Fine art of Kazakhstan
Shades
and dynamics the international relations
It is well known that the art has unique property – “to tell”
to the world about the people, which has created it. About a history,
present, mentality, social device and other. And the fine art, as against
cinema, literature, theatre, practically does not require the interpreters,
appeals to especially visual mutual understanding.
Post-Perestroika’s history of mutual relation of the Kazakhstan
artists with distant and near foreign countries, evolution and the transformation
of this phenomenon is a subject of this article.
The reasons for such statement of a question are a few. First, the Kazakhstan
art (both national, and professional) in the best displays has a high
and original aesthetic level. In a joke of art-expert that of Kazakhstan
can brag of three riches – petroleum, copper and art – there
is only share of a joke, all the rest is truth. Secondly, the Kazakhstan
artists, contacting with the colleagues from other countries, receive
an opportunity of the comparative analysis and, as a consequence, opportunity
of the further growth. Only in comparison it is possible to understand
the advantages and lacks, to protect first and to get rid of second. And,
thirdly, ours creative “invasions” abroad were never examined
as the whole phenomenon. The information on foreign exhibitions is not
systematized, is not traced and is not subjected to an understanding.
That is not fair.
Let’s try, as far as possible, to fill this blank in our consciousness.
As an initial material the conversations with the artists and organizers
of trips, publication in the Kazakhstan and foreign press, catalogues
of exhibitions, photo and video materials have served.
At first, the background. At the Soviet authority, when Kazakhstan was
one of fifteen brotherly republics, the arrangement on a cultural exchange
was conducted extremely at an intergovernmental level. It is possible
to assume that the cultural program, most likely, had not independent
importance, and decorated, framed the political and economic agreements
that were meaningful for republic. Kazakhstan was submitted by exhibitions
of national decorative - applied art, more often. The executors of State
order - State museum of arts named after Kasteev, or Management of art
exhibitions of the Ministry of culture, or Union of the artists of Kazakhstan
- took out more or less richly decorated yurts with tekemets, symaks,
baskurs, wooden and leather products, silver female ornaments, horse harness.
Externally all looked decently: the care of national traditions was observed,
a variety of materials and forms were demonstrated, the interaction of
tradition with today came to light.
Unfortunately, behind a side of attention there were basic qualities
of national art: organic connection with ideology of nomads, semantic
fullness symbolism of ornamental language, philosophy of nomads, coded
in plastic and rhythms of the image. As the main advantages of applied
art were considered aesthetic expressiveness and conditionality financially
– household by foundations of the nomadic people. So, we presented
ourselves as the uncivilized people, “which loves a nature and earth”.
And being not confused, we were content with such modest role.
Even more primitive image of Kazakhstan was formed at exhibitions representing
easel art of ?? century - painting, diagram, and sculpture.
Question – who from the artists will represent of Kazakhstan
in foreign countries – was not sharp. In account some factors undertook.
Main – the republic in a prism of art should look social –
optimistically and thematically various. At an exhibition at the obligatory
order there should be regional landscapes with signs urbanite and industrial
achievement of new-buildings, petroleum towers, combines on boundless
virgin soil fields.
Of course – by the subject – thematic pictures with joyful
image of labour everyday lives and holidays. It was impossible to do without
portraits – vigorous leaders of the manufacture, which has executed
and over executed all plans and the obligation.
In selection of concrete products was engaged republican committee of
exhibitions, sensitively ruled by Government of Union of the artists,
Ministry of culture and department of culture of Central Committee of
the Communist party. Only the loyal authorities the artists, certainly,
members of creative union got in the list of the authors. The raised checkpoint
mark was for the winners of the State premiums, National artists and Deserved
figures of arts. As perspective, two, or three young authors were supposed.
The art advantages of pictures, graphic sheets, sculptural compositions,
certainly, were taken into account, but was far from being first of all.
Talents, creative search, originality of performance were as though welcomed
in words. In reality, the sent abroad exhibitions were filled by the false
raised images of earth and people, where the sun eternally shines, the
men smile, where spread out fruitful fields. By exhibitions, we basically
could not have unhappy people, bad weather, and other intelligentsia’s
reflections. Such we wanted to look in front of the brotherly and friendly
countries. Such we also looked. For support of exhibitions abroad were
supposed even the artists only after difficult and multistage check on
loyalty which is carried out by competent bodies or officials of a high
rank.
