbaijani State Symphony Orchestra and soloists from the Azerbaijani State Academic Opera and Ballet Theatre under the baton of Javanshir Jafarov. The khanendes (mugham singers) included Elnur Zeynalov (Majnun) and Arzu Aliyeva (Leyli).
The following day saw two concerts, both of which blended European and Azerbaijani classical music. The first of these featured soprano Aydan Guliyeva, baritone Taleh Yahyayev and pianist Ilaha Sadykhzade, performing such works as Offenbach’s The Doll’s Song from The Tales of Hoffman; British composer Sir Malcolm Arnold’s Sonatina for Clarinet and Piano and Azerbaijani Fikret Amirov’s Vast Spaces of Azerbaijan and his arrangement of the folk song Evleri var xana-xana. The
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evening open-air performance was by the Baku Chamber Orchestra under Fuad Ibrahimov, comprising young musicians from the Baku Music Academy, including Etibar Gasimbayli on accordion and Nijat Masimov on balaban. The programme included Sarasate’s Navarra; legendary composer/conductor Niyazi’s arrangement of the folksong Gara Gile; festival co-director Farhad Badalbeyli’s rhapsodic The Sea; the third movement of Fikret Amirov’s Nizami Symphony; and Vivaldi’s Summer from The Four Seasons.
Other highlights of the festival included a concert by the Azerbaijani State Symphony Orchestra under Rauf Abdullayev that included Tchaikovsky’s Fantasy Overture to Romeo and Juliet, Mozart’s Concerto for Flute, Harp and Orchestra and Rachmaninov’s eternally popular Piano Concerto No.2, for which the featured soloist was Yegana Akhundova. The Evening for Four Hands intriguingly featured three pianists – Murad Adigezalzade, Oxana Yablonskaya and Stephen Deitz – playing pieces by Schubert, Fauré, Brahms and Gershwin.
As in previous years, there were chamber music recitals in the Chamber Hall. The first of these, at noon on 1 August, was performed by Saida Tagizade (piano), Rena Rahimova (viola) and Elkhan Niftiyev (piano), and comprised works by Chopin, Scriabin, Rachmaninov and Schubert. The second featured Farhad Badalbeyli (piano) and his fellow festival co-director Dmitry Yablonsky (cello) with Janna Gandelman (violin), Michael Slatkin (French horn) and Murad Adigezalzade (piano), playing Brahms’ Trio for piano, horn and violin; Musa Mirzayev’s Adagio and Valse-Scherzo; Fikret Amirov’s Mugham-Poem and Shostakovich’s Sonata for Cello and Piano.
The closing concert, entitled Viva Opera, performed by the Azerbaijani State Symphony Orchestra under Roberto Molinelli, featured Nomeda Kazlaus (soprano), Azer Rzazade (tenor) and Maharram Huseynov (baritone). The showpiece works included the Duet of Don Alvaro and Don Carlos from Verdi’s La Forza del Destino; Ghermann’s aria from the Pique Dame by Tchaikovsky and Voi lo sapete o mamma from Cavelleria Rusticana. This was an extraordinary conclusion to an outstanding festival that delighted all attendees, whether locals, music-lovers from other parts of Azerbaijan, or guests from overseas.
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Culture
13
Dirchelish comes to Brussels
Around 200 paintings and sculptures from 24 young Azerbaijani artists have been shown at the Art Thema gallery, located in the Mont des Arts artistic area of Brussels. The exhibition, entitled Azerbaijan – Land of Tolerance – was organised by the Dirchelish Youth Organisation and the Azerbaijani Embassy to Belgium, Luxembourg and the EU. In his speech, esteemed Azerbaijani artist Sakit Mammadov, who provided training for the artists, outlined the context: “Dirchelish is a non-governmental, non-commercial and apolitical youth organisation that seeks to protect the rights of young people from disadvantaged backgrounds in Azerbaijan. To date, it has implemented more than 100 youth projects in Azerbaijan and co-operated with the European Youth Foundation of the Council of Europe. Young members of this organisation have participated in seminars and training sessions held in the European Youth Centres in Strasbourg, Budapest and Reykjavik. “Dirchelish has issued books, information bulletins, and been widely featured on television and in the printed media. It has undertaken many steps to raise awareness of the problems of disadvantaged youth through large-scale media coverage, in addition to organising conferences, roundtable discussions, workshops, and cultural and artistic exhibitions, such as that presented today in Brussels.” Since 2010, Dirchelish has organised 14 exhibitions in 13 countries, including the UK, France and Switzerland. Altogether, hundreds of paintings by young, talented Azerbaijani artists have been presented, encompassing all strands of Azerbaijani art, from Fauvism and Surrealism through to Abstraction. All have served to enhance awareness of Azerbaijani culture abroad and to develop intercultural dialogue. Visit http://bit.ly/Dirchelish to see the Dirchelish Facebook page and to gain information on forthcoming events and exhibitions.
