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Authors
Yuliya Sorokina
PhD, Associate Professor, Art Management and Producing Department, Scholar at Getty Research Institute (Los Angeles, USA)
Temirbek Zhurgenov Kazakh National Academy of Arts
Kazakhstan
Article information
Article publication date
2024-06-25
Article Page
120–140
Chapter
Arts & Humanities
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Abstract
The study that served as the foundation for the article has been carried out by the author for many years, as it is based on practical activities as a curator and researcher of contemporary art in Central Asia. It focuses on analyzing the use of domestic technologies in the contemporary art of Central Asian artists, providing a meaningful conceptual framework for understanding the evolution of artistic practice in this region. The aim of the study is to trace the main trajectories of using everyday household technologies and analyze the determinism of everyday life and existence in the artistic environment. To achieve this goal, the article uses a methodology that includes several stages: long-term observation and collection of materials were carried out, including archival data from various sources related to the artistic life of the region; the received materials were analyzed and compared with similar processes in other regions and countries, which made it possible to identify the features of the development and characteristics of the art of Central Asia; based on the information collected, a synthesis of conclusions was made, including ambiguous aspects associated with the available data; a variety of sources were used to collect information, including participation in the artistic life of the region, visiting exhibitions and events, as well as online resources and social networks. As the results of the study, examples of the creativity of artists Askhat Akhmedyarov (Kazakhstan), Surayo Tuychiyeva (Tajikistan), the Zamanbap Art collective (Kyrgyzstan) and Dilyara Kaipova (Uzbekistan) were given. Their artistic practice using household technologies is considered in the discourse of the decolonial turn and acts as an existential foundation for the search for the identity of independent states with a post-Soviet past in anamneses.
The study was conducted both in Central Asia and abroad, including the Getty Research Institute scholarship program. This approach allows for broader coverage of the context and diversity of factors influencing artistic practice, as well as the use of different perspectives and methods of analysis to gain a more complete understanding of the topic.
Keywords
everyday life and existence
archival data
contemporary art of Central Asia
decolonial turn
identity
References
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References
Adjusting the Lens: Indigenous Activism, Colonial Legacies, and Photographic Heritage. Edited by Sigrid Lien and Hilde Wallem Nielssen. Vancouver, Toronto, UBC Press, 2021.
Alban Achinte, Adolfo. Texiendo textos y saberes. Cinco hijos para pensar los estudios culturales, la colonialidad y la interculturalidad. Popayán, Editorial Universidad del Cauca, Colección Estiodios (Inter)culturales, 2006. (In Spanish)
An Indigenous Present. Edited by Jeffrey Gibson and Jenelle Porter. New York, BIG NDN Press and DelMonico Books, 2023.
“Aspan Gallery – Contemporary Art Gallery.” Aspan Gallery, www.aspangallery.com. Accessed 20 April 2024.
“Astral Nomads – Archival Resource about Contemporary Art of Central Asia.” Astral Nomads, www.astralnomads.net. Accessed 20 April 2024.
Beginning in the Middle: Conversations on the Post-Soviet. Saodat Ismailova, Taus Makhacheva, Babi Badalov, Almagul Menlibayeva, Yerbossyn Meldibekov, Alexander Ugay, Gulnara Kasmaliyeva, Muratbek Djumaliyev, Umida Akhmedova, Maria Mkrtycheva, Furqat Palvan-Zade. Edited by Elsbeth Dekker and Robbie Schweiger. Prinsenbeek, the Netherlands, Jap Sam Books, 2022.
Bonito Oliva, Achille. Avanguardia, transavanguardia. Milano, Electa, 1982. (In Italian)
Elliott, David. Art & Trousers: Tradition and Modernity in Contemporary Asian Art. Hong Kong, Artasiapacific Foundation, 2021.
Fluxus Codex. Edited by Jon Hendricks. Detroit, Gilbert and Lila Silverman Fluxus Collection in association with H. N. Abrams, New York, 1988.
Griniuk, Marija. “Performance Pedagogy: Performing Fluxus Pedagogy in a Contemporary Lithuanian Context.” Acta Paedagogica Vilnensia, vol. 44, Sept. 2020, pp. 152-63. DOI: 10.15388/ActPaed.44.11.
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Kim, Haeju. Interview with curator. Manuscript of research materials. Almaty, 2020.
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Miner, Dylan A. T. Creating Aztlán: Chicano Art, Indigenous Sovereignty, and Lowriding across Turtle Island. Tucson, The University of Arizona Press, 2014.
Post-post-Soviet?: Art, Politics & Society in Russia at the Turn of the Decade. Edited by Marta Dziewańska, et al. Translated by Anna Aslanyan. Warsaw: Museum of Modern Art, 2013.
Punt, Michael, et al. “Japan Fluxus by Luciana Galliano (review).” Leonardo, The MIT Press, vol. 53, no. 3, 2020, pp. 337–338.
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Tlostanova, Madina. What does it Mean to be Post-Soviet?: Decolonial Art from the Ruins of the Soviet Empire. Durham, Duke University Press, 2018.
Yessekeyeva, Emina, and Eric Venbrux. “Shamanism, Globalisation and Religion in the Contemporary Art of Said Atabekov and the Kazakh Art Collective Kyzyl Tractor.” Religions, vol. 12, no. 5, 2021, pp. 300–322. DOI: 10.3390/rel12050300.
Published:
2024-06-25
Дата подачи:
2024-04-29
Journal number
№ 2
Volume
12
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