Art and Culture - The Times Of Central Asia

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Art and Culture

Almaty’s Aspan Gallery Champions Central Asian Art at Home and Abroad

“It’s difficult to be a point, but it’s easy to be a line, as everything in our world is moving.” The quote by Soviet avant-garde artist Sergey Kalmykov became the title of a 2020 show by Kazakh artists Almagul Menlibayeva and Yerbossyn Meldibekov, the first exhibition by Almaty-based gallery Aspan to be staged in the UK. This concept of continuous movement aptly describes the nine-year trajectory of the Aspan Gallery, founded and directed by Meruyert Kaliyeva. Maintaining its focus on contemporary Central Asian art, the gallery is constantly expanding and adapting to the dynamic of the international art world. [caption id="attachment_20211" align="aligncenter" width="776"] Dilyara Kaipova @Aspan[/caption] The story of how the gallery came into being is unconventional. Meruyert Kaliyeva studied art in the UK, with the intention of practicing as an artist. She soon discovered, however, that the life of an artist was not for her and explained to TCA: “To be an artist, you must sacrifice your social and family life. You must disconnect from it all, and I was not willing to do that.” At the same time, she noticed that unlike her, many individuals at art school seemed destined to become artists. "Some people don’t have the luxury of choice,” she recalls. “I felt that these people needed to focus solely on creating art, and I realised I could help unburden them from some practical preoccupations.” After four years and a half working in auction houses in the UK, Kaliyeva finally decided to return to Kazakhstan. Having quickly realised the importance of supporting artists in a region where institutional support for contemporary art is extremely limited, she opened what is now the Aspan Gallery. Kaliyeva’s mission was twofold. In tandem with developing the Central Asian art scene locally, through staging important historical exhibitions, publishing books and catalogues, and commissioning artists, she also concentrated on disseminating knowledge of Central Asian art abroad. A case in point is Aspan’s recent, significant donation to the Stedelijk Museum in Amsterdam. The donation was curated by Robbie Schweiger, based on research conducted in Kazakhstan, Kyrgyzstan, and Uzbekistan, and with input from Kaliyeva, connections were drawn between Central Asian artists and the Stedelijk’s permanent collection. The Times of Central Asia spoke to Kaliyeva about both the donation and the growth of the Kazakh art scene over the past few years. TCA: Why did you choose the Stedelijk Museum in Amsterdam for such a significant donation? MK: We were keen to have some of our artists represented in major institutions and identified three museums as contenders. The first on the list was the Stedelijk, which already held a collection of Central Asian art. The donation comprised 22 works by 13 artists from Kazakhstan, Kyrgyzstan, and Uzbekistan, spanning almost fifty years, from 1974 to 2020. Works from the 1970s and 1980s, created by artists associated with the underground art scene of the former Soviet republics, were complemented by work made after these republics gained independence in the early 1990s., in which artists explored national...

Czech Republic Art and Culture

Kazakh Art Abroad: Interview with Saida Sheikhova

Saida Sheikhova is a well-established artist from Kazakhstan, now living in Prague, whose work has garnered an international following. In conversation with TCA, Saida shares her creative path, sources of inspiration, and the challenges and opportunities faced in promoting her art abroad. TCA: What inspired you to take up painting? I started drawing at the age of three. There was an art class at day-care and I spent all my time there. My drawing teacher, Elvira Saparbayevna, noticed something unique in me. By way of encouragement, she introduced me to different materials, techniques, as well as work by famous artists, and I became more and more immersed in the art world. Hearing stories about what inspired people in the past to create art, I found it strange that most were motivated by religious or historical subject matter and determined to follow a different path. TCA: How did your career develop? I enrolled in the Art School Vivat, opened by my kindergarten teacher, where I gained a basic knowledge of art history and gathered together a huge portfolio. During that period, I participated in several exhibitions, including ‘Friendship of the Peoples of the World’ at the Museum of the President of Kazakhstan in 2019, as well as auctions and UN projects. I devoted my summer vacations to drawing, which led to my winning the International Festival ‘Children Draw the World Asia’ in 2017, organized by UNESCO. During the pandemic, I entered and won awards in online competitions on themes of ecology and animal protection within the framework of the UNESCO’s 'Children Draw the World' project. After graduating, I wanted to study in Europe and then if possible, move on elsewhere. Prague was the most affordable option and getting a visa was relatively straightforward. On arriving in the Czech Republic, I participated in exhibitions and competitions at the university. Thanks to the Erasmus+ exchange program, I spent a semester in Italy, where I discovered new techniques and approaches to creativity which helped define both my style and how I wanted to showcase my work. [caption id="attachment_19993" align="aligncenter" width="447"] @ssayashh[/caption] TCA: What inspires your art? Inspiration comes unintentionally. It can be a beautiful shot from a movie, stories of friends, a vivid emotion, or current problems. When an idea pops into my head, I try to sketch it out or write it down so that I always have something to draw in the future. TCA: How does Kazakh culture influence your practice? Kazakh culture influences my perception and interpretation of things in many ways. I often hide or insert traditional Kazakh objects and ornament in my art and use their symbolism to enhance the concept behind the work. I also raise social issues related to contemporary problems in Kazakh society. TCA: What are the challenges in representing your art abroad and how do you overcome them? The main challenges relate to cultural differences and language barriers. Certain topics, relevant in Kazakhstan, may not be understood in Europe. For example, body positivity...

