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Teymur Daimi

Художник Теймур Даймі

Teymur Daimi (Azerbaijan)

Multimedia artist, filmmaker, philosopher (Ph.D.)

Was born in Baku, Azerbaijan in 1966.

Graduated from Azerbaijan State Art College in 1985 and Azerbaijan State Culture and Art University in 1993.

In 1996 he published his book “The find of the Way”.

In 2000 he defended PH.D. theses on philosophy at the Institute of Philosophy and Low of Azerbaijan State Academy of Science.

He is an author of several articles and essays in local and international editions on art and culture.

Since 2001 he has been working on audiovisual sphere as a film director.

He is participant of International Film Festivals, Exhibitions and Biennial including 1st Thessaloniki Biennial in 2007 and at the 53rd Venice Biennial in 2009 in the frame of Azerbaijan pavilion.

Member of the Union of cinematographers of Azerbaijan.


2018, 8 min. 33 sec, color, sound
By Teymur Daimi


1. Spectral range

The surrounding world is filled with electro-magnetic eradiation of the various frequencies of fluctuation. What is being observed by our eyes is called seeable light. There are seven distinguished main spectral colors: red, orange, yellow, green, blue, dark blue, purple. And this is only 2 per cent from the total electro-magnetic diapason. Therefore, we are practically blind.

2. Modulations of invisible

This non-narrative film is presenting the sequence of seven color field changes which compose the visible spectrum. In its turn the spectrum is the perceptible metaphor of our world-everything we see is concluded into the spectral format, or in other words is limited by this format.

In this movie the spectrum is being reduced to its plazmatic status that is semi-transparent condition because plazma as the fourth state of matter after solid, liquid and gaseous is in transition state from visible to invisible. Therefore, the semi-transparent plain color fields allow us to perceive it on the surface of the screen barely noticeable but expandable structural modulations of invisible world in the temporal mode of the movie. Provided that the main “hollow player” in this situation is the Screen as absent presence which accommodates the spectral mode of visible and indefinite (for/trance/spectral) mode of invisible in “its own” void.

3. The Surface of the Screen and Arche-Visual

What is the Screen? In the material sense it is a step in evolution of material base of picturesque view: wall-caves-stones-papyrus-paper-board-canvas-screen. From the mental point of view the Screen is emanating from primordial presentation, which in its turn correlates with the perception of (Protoman) Arche-Visual, that is archetypal picture of the world . After some time this picture appears in shimmering and forming image in front of us as soon as we leave mother’s womb and open our eyes to the life, being terrified by the chaos of colourful spots, lines, flashes of the lights. Arche-Visual is the original identification of visual fields by us when we just start to learn about things, but at the same time we preserve the transparency in ourselves, through which shines invisible. This very traumatic perception of Arche-Visual have had become contiguity between visible and invisible because the contact with this world have had been very painful due to the steady establishment and recognition of the names of the things, consequently solidification of the world, we have had started losing our freedom… The condition when visible just have started representing itself from invisible, but have not taken the shapes of the forms of certain things or words ( the new born baby does not distinguish the separate forms) is the boarder of the “absolute limit” where there is a transformation of invisible/abstract into visible/concrete (and vise versa) and where there are Gates to Abyss of Non-differential which have not closed and never will…

Competitive works

  • Теймур Даими 2021 Спектр
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