So, the conclusion: organizers of exhibitions of the Soviet Kazakhstan
art for foreign display troubled just extremely political problems. The
creative, art originality of the Kazakhstan art remained a personal care
of the real foremen, who made the way even on republican “internal”
exhibitions not without effort.
Therefore the attitude to our art abroad was polite faultless. Also,
however, as well as to whole republic, whose government rigidly depends
on dictatorship of Moscow.
Post-Perestroika’s change mentioned all spheres of our life, were
reflected also in a question interesting for us. The foreign exhibitions
initiated by state structures, gradually become more and more “art”
and less ideologicalized. For example, for Israel (t. Ramagan) there leaves
an exhibition of painting by R. Nurkeev and sculpture E. Kazaryan, and
in England (London) – exhibition of painting by A. Berkasov. All
three – young and talented authors, found the handwriting in art,
so it is not a shame to show their works to the people, as it is spoken.
Within the framework of Days of culture of Alma-Ata in Moscow, akimat
of southern capital and Museum named after A. Kasteev have shown three
worthy exhibitions at once.
The "Russian avant-garde from funds of a State Museum of arts of Kazakhstan",
amazed the Moscow connoisseurs by loud names of avant-garde artists of
beginning of XX century - O. Rozanova, Redko, Shevtchenko, Tyshler, N.
Altman, whose pictures belong to so removed from Moscow (who could think!)
Kazakh museum.
The "Forty pictures by Sergei Kalmykov" was named in Moscow "super exhibition"
and had enormous success. The proof can serve the fact that the right
of its exhibiting was challenged by the best Russian exhibition halls
- "Manedzh" and Museum of art of the peoples of East. "Manedzh" has won
due to the given more convenient hall of so-called "elite" exhibitions.
It is important to note that the exhibition of S. Kalmykov has the important
consequences - on its material a name of this "space" (V. Butchinskaya)
artist is included in a Calendar of memorials of 2001 and in the large
monographic research devoted to the suprematism (author Shatskikh).
The third exposition in Moscow "Contemporary artists of Almaty" represented
bright names of our art stage: Khairullin, Isu, G. Madanov, B. Bapishev
and others.
The pleasure from so solid art representation in Moscow could not sadden
even very modest advertising, for which, as always, there sent no money.
Thus, by the end of the first decade of the sovereignty of Kazakhstan,
our state bodies ruling the culture, leave from dismay and hibernation
of the first years, make active policy of a cultural exchange, begin to
care of the qualitative party of exhibitions – one and only serious
criterion working for positive image of the young state.
Besides a state line (exhibitions organized “from above”)
there is other, more dynamical and productive form of propagation of our
cultural values (activated “from below” – by the artists,
curators, owners of galleries).
Here’s a history conducting readout from beginning of the 90s years
of the last century.
With the announcement of the sovereignty, last traces “iron curtain”
have disappeared; the borders on all four parties have opened. Our artists,
being in complete reliance, that “ the abroad will help us”,
have rushed to conquer the distant countries. Rich Europe and America
looked like a promised land, where we are waited by recognition, by honours
and award. Covered by euphoria, not knowing foreign languages and, mainly,
laws we signed the contracts “not looking”. For what have
paid – set of pictures and exhibitions were forever remained in
USA, France, Holland. Trusting to the oversea managers, the artists agreed
on any, frequently enslaving conditions. An idea that they’re used,
as well as all Kazakhstan, as profitable raw sources, has come much later.
Other artists acted even more carefree: not having any contracts or invitations,
hastily sold the apartments and workshops, and went to conquer Canada,
USA, Greece, and Germany. All emigrants were warmed by secret hope, turning
into reliance – “ there will estimate my talent by advantage!”
Not everyone, but many from the left, soon sadly have returned back. It
was found out that in the distant countries it is extremely difficult
to the visitant to be entered in the organized model art of the market,
that the places of “geniuses” everywhere are engaged. The
traumas here were deeper than regret about loss of pictures. Instead of
glory and money the complexes and severe disappointments, sometimes –
moral and financial collapse are received.
In the relations with abroad there was also other extreme. Owners of
galleries, the artists, art-experts, by visiting there, came back with
proof dislike of all foreign. America was announced “soulless”,
Europe – “rotted through”, contemporary art –
“degenerating”. Unwillingness and incapability to understand
the complex design of world art-stage declined to easier ways; it was
persistently formed proud myth of our self-sufficiency and high spiritness,
not requiring of any foreign experience. One more impasse – supercilious
self-respect, fraught by prospect hermetism and provinciality here was
designated.
