Unique exhibition of modern Kazakh art opened in London

Within the framework of the Ruhani Zhangyru program, the first exhibition of the large-scale project of the National Museum of the Republic of Kazakhstan "Focus Kazakhstan" was opened in London with the support of the Ministry of Culture and Sports, which will be held until October 16, 2018, reports the press service of the Prime Minister.

Егемен Қазақстан
24.09.2018 966

The exhibition "Postnomadic horizons" is prepared by 33 artists who use the modern language of postmodernism and work in various art media. Such as painting, photography, sculpture, installation and video.

The exhibition considers modern art of Kazakhstan in the form of dialogues between contemporary artists and their Soviet predecessors, who reflect on the concept of post-nomadism through art.

The curators of the exhibition Indira Duissebayeva and Aliya De Tiesenhausen suggest to consider the situation of the Kazakh art history in the context of the world currents, as well as the Kazakh society in the context of globalization. In the exhibition space there are parallel dialogues of artists with their predecessors of the Soviet period, and at the same time an analysis of the gradual de-sovietization of consciousness.

As noted by Aliya De Tiesenhausen, the Soviet period served as the final eradication of the nomadic way of life, and the period of globalization, now experienced, also affects the still preserved nomadic memory — traditions and culture.

"The concept of post-nomadism makes reference to the nomadic past, associated with Kazakhstan, and actively reflected both by artists of the Soviet period, and contemporaries. Post-Mind Consciousness is a literal translation of the English name of the exhibition. In this context, the word ‘consciousness’ defines a departure from the visual stereotypes associated with our country and the desire to analyze the work of artists under both conscious and subconscious processing of the past and the present," she said.

According to curators of the exhibition, the works presented are some kind of questions posed by the artists to the viewer about different roles that the viewer plays as a subject or object of nationalism, traditionalism, consumerism, feminism, postcolonialism and post-nomadism.

The works of the following authors are represented at the exhibition: Salihiddin Aitbayev, Askhat Akhmediyarov, Said Atabekov, Syrlybek Bekbotayev, Alexander Bibin, Bakhyt Bubikanova, Agimsaly Dyuzelkhanov, Saule Dyussenbina, Vladimir Eyfert, Kamila Gabdullina, Assel Kadyrkhanova, Abilkhan Kasteev, Dauren Kasteev, Moldakhmet Kenbayev, Rustam Khalfin, Makum Kisamedinov, Galim Madanov and Zauresh Terekbay, Gaisha Madanova, Erbosyn Meldibekov, Almagul Menlibaeva, Erkin Mergenov, Gulnur Mukazhanova, Aza Shadenova, Saule Suleimenova, Zitta Sultanbaeva, Abdrashit Sadyanov, Bakhtiyar Tabiev, Kanafiya Telzhanov, Alexander Ugay, Pavel Zaltzman, Vladimir Tverdokhlebov, Sholpan Sharbakova.

Curators: Indira Dyussebaeva-Ziyabek, Aliya De Tiesenhausen, curator-assistant Alima Boranbayeva and consultant Olga Sova.

The exhibition will run until October 16 at The Wapping Project: 37 Wapping Wall, St Katharine's & Wapping.

Thus, the exhibition shows a video installation of Almagul Menlibayeva's "Butterflies Aisha-Bibi," where the artist reveals a mythological narrative with reference to their own nomadic roots and shamanistic traditions of the peoples of Central Asia. "Peak Communism" by Erbosyn Meldibekov represents a kind of study of ideological transformations in the region through the process of changing the names of one of the mountain peaks of the Pamirs, which was renamed six times in 130 years.

The duet Galim Madanov and Zauresh Terekbay show the installation "Transgression," which was exhibited in the Central Asian Pavilion of the 54th Venice Biennale. "Transgression" is a comprehension of the sudden and fundamental changes that have occurred in the Kazakh society.

Assel Kadyrkhanova presented her installation "Machine" — a memory of the millions of unnamed victims of the Stalinist repressions of the 1930s, but also the responsibility of those who signed arrest orders, the role and place of an individual in collective violence.



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