Art and Culture

Uzbekistan: Deaf Photographers Document the World Around Them

The assignment for the Uzbek deaf photographers’ workshop: cover a game of kupkari, in which horse-riders jostle for a goat carcass and hustle it to a goal amid shouting, shoving and swirling dust. It didn’t go well for student Murod Yusupov, who arrived late at the event in Piskent, in the Tashkent region, and then struggled to orient himself in the boisterous crowds watching the maelstrom on the field. [caption id="attachment_19449" align="aligncenter" width="599"] Crowds watch a game of kupkari, a traditional sport in Uzbekistan (Photo: Khuvaido Fatihojayeva)[/caption] “Unfortunately, I was a little late, and I had to stay among the fans. Communication with the teacher and participants was almost non-existent. But it was a big problem to take pictures there, there were too many people who came to watch the kupkari, I didn’t have enough experience to find a convenient place and opportunity to take pictures,” Yusupov said through a sign language interpreter in an interview with The Times of Central Asia. He learned from the experience, though. With the help of workshop director Husniddin Ato, 21-year-old Yusupov got accredited for the Asian Weightlifting Championships in Tashkent in February and delivered strong images. Best of all, he enjoyed the assignment. [caption id="attachment_19450" align="aligncenter" width="615"] Uzbek athlete performs during the Asian Weightlifting Championships in Tashkent in February. (Photo: Murod Yusupov)[/caption] --- One recent evening, at the Bon Cafe in Tashkent, Ato, Yusupov and several other participants in the “Deaf Photographers” workshop talked about their experiences and hopes to a correspondent from The Times of Central Asia. Ma’mur Akhlidinov, a sign language teacher at the University of Uzbek Language and Literature who is also deaf, helped to interpret. Cups of sea buckthorn tea were served during a conversation lasting two and a half hours. The deaf photographers were upbeat, often smiling, communicating with each other through hand gestures and showing photos on their phones to each other. --- A decade ago, Ato, a professional photographer, wanted to report on deaf people. Then he decided to let deaf people show in pictures how they feel about the world. While in quarantine during the pandemic, he consulted Akhlidinov, a member of the Deaf Society of Uzbekistan. For many years, Akhlidinov worked as a designer in the editorial office of Ma’rifat, an Uzbek publication, and as the editor-in-chief of the MediaPlus project. Akhlidinov was surprised by the fact that there wasn’t a single internet resource about deaf people and their rights in Uzbekistan. In 2017, he launched a blog for deaf people, their parents and educators. Akhlidinov supported Ato’s proposal for an initial three-month course. and announced the project on the Deaf Society blog, which has more than 1,000 subscribers. An age requirement (18-25) was set for the participants. Nine people signed up. In the fall of 2021, the teaching started. It was slow going at first because of scheduling conflicts and other obstacles. “Later, their interest and enthusiasm wasn’t always there, they didn’t complete their assignments on time, and I had to explain some...