Comprehension that true, as always, lies in the middle has come gradually.
That the dialogue and integration in global space are important. That
it is long labour and consuming process. That notorious globalization
is an objective factor, which should “be tried on self ”.
Differently, it gives some light the “light way of Turkmenistan”,
where, as they say being afraid of unreliability, even the opera theatre
is forbidden.
The political and economic changes in Kazakhstan promoted democratically
guided, more free, than at the neighbours on region, development of art
and, especially, of its urgent direction. Just the greatest “breaks”
of our artists into the international cultural space are connected to
this. Here it means the art having only English terminological “label”
– contemporary art. At our region that is not too correct, but variously
named actual, radical, contemporary art. In all uncertainty of Russian
definitions, let us say that the speech will be about art designated in
Kazakhstan in the beginning of 90s, and since then, on increasing, taking
more places in culture. A formal attribute of this art is use new, is
more often than not painting-graphic technologies. These are performances,
installations, actions, video and media art. You see, to say strictly,
landscape in Shishkin’s style, written the day before yesterday
in foothills of Zailiiski Alatau, is too “contemporary” art.
But the artist of actual direction does not want any, even very prestigious
and commercially favourable line of art of the past. He wants to experiment,
to invent unknown and non-standard art images quite often shocking and
always stirring a society.
About consecutive and purposeful steps of the Soros Centre of Contemporary
art - Almaty, supporting innovations in art, many times was spoken: by
their invitation there came to us the “advanced” theorists
and practice of contemporary art; from us in many countries of the world
were dispatched the videocassettes and catalogues, representing the new
artists of Kazakhstan.
In result from abroad has become to be felt some informal interest of
the people, whose trade is to trace the perspective artists. Apotheosis
of 1999 have become:
- Tremendous success of performances of group “Kyzyl Traktor
” in Lithuania and Slovenia.
- First in a history of art of Kazakhstan participation on 6th Istanbul
Biennial of the projects of ?. and V. Vorobiev "Farewell of classics
with the people" and "Light in the end".
- Updating prestigious in the world Collection of nonconformist art
of Norton Dodge (USA) by fifty-two works of the Kazakhstan authors.
About the collection "Art of non-conformists from the Soviet Union" I'll
tell more detailed. The owner of it Norton Dodge - economist by education
- had professional contacts to USSR from middle of the 50s years. Having
special intuition, unbanal taste and political insight, from beginning
of the 60s years he buys works Moscow-Leningrad nonconformists. Keenness,
sequence and the big money have allowed him to make the best in the world
collection including more than 10.000 products and more than 900 names
of the "anti-Soviet" art in its completeness and variety. The authors
here are submitted as "star" names - I. Kabakov, Tselkov, E. Belutin,
E. Bulatov, V. Komar and Melamid, and less known, but brought their contribution
in "other art ". Gradually collector has begun to interest a remote areas
of "Empires of Evil": Ukraine, Baltic countries, Caucasus and, from recent
time, Central Asia. Being middle-aged, mister Dodge sends the residents
to those regions. In particular, in Kazakhstan, some times came art-expert
Jane Sharp - great professional precisely understanding the task and able
to solve it competently. Due to her, the collection of mister Dodge has
replenished with names of the Kazakhstan creative freethinking. S. Kalmykov,
P. Zaltzman, Sh. Sariev, R. Khalfin, S. Maslov, the "Green Triangle",
- altogether 25 authors are on display with their works in Zimmerly Museum
of University Rutgers of New Jersey, in seventy kilometers from New York.
May 12, 2001 the section of the Central-Asian art was officially open
for the spectators. In comparison with Russian nonconformists, ours authors
look less political. If the Russians were directly engaged in criticism
of Soviet system, exposed falsity of art of socialist realism, Kazakhstanians
stated the same feelings by the way of "exchanging words" through a head
of official art with Filonov, Sterligov, Malevich, Shagal, going deep
in problems of form-creating.
Except for natural pride from presence of “ours” in a so
serious collection, it has become obvious that the contemporary (actual)
art of Kazakhstan was born not on an empty place, and, as it is necessary,
have the solid predecessors, history and background.
These events helped to realize that the artists little by little open
Kazakhstan to the countries where people frequently couldn’t hear
about us.
