Zaha Hadid’s architectural design is now an international art destination
Published 3 March 2026
In a city where ancient cobblestone streets meet ultramodern architecture, Azerbaijan’s capital, Baku, where the ancient historic downtown is recognized by UNESCO as a World Heritage site, is contributing to the evolving cultural landscape of the South Caucasus, claiming its place as the region’s vital cultural hotspot.
At the center of this transformation stands the Heydar Aliyev Center, a large-scale contemporary architectural project that has become more than just a building.
Designed by Zaha Hadid and completed in 2012, the center’s flowing, wave-like form is a striking landmark that has become a prominent feature of Baku’s skyline. The structure features no sharp angles, just a continuous, fluid surface that seems to ripple across the landscape.
Yet architecture alone doesn’t make cultural capital, and what happens inside matters most.
This past year has seen the center host a sustained program of international exhibitions, including collaborations beyond the region. American hyperrealist sculptor Carole Feuerman opened her exhibition “Reborn into the Water” in Baku in January 2026 to display her complete artistic work, which she created from 1970 until the present day. The hyperrealism movement identifies Feuerman as its first important artist, who created realistic swimmer sculptures that make viewers see the sculptures twice. The United States and multiple European nations supplied most of the exhibition items to the center. The venue hosted its first public showing of the artwork “Ruth,” which represented an important milestone for both the artist and the organization.
Feuerman’s work goes beyond technical virtuosity. Her swimmer sculptures, crafted from resin, painted bronze, and stainless steel, explore themes of resilience, balance, and the human capacity to overcome challenges.
The center doesn’t limit itself to the visual arts. Last November, Baku hosted its inaugural Art Weekend festival, transforming the city into a sprawling gallery with approximately 40 art events across the capital. The centerpiece was a dual exhibition at the Heydar Aliyev Center: Colombian master Fernando Botero’s “The Triumph of Form” and “My Seas, My Oceans.”
Botero’s exhibition featured more than 100 artworks spanning seven decades of the artist’s career. His distinctive “Boterismo” style, depicting people, animals, and objects in exaggerated, voluminous forms, brought a Latin American sensibility to the shores of the Caspian Sea. The show demonstrated how the Azerbaijani capital is becoming a destination where global art traditions converge.
Baku rolled out the red carpet for a host of prestigious events during Art Weekend. The festival also included “DanceAbility Azerbaijan,” an inclusive dance company that promotes social participation through performances featuring people with and without disabilities.
The center’s latest exhibition, ‘Superheroes of Wildlife,’ opened on February 4, featuring work by renowned British-Australian sculptors Gillie and Marc Schattner. The artists, described as among the most successful public art creators in New York history, are known for their advocacy for wildlife protection through monumental sculptures displayed in more than 250 cities across the globe. The exhibition in Baku is unique in its kind, for the first time, it features the largest collection of their artworks ever assembled.
This steady drumbeat of major international exhibitions and art events is part of a deliberate strategy. The art events held at the Heydar Aliyev Center, thanks to their scale, uniqueness, and cultural significance, position the center as an active participant in international cultural exchange.
It is noteworthy that the first major exhibition at the center was the large exhibition “Life, Death and Beauty” by Andy Warhol, which took place in 2013.
In line with this vision, Baku is positioning itself as a cultural bridge between Europe and Asia. The center’s programming highlights this ambition, bringing American hyperrealism, Colombian masters, British-Australian conservationists, and environmental exhibitions to this crossroads of civilizations.
The approach seems to be working. International curators, artists, and cultural figures are increasingly adding Baku to their itineraries. The center collaborates with museums and institutions in Austria, Belgium, the UK, France, Italy, Russia, Slovenia, and Türkiye, among others.
For now, Baku can claim something significant: it has created a cultural destination that competes on the international stage. That’s no small achievement.
The Heydar Aliyev Center’s fluid, forward-looking architecture provides an apt metaphor for Azerbaijan’s cultural aspirations, engaging with broader global cultural currents. Whether that vision can be sustained remains to be seen. But for visitors stepping into Hadid’s extraordinary building, the message is clear: this is a city that demands to be taken seriously as an international cultural hub.