Photography Art and Culture

“Photography in Kazakhstan is Characterized by Local Flavor”: Interview with Photographer Veronika Lerner

Veronika Lerner is a successful, self-taught Fine Art photographer from Kazakhstan whose work has received international recognition. Early in her career, an image of her grandmother sitting near-naked in her kitchen, was selected for inclusion in the portrait collection of the prestigious 5th Exposure Award exhibition at the Louvre, Paris. Deemed controversial when it appeared online, it embodied Lerner’s interest and talent in conceptual photography. Her portraits have been placed in the international ‘Shoot The Face’ competition as well as ‘My Amazing Kazakhstan’, and in 2016 and 2022, her series "Strangers" was featured in exhibitions in St. Petersburg. One of Kazakhstan’s finest contemporary photographers, Veronika continues to make a significant contribution to the development of Kazakh photography. TCA: What inspired you to take up photography? I turned to photography in 2007, when studying to be an artist-designer at college. I had no formal art school training and though keen to develop my own style in drawing, was disillusioned when criticized for my use of shading. Photography allowed me more freedom and with no one editing what I was doing, I was able to express myself fully. TCA: How has your career evolved and what changes have you noticed in the field along the way? After college, I continued taking photos and a post with a print publication led to a second job in which I was required to photograph just about everything. Parallel to my job, I worked independently on creative shoots and by developing my practice, my career in photography was soon in full swing. During that period, my style became much lighter and more cheerful. I moved away from black and white contrast shots towards color and my images became airier and more dynamic. TCA: Where do you find inspiration for your work? Are there any photographers in particular whose work you admire? I find inspiration in everyday life, new experiences, and the beauty of the world around me. Henri Cartier-Bresson (1908-2004), is a brilliant photographer. Working as a photo-journalist for Magnum, he pioneered street photography and was the first Western photographer to work ‘freely’ in the former Soviet Union. Capturing seemingly unimportant moments of ordinary life, there is something elusive and eternal about his work. I greatly admire photographers whose work resonates with the contemporary culture. Irina Dmitrovskaya was a journalist prior to attaining a degree from Docdocdoc, St Petersburg School of Modern Photography. Focusing on identity and societal constructs, and issues concerning the LGBT+ community, her work raises questions about the Kazakh perception of beauty and femininity and last year, was lauded in the exhibition ‘Bodily Autonomies’ at the Queer Festival, Heidelberg. https://queer-festival.de/bodily-autonomies/ I am also inspired by black and white images in which by Moscow-based Anisiya Kuznina, https://anisiakuzmina.com explores the concept of individuality; by Evgeny Mokhorev https://heyboymag.com/evgeny-mokhorev-life-through-the-lens-of-emotion-controversy/ for his raw, black and white evocative studies of St Petersburg’s marginalized youth, and by Didar Kushamanov https://t.me/s/kushamanov for his use of camera obscura. In addition to work by other photographers, my approach to subject matter...

Art and Culture Obituary

Kazakhstan Mourns Murat Auezov – Intellectual, Diplomat, Activist and Patriot

Murat Auezov was a champion of Kazakh identity and culture under Soviet rule and threw himself into Kazakhstan’s transformation after independence in 1991. He wore many hats over a long career: writer, the new country’s first ambassador to China, opposition figure, head of the national library, chief editor of the state Kazakhfilm studio. He expanded on the legacy of his father, Mukhtar Auezov, a playwright and novelist who translated literary classics into the Kazakh language and is celebrated today as an early contributor to an emerging national identity. His mother was Fatima Gabitova, a teacher with her own story of persecution during the Soviet era. Murat Auezov, 81, died on June 14 after an illness, prompting tributes from President Kassym-Jomart Tokayev and many others. In Almaty, family, friends, politicians and government officials were among hundreds of people who attended a funeral service at the National Drama Theater, which is named after Auezov’s father. Murat Auezov was “an orator, a philosopher, a historian, a culturologist, a literary scientist, an educator, and a diplomat,” said Bigeldy Gabdullin, president of the Kazakh PEN Club, a branch of the international group that promotes freedom of expression. Auezov, who was a PEN Club member, promoted Kazakh identity even as a student in Moscow during Soviet times and “awakened Kazakh writers,” Gabdullin said on Facebook. In the 1960s, Auezov was a member of the Zhas Tulpar movement, a loose-knit group of Kazakh youths who studied in Russian universities but whose devotion to Kazakh art, literature and culture often collided with Soviet ideology. “I hope his diaries will be published in English to reflect on the depth of Soviet colonialism and how it crushed people,” Diana Kudaibergen, a political sociologist whose books include Rewriting the Nation in Modern Kazakh Literature, said on the X platform. Auezov, who was pressured and monitored by Soviet authorities, was among the first Kazakh intellectuals to talk openly about collectivization, famine and the destruction of the intelligentsia in Kazakhstan in the first half of the 20th century. “In 1974, in his speech at the plenum of the Writers' Union, he stated: ‘Without covering the topic of hunger, we cannot say that we have national literature,’” read one tribute after his death. In the 1990s, Auezov was a leader of the Azamat opposition movement and sparred with the government of President Nursultan Nazarbayev, who cracked down on dissent. He then worked as head of the Kazakh branch of the foundation created by financier and philanthropist George Soros to promote democratic and social reforms around the world. As ambassador, Auezov promoted economic and cultural ties with China. Years later, though, he increasingly voiced alarm at Chinese economic inroads in Kazakhstan, which he viewed as a threat to the country’s sovereignty. In an interview, he said, “we should not forget our Turkish ancestry. No matter how difficult it is for the brotherly countries of Central Asia, it is better to achieve cooperation, even if it is necessary to make sacrifices. If we cannot achieve this, it is quite...