Two disturbing, yet fascinating, artworks by the youthful and talented Dirchelish artists
Elchin Shirinov comes to the Mugham Centre Pianist/composer Elchin Shirinov has brought his unique blend of ethnojazz to the wood-panelled surroundings of the International Mugham Centre in Baku, on the shores of the Caspian Sea, playing alongside Mauritian bass guitarist Linley Marthe (formerly an integral element of the jazzrock Joe Zawinul Syndicate) and Belgian drummer Stéphane Galland. Performing to a packed auditorium, he played the nostalgic title piece for his new album Maiden Tower, redolent of his childhood in and around this 12 th century tower, and the languorous Lucid, also on this album, alongside his Chica Chica – a dynamic and staccato piece leading to
freeform passages – and his arrangement of the folksong Gul Achdi, which featured a dancelike motif. The album Maiden Tower was recorded in Budapest and will be launched at the Voicingers Jazz Festival in Poland in August. Go to http://bit.ly/elchingetlucky to hear his version of the Daft Punk hit Get Lucky, featuring singer Emiliya Yagubova – winner of the Azerbaijani version of talent show Voice of Azerbaijan (Ses Azerbaycan) and staff singer for AzTV (Azerbaijani State Television).
Nazrin unveils Three Valentines in London Just days after performing with FeMusa, her all-female Chamber Ensemble, at the Gabala International Music Festival, Azerbaijani violinist Nazrin Rashidova delighted a 150-strong multinational audience of music-lovers on 9 August in London in the prestigious 17 th century surroundings of St. James’s Church, Piccadilly, in the heart of Central London. Designed by the legendary architect Sir Christopher Wren – whose most famous creation was St Paul’s Cathedral – the church is renowned for its exemplary acoustics, infusion of natural light and the limewood altarpiece by the famous DutchBritish woodcarver Grinling Gibbons.
Grimwood. The first of these was the rarely-heard Violin Sonata No.1 by Belgian composer Joseph Jongen (1873–1953), an evocative and elegiac work that captured the essence of a bygone era via the application of a rich palette of tonal colours. Only after this piece was it revealed that Nazrin was performing on the actual c.1685 Stradivarius instrument owned by French violinist Émile Sauret (1852–1920), the violin being known eponymously as the ‘Sauret’, who was responsible for the fiendishly difficult Cadenza to Paganini’s Violin Concerto No.1, and whose works are featured on Nazrin’s latest album for the Naxos label.
The concert saw Nazrin – a graduate of the Royal Academy of Music – perform two works in collaboration with pianist Daniel
The extraordinary tone of this famed instrument was then harnessed by the deft fingers of Nazrin for the UK premiere of
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The incandescent music lit up the International Mugham Centre in a blaze of creativity and passion (Photo: Aynur Badalova)
Three Valentines by contemporary British composer Paul Lewis (1943–), written specifically for Nazrin. The work recently received its world premiere by Nazrin and FeMusa at the Gabala International Music Festival, and this was the world premiere in its incarnation for violin and piano. The work comprised three movements inspired by typical Valentine’s Day gifts – A Rapture of Roses, A Shimmer of Champagne and Rhapsody in Chocolate. All three pieces were poignant and romantic, capturing the hearts of the audience, and as delicate as the Grinling Gibbons fruit and leaves carved in the altarpiece that provided the backdrop for Nazrin. During the ecstatic applause, Paul Lewis presented Nazrin and Daniel with the ideal gift, comprising examples of all three Valentine’s items.