Further. Many remember that the end of 90s was the time of extraordinary
activity of “internal” art life, the time of “tempest
and rush” – the appreciable events occurred almost each week.
Last years the art activity inside republic has gone on a loss, but the
performances of our actual artists on the international exhibitions, symposiums,
seminars have become frequent. There was, some kind of output in open
space. The trips abroad have double sense. On the one hand, to show yourself,
on another hand – as a rule, to look at the people. And at the same
time, to see the art by the discharged eyes of Another. To compare, to
confront, to understand where to move further.
Here’s the list of trips of recent time confirming that “Hurrah!
We rush… the Swede kneels”:
- Russia, Samara - two international plain-airs "Province. Between
East and West" with participation of the Russian, German and Kazakhstan
artists. (From Kazakhstan - R. Khalfin, S. Maslov, G. Tryakin-Bukharov,
G. and Z. Madanov, E. Meldibekov, E. and V. Vorobiev).
- Italy, Rome - exhibition " Neo-classic art of XX century", where
E. Meldibekov has made performance "Crucifixion".
- Germany, Stuttgart – international curator’s project
“Environment of daily occurrence”, within the framework
of which S. Maslov, D. Nasyrova and L. Shakeizhanova have carried out
the action “East is the thin matter”.
- Moldova, Old Arkhei - international practical seminar "Invasion"
with participation of Poland, Germany, Russia, Kazakhstan. E. Meldibekov
has represented the installation "Pol Pot, part 6", and V. Demidov -
his performance "Tree of life".
- Russia, Moscow – at the exhibition “Art Moscow. The Eurasian
zone” has paid serious attention to videofilm by R. Khalfin “Northern
barbarians. Lover Races”.
- Spain, Valencia – 1st Valencia Biennial, where was demonstrated
the same videofilm by R. Khalfin
- Germany, Munich – exhibition of painting and diagrams by E.
Vorobieva.
- Austria, Oberwart – exhibition of painting by E. Vorobieva.
- Sweden, Malmo - art-seminar "Parts of World (Light)", on which E.
and V. Vorobiev have represented the photos and video projects.
- France, Daxe – and
- Austria, Langelois - A. Malgazhdarov and Yu. Sorokina have represented
the interactive project "Kazakhstan dream".
- Germany, Weimar – seminar on contemporary art, where Yu. Sorokina
read lecture about an art situation in Kazakhstan.
- Turkey, Istanbul – personal exhibition of objects by G. Tryakin-Bukharov.
- Indonesia, Dzhokia Kharta - at the international exhibition "Asia
yesterday, today, tomorrow" were represented the works of K. Ibragimov,
E. Meldibekov, D. Zhanabaev.
- Japan, Tokyo - festival of the young authors - performances by K.
Ibragimov.
- Austria, Vienna – tour of group “ Kyzyl Traktor”
has acquainted the spectators and art public with the creativity.
- Austria, Linz - Yu. Sorokina together with Austrian artist A. Migl
carried out the project "Yurta".
- Czechia, Prague - scientific-practical conference "Art and politics",
on which from Kazakhstan V. Ibraeva has made the report "Art situation
in contemporary Central Asia", E. Meldibekov has demonstrated videofilm
"Pastan", and videofilm by Z. Sultanbaeva and A. Akmullaev "Asian Route".
- Russia, Odessa - plain-air of the actual art "Stain", where were
participating E. and V. Vorobiev with photo-installation "Provincial
hole", and M. Sagitov with his videofilm "Press-clippings".
I underline that by this extensive list the fact of the international
recognition and absolute solvency of the Kazakhstan actual art does not
affirm. Affirms only that the process of adaptation of our artists to
world art goes by a complete course and has quite good quantitative parameters.
Now about quality. Here are two questions.
First – how does the foreign spectator perceive us?
The indirect attributes allow answering it positively. Thus: let’s
remind that it is impossible to get on the international art event now
by the order. Invited one and only that author or collective, whose creative
ideas and form of submission answer the high requirements of the organizers
of event. Their experience and knowledge, undoubtedly, allow quickly to
distinguish out-of-date receptions, stamps, compilation, and pursuit of
a style and – mercilessly to ignore the founders of the creations.
Besides almost each departure of our artists abroad has continuation
as the new invitations, reminding chain reaction. Even more often and
more benevolent responds about us all the most experienced foreign press
– magazine “Bildende Kunst” in Germany, magazine “Kuojturos
baraj” in Lithuania, newspaper “Art and fact” and “Khudozhestvennyi
Zhurnal” in Russia, etc.