Kazakh Ornamentation Art and Culture

The Evolution of Kazakh Ornamentation

Ornamentation, evolved over the centuries and influenced by the country’s history, is integral to Kazakhstan’s rich and unique cultural heritage. Art historian Raushan Yeschanova outlines its evolutionary path, significance to Kazakh life and society, and how it continues to develop and inspire contemporary art and culture. Origins of Kazakh Ornamentation Kazakh ornamentation emerged in ancient times, reflecting the peculiarities of nomadic life and the country’s natural environment. Simple geometric shapes and symbols were used in rituals and to decorate everyday objects, textiles, clothing, jewelry, dwellings and graves. The main components of Kazakh ornamentation were lines, curves, dots, circles, zigzags and geometric figures, arranged and intertwined to create rhythmic compositions and patterns. Abstracted from natural phenomena and zoomorphic, these early ornaments were valued both aesthetically and for their deep symbolic significance. Influence of Cultural Traditions Over time, due to exposure to other nations’ cultural traditions through trade and the passage of caravans through the country, Kazakh ornamentation became more complex and diverse. Many of its motifs share similarities with designs found in artefacts made by other Turkic-speaking peoples, including the Kyrgyz and Mongolian Alai Kazakhs. Interaction with Turkic, Mongolian, Persian and other cultures, enriched Kazakh ornaments making them more multi-layered and multifaceted. For example, the Mongolian influence is apparent in the introduction of more complex zoomorphic and plant motifs, whilst that of Persia is evident in the refinement and elegance of linear design. Among plant patterns, Raushan singles out the early "shytyrman"; a complex interweaving of geometric, horn-shaped and plant motifs. [caption id="attachment_19112" align="alignnone" width="4000"] Image Source: liveinternet.ru[/caption] Ornamentation in the Medieval Period One of the most important stages in the development of Kazakh ornamentation was the formation of the khanate and the development of urban centers during the medieval period. At this time, complex ornamental compositions including abstract patterns, plant motifs, animal images and heraldic symbols appeared in the khans’ palaces as well as religious buildings. Widespread in their application, these ornaments decorated architectural features, luxury items, jewelry, and textiles. Totemism and Symbolism in Kazakh Ornamentation Kazakh ornamentation is also closely related to the totemic beliefs of the ancient Turks. Totemic signs and symbols, often related to animals, had a deep sacred meaning. A symbol of prosperity and vitality, the ram’s horn is ubiquitous in ancient cultures from the Pacific Ocean to the Mediterranean Sea, and is widespread among both Iranian and Turkic tribes. Images of the ram and closely related animals, such as the argali and the Siberian goat, are the most common themes in ancient Eastern art. For millennia, horns have appeared in fluid, interlocking designs in Turkic artefacts, and, denoting prosperity and wellbeing in Kazakh ornamentation, are frequently seen above the doors of yurts and on ancestral graves. The bird is also a powerful symbol within Kazakh ornamentation. Representing freedom, "kus kanat" or "kus muryn" was commonly used in jewelry. Images of eagles were favored in the art of the Saks, whilst nationwide the popular abstracted image of ravens’ claws represents protection. [caption id="attachment_19113" align="alignnone" width="4000"] "Kus...