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14
Business News
The meeting demonstrated the strength of the current and expanding Azerbaijani–Turkish business relationship
Turkish–Azerbaijani relations take centre-stage On 19 July, DEIK (Turkish Foreign Economic Relations Board) held a high-level event to discuss Turkish–Azerbaijani bilateral business and economic developments, bringing together representatives from the business communities of the two nations. The discussion took place at the Four Seasons Hotel Bosphorus in Istanbul. The sixth edition of this annual event was hosted by Selcuk Akat, Head, Turkish-Azerbaijani Business Committee, DEIK; Rena Rzaeva, TEAS Turkey Representative; and Cenk Eynehan, General Manager, Pasha Bank Turkey. Presentations and speeches were given by all the hosts, highlighting the development of trade between the two countries to date, and future potential for the expansion of collaboration between the two economies. Mr Akat opened the event by outlining the mission of DEIK, which is to further strengthen bilateral trade relations between Turkey and Azerbaijan, focusing on the various projects undertaken by the board during the past year. He predicted that the level of
Azerbaijani investment in Turkey will reach $20bn (£15.4bn) by 2020, predominantly due the work being undertaken by the State Oil Company of the Azerbaijani Republic (SOCAR). Mr Eynehan explained that, as the two countries expand their economic and social partnership, Pasha Bank is being transformed into the financial bridge in the region. There was a discussion of the main findings extrapolated from a comprehensive Pasha report on the Azerbaijani economy that details the various reform packages being implemented to boost the investment climate. Mrs Rzaeva outlined the role of TEAS in promoting the diverse business opportunities of Azerbaijan across Europe. She noted that, although Azerbaijani–Turkish business relations remain strongest in the energy sector, there is huge potential for deeper non-oil cooperation in the tourism, agribusiness and logistics sectors. She expressed her hope the strategic partnership between Turkey and Azerbaijan would reach a new level through the work of DEIK. The event ended with a dinner and networking event.
Capitalising on entrepreneurial know-how
TransTech Capital LLP and the Bakubased Azerbaijan State Oil and Industrial University have collaborated to create the first Azerbaijani Centre of Excellence for the creation of commercial opportunities emanating from scientific results. The TransTech team is known across Europe for its expertise in helping universities transform science and engineering research into businesses and licensing opportunities, including work with universities in Oxford, Edinburgh and Manchester.
The Azerbaijan State Oil and Industrial University has a long and rich history of scientific research in various fields, including hydrocarbons, power, chemicals and information technology. In order to create the Centre, TransTech will transfer
its specialist expertise to a team specially created at the University. Simon Robeson, Founding Partner, TransTech Capital, commented: “£6.9bn per annum is generated for the UK economy from businesses whose technology was created in its universities. This is repeated in every corner of the world where the connection has been made between scientific research and industry. Azerbaijan has stated publicly that its future is directly linked to the level of its scientific potential. We have seen evidence of this potential in the reservoirs of currently unexploited scientific potential at many Azerbaijani universities. By transferring our expertise to Azerbaijan, we aim to add value to exports and reduce
the need for expensive imports by the use of home-grown science and engineering technologies. The Azerbaijan State Oil and Industrial University is the ideal partner in achieving our joint objectives.” Professor Mustafa Babanli, Rector, Azerbaijan State Oil and Industrial University, commented: “Having adopted a policy for commercialisation of innovative products through start-ups and technology transfer at our university, we are fully committed to the creation of a technology innovation and commercialisation Centre of Excellence in conjunction with TransTech Capital.” Contact Simon Robeson on simon.robeson@transtechcapital.com or Professor Babanli on rector@asoiu.edu.az for more information.
Standard & Poor’s: GDP growth in 2019–2020 to be 3.5 per cent
According to international ratings agency Standard & Poor’s, Azerbaijani GDP nominal volume will be 1 per cent (£30.8bn) this year. The agency recognised: “The Azerbaijani economy continued its adaption to reduced oil prices this year. According to our forecasts, the lag in the economy will continue into 2017. The decline will make 1 per cent this year, whilst this was 3 per cent
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in 2016. The devaluation of the AZN currency and decline in government expenditure affected the economy negatively.”
Agency experts added that economic growth in Azerbaijan would soon be restored. This will see GDP increase by 2 per cent in 2018 (nominal volume: £33.9bn), 3.5 per cent in 2019 (£36.2bn) and 3.5 per cent (£36.9bn) in 2020.
The forecast for the future is positive, being attributable to the development of the Shah Deniz II gas field and the operation of the Southern Gas Corridor. Along with this, external investment in the non-oil sector will led to increased confidence in the economy and production will rise against the background of reduced inflation.