The conclusion – in creativity of our artists is a certain self-value
attracting as well international curators, as mass-mediators.
Now we come to the second important question –what we present ourselves?
What we try to tell to the world?
Disorder of USSR has warded the Kazakhstan art off its habitual movement
in a brotherly Russian way. Together with a finding of the state sovereignty,
there was a necessity of self-identification for art. On an internal stage
this problem was felt, but not too is sharp. In export variant, the Kazakhstan
artist, without dependence from a national belonging, acted not only on
its own behalf, but also on behalf of the state. If there were not the
inflation of this word, – such position is possible to call “patriotic”.
The belonging to Kazakhstan is read at several levels:
Direct inclusion in an art
image of subjects of a national life, shaman ritual gestures, samples
of applied art, musical tools and others relics from a heritage of the
Kazakhs and Turks. Most openly and in kind of ethnography, this method
is used by “Kyzyl Traktor”, charmingly civilized Europe with
exotic performances, where the spirits of ancestors and spell of natural
forces are caused; here beat tambourines, strew the spectators by grains
of wheat, smoke a steppe grass, expel of malicious spirits. In the project
“Music for goats” by Z. and G. Madanov animals walked about
among photos of original shamans. V. Demidov in the action “Tree
of life” has visualized mission of the Creator, imperious above
Time – has torn off a little autumn tree its leaves, and has imposed
on a branch multicoloured, silver, gold ribbons-appeals.
The gallery "Kokserek", whose
aesthetics is formulated by K. Ibragimov, in the products materialized
"western" sight on us. Namely - made up to rigid grotesque, an image of
unrestrained, unpredictable east barbarian. So, at Art Forum in Berlin
he drove in wooden yoke E. Meldibekov, having brightly expressed picturesque
"steppe" appearance. The bloody actions of "Kokserek" in the Moscow House
of the artist - with three-multiple killing of the cock, sacrifice of
the ram, drinking of freshen blood - all this there were attempts to prove
to the West illegitimacy of the arrogant attitude to the East.
E. Meldibekov in the multiserial
photo and video project "Pol Pot" by means of especially eastern images
(head of the people alive dug in sand, head of the people included in
pyramids of stones) sends us to all-human tragedy, to a problem of the
violence which has overflow XX century. The same author offers also output
from impasse of a history. He sees rescue in a human brotherhood. In performance
"Kiss" the Kazakh, shining with gold teeth, with brightly expressed eastern
appearance, kisses blond and toothless German girl. Then her smile becomes
dazzling "gold".
New sight on the Kazakh history,
the using of ancient myths and legends, alerting of them, quite often
conscious falsification in style of Fomenko and Agja attract the most
intelligently liberated Kazakhstan authors. R. Khalfin makes erotic-sensual,
stylish videofilms of a cycle "Steppe barbarians" (so Chinese named nomads).
"Groom and bride" - pre-conjugal game of the young man with the girl,
loss of virginity through kerege of yurt, because, as in a legend, without
this "barrier" it was forbidden for them to see each other by rules of
the kin. "Lover Races" - plot peeped on ancient Chinese engravings and
"materialized" for video shootings about the sexual act between the man
and the woman on a back of the skipping horse. In installation "Art and
communications", carried out in Stuttgart by S. Maslov on the smooth party
of the mutton skins there were written in old-German language as though
ancient Kazakh pseudo-treatises, which roughly and sensually should remind
to Germans those far times when their ancestors - Goths and Vandals destroyed
the Roman empire. Here it is possible to attach an installation by S.
Maslov "Baikonur-2", where Kazakh yurt turned to Aliens' memoirs on the
space ships, once landed there in our steppes.
One more level which is not
including in art product a visible realities of Kazakhstan, but is truly
easterly combining in itself naivety - innocence with irony, simplicity
with complexity, inner sense with external clearness. Such approach is
possible to be seen in the photoproject of E. and V. Vorobiev "Provincial
hole", where has reasoned the similarity black cavern entrances in catacombs
nearby Samara and holes in rural street loos. Externally innocent, like
with a roll in social problems, really this project hides a sneer above
trying of Samara to be the second Capital of Russia, where to all visitors
by all means are shown the bunker of Stalin, places of stay of Repin,
etc. In their project "Dolce Vita", the vast letters of the text on a
wall of a collective farm (Kolkhoz) restaurant were executed from sticky
tapes - flies-catchers. The flies in such institutions probably - invisible
and buzzing creatures have not slowed down to stick round offered them
"sweet life". The workers of a restaurant have estimated the project not
so much with art, but to the practically - useful side, and promised after
the expiration of the validity of the "Dolce Vita" to lay out the text
"Bon appetite". The interactive thing, by one word.
So, all this proves that the West and Russia begin to see in our artists
the desired interlocutors talently telling about the country, history,
modernity, present. This dialogue – learning – is interesting
to them. We are attractive and, first of all, by that, apparently, our
navel-string is not cut and connects the man with a history, earth and
natural life.
By convincing confirmation to that may serve the exhibition of Central-Asian
contemporary art, past in March 2002 in the Berlin House of world cultures
- "No mad's land". In translation of the name is conducted the pun by
meanings "Nomad land" or "no mad land" and "no man's land". This is large
curators' project of Sabina Fogel (Germany) and Valeria Ibraeva (Kazakhstan),
under which the German side has allocated very serious money. Idea of
an exhibition was to show life of Central-Asian young, but also ancient
states, by means of contemporary art. In an exposition were submitted
the works of three Uzbek, five Kyrgyz and seventeen (!) Kazakhstan authors.
The given figures, as it is written in the newspapers, speak for themselves.
The individual and group sorties of the Kazakhstan artists "in rear of
an enemy" were worthy summarized in the largest city of Europe and world.
Under the certificate of the eyewitnesses, on this exhibition have reacted
14 German newspapers, there were made two teleplots and one broadcast.
In all Berlin were stuck the posters of the Central-Asian festival including
besides an exhibition music, cinema, literature and folklore. For the
festival was issued the photoillustrated book of articles by German and
Central-Asian culturologists. Kazakhstan represented by articles of Karin,
V. Ibraeva, D. Safarova, S. Maslov and L. Pletnikova. At the opening of
exhibition were present more than five hundred spectators. During exhibiting
were carried out the exercises of master-class acquainting German children
with far Kazakhstan. The greatest success at the visitors had the projects
of G. Kiekbaeva's "Shymyldyk", S. Atabekov's "Supersoldier", E. Meldibekov's
"Pol Pot", V. Tulkin's and T. Popov's " Experience of Cross ". They involved
not only with unusual art decision or talented execution, but, first of
all, by that in materials investigating life of the Kazakhstan society,
"were transparent" common human problems. Tenacity of inert, enslaving
the man rules in "Shymyldyk", threat of constant wars and violence which
has hung above mankind in "Supersoldier" and "Pol Pot", youth criminality
in "Experience of Cross".
The exhibition brightly has proved that West concerns with sincere respect
to small, but talented group of the Kazakhstan artists.
All is very good and even perfectly. Except for Olympic indifference
to these processes on the part of native state structures. The ministry
of culture of Kazakhstan, I assume, does not guess at all about the above-stated.
As it does not guess that it is possible, on an example of many countries
rather caring about the image, to buy a place, i.e. pavilion in superleague
of contemporary art. For example, at the Venetian Biennial- most prestigious
forum demonstrating alternate years advanced boundaries of actual creativity.
Due to the same total indifference is destroyed, the "Clay hero" of R.
Khalfin is erased of the face of earth, and about that well-known American
art-expert C. Akinsha has responded as about best in the post-Soviet space.
Respected Museum named after A. Kasteev reluctantly takes the product
of modern art even in a gift. Even it's impossible to dream about supplement
in funds. About a museum of modern art at all corners talks owner of gallery
V. Filatov, though he himself understands very much approximately about
what is the speech. The special edition on art analyzing and provoking
creativity is not present and also hundred years will not be - it's expensive.
The Centre of Contemporary Art of Soros Fund, as it seems, soon will be
closed. The galleries, with moving of capital into Astana, have lost last
buyers. They did not buy the actual art, of course. But with money from
the goods sold by gallery (not so modern, and even antiquarian) was though
possible to carry out something interesting and new.
In the end I shall repeat – world is globalizing itself, the globe
lives in one rhythm. At the best, fate of outsiders waits for those who
don’t notice it. It’ll be sad, if really creative and the
multidifficult efforts of our artists spending gift of God on de-provincialization
of Kazakhstan, will not be appreciated in their home. We shall flog ourselves.
Irina Yuferova
©SCCA 2001-2002
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