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Nagorno-Karabakh Conflict
15
See the symphonic version of Khojaly 613 on YouTube
As many attendees of TEAS events will be aware, the tone poem Khojaly 613 by Pierre Thilloy aurally depicts the horror and tragedy of the Khojaly Massacre, the worst single atrocity of the Armenian– Azerbaijani conflict over NagornoKarabakh, which claimed the lives of 613 civilians on the night of 26 February 1992. A TEAS commission, it was nominated for the Victoires de la Musique Classique awards in 2014. In September 2016, the orchestral arrangement of the work was performed at the Les 2 Mondes Festival in Mulhouse, France, under the baton of Fuad Ibrahimov, featuring Sabina Rakcheyeva (violin) and Alain Toiron (clarinet). To see the video, go to http://bit.ly/khojaly613mulhouse and visit http://bit.ly/khojaly613cd to purchase the CD recording.
The pizzicato strings recreate the terror of that fateful night in Khojaly that will live forever in infamy
Armenian forces wound Azerbaijani teenager
On 7 August, Armenian armed forces shelled Azerbaijani army positions near the Armenian border in the Agstafa, Gazakh, Tovuz and Gadabay regions, together with other positions along the ‘contact line’ between Azerbaijan and the Armenian-occupied territories.
Armenian military positions, is often subjected to fire. Commenting on the incident, Aydin Mirzazade, Azerbaijani MP, reflected: “The shooting of civilians shows both the wildness and weakness of the Armenians. The meanness of the enemy should not remain unpunished; they should pay for wounding the Azerbaijani boy.”
The Garalar village in the Tovuz region, which is adjacent to the Berd region of Armenia, faced intense shelling, which resulted in the wounding of 13-year-old Ramin Yusifov. Having received multiple shrapnel wounds, Ramin was urgently operated upon in the regional hospital.
Azerbaijani villages in many frontline regions, mainly in Fuzuli, Agdam, Jabrayil, Tartar and others, have frequently faced shelling and provocations by the Armenian military. The worst recent incident occurred on 4 July, when Armenian armed forces fired on the Alkhanli village of the Fuzuli region with heavy artillery. This resulted in the deaths of two-year-old Zahra Guliyeva and Sahiba, her 50-year-old grandmother. Furthermore, 52-year-old Salminaz Guliyeva suffered shrapnel wounds.
The population of the Garalar village is 242 people, who live in 43 houses. The upper part of the village, which is opposite the
ECHR works for the hostages
The European Court of Human Rights (ECHR) in Strasbourg has begun communications on a lawsuit filed by Firuza Askarova and Albina Veysalova, the respective spouses of Azerbaijani hostages Dilgam Asgarov (56) and Shahbaz Guliyev (48). The two men have been kept hostage for over three years, having been captured in the Kelbajar region by the occupying forces whilst visiting the graves of their relatives. A third man, Hasan Hasanov (37), was killed. The two captured men were subjected to an illegal trial by the unrecognised Armenian authorities in Nagorno-Karabakh in December 2014 and sentenced to life and 22 years in jail, respectively. Speaking to the APA news agency, attorney Fariz Namazli stated that the ECHR would be addressing questions to the Armenian government with regard to the violation of 12 articles of the UN Universal Declaration
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of Human Rights, including (5) no-one shall be subjected to torture or to cruel, inhuman or degrading treatment or punishment and (13i) everyone has the right of movement and residence within the borders of each state. The ECHR also demanded the Armenian government should provide documents on the health condition of both hostages. The Azerbaijani State Committee on Affairs of Refugees and Internally Displaced Persons (IDPs) and the Azerbaijani State Commission on Prisoners of War, Hostages and Missing Persons and other agencies have repeatedly urged international organisations, including the International Committee of the Red Cross (ICRC), to assist in the release of the hostages. In another development, Peter Maurer, President, ICRC, officially responded to the appeal by Rashad Guliyev, President,
International Assembly of Azerbaijanis, written on behalf of the hostages. In his letter, Mr Maurer commented that he would keep focused on the tasks specified in the appeal. He stressed that the ICRC representatives in the Azerbaijani region of Nagorno-Karabakh would remain vigilant over the conditions and medical state of the detainees. He concluded: “I really hope that a serious partnership and mutual dialogue will lead to positive results.” On 4 July, Mr Guliyev sent an appeal to international organisations in connection with the prisoners. The appeal comments on the so-called ‘trial’ by a judicial body that is not recognised by any international entity; it notes a cruel attitude towards prisoners, contradicting the norms of international humanitarian law; and urges international organisations to exert pressure on the Armenian government regarding captives’ rights.
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