Portraiture and Proximity: ‘Official’ Artists and the State-ization of the Market in Post-Soviet Kazakhstan

Nauruzbayeva, Zhanara

doi:10.1080/00141844.2011.580355

Cited by 9 publications

(6 citation statements)

References 25 publications

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“…The same accounts for the repression of religion (see Dragadze 1993). Some artists continued the pattern of portraying powerholders as in the days of art clientelism (Nauruzbayeva 2011), but as mentioned, the Kazakhstani post-Soviet avant-garde artists did and had to do without state support. Whereas the new political authorities focused on economic development and modernisation and strengthening the regime, cultural and spiritual issues initially received less attention.…”

Section: The Post-soviet Art Collective Kyzyl Tractor: Modern Nomads ...mentioning

confidence: 88%

Shamanism, Globalisation and Religion in the Contemporary Art of Said Atabekov and the Kazakh Art Collective Kyzyl Tractor

Yessekeyeva

Venbrux

2021

Religions

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Central Asia’s most famous artist Said Atabekov both interrogates and imagines religiosity in post-Soviet Kazakhstan in his art. He has been doing so as a member of the Kyzyl Tractor (Red Tractor) art collective and in his own art practice. They perform as shamans and explore the nomadic steppe culture of the days of yore. Offering a nuanced and often ironic critique of present-day developments in his art, Atabekov seeks to make his audience think about meaning making or the lack thereof. He highlights the inclusiveness of vernacular religion while simultaneously drawing attention to the vacuousness of the hegemonic ideologies of the day, ranging from communism to capitalism to dogmatic religion. From his oeuvre, we discuss works that concern a dervish shaman, the nomadic game of kokpar and the advent of rigid religion, respectively.

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Section: The Post-soviet Art Collective Kyzyl Tractor: Modern Nomads ...mentioning

confidence: 88%

Shamanism, Globalisation and Religion in the Contemporary Art of Said Atabekov and the Kazakh Art Collective Kyzyl Tractor

Yessekeyeva

Venbrux

2021

Religions

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“…(Bourdieu 1996,219) This may not be the case for all Central Asian countries and, particularly, may differ in more closed regimes. However, the Bourdieuian distinction of "authentic" and "commercial" intellectuals still exists (Nauryzbayeva 2011). Drawn from my initial fieldwork and numerous interviews with the "authentic" cultural elites, I argue that the distinction describes a considerable mass of independent elites, many of whom form a field of female art that is of a special focus for the present work.…”

Section: Political Art and Gendered Artistic Representationsmentioning

confidence: 93%

Between the state and the artist: Representations of femininity and masculinity in the formation of ideas of the nation in Central Asia

Kudaibergenova

2016

Natl. pap.

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After the Soviet collapse, the newly independent states of Central Asia found themselves in the process of forming their own national “imagined communities.” This was done to legitimize their existing territorial integrity, their rights to their titular ethnicities, and the position of political elites. This process expressed itself through the creation of particular symbols, myths, and rituals which distinguished the nation but were also used to legitimize the nation's right to exist. The symbolic and ideological construction was influenced by the former Soviet era. For example, symbolically the country was still called Rodina (motherland), but most of the symbols of power were represented by male images, for example, Amir Timur in Uzbekistan or Ablay Khan in Kazakhstan. The tradition of representing power through a male connotation had a long history in Soviet Central Asia. Interestingly, however, some contemporary artists took an alternative view and used feminine images as strong, central symbols of their interpretation of national identity, contesting the official view of nation-building. This paper seeks to trace the development of the feminine and masculine dichotomy of representation by comparing official iconography with works of famous female artists such as Umida Akhmedova from Uzbekistan and Saule Suleimenova and Almagul Menlibayeva from Kazakhstan.

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“…Post-Soviet art worlds have been instructively theorized in a variety of ways: as a domain in which new understandings of-and borders between-religious and secular are hashed out (Bernstein, 2014); as vehicles for the legitimation of new kinds of power or authority (Bazylevych, 2010); and as sites of specifically postsocialist combinations of state power and commercial value (Nauruzbayeva, 2011). PERMM and its broader cultural revolution point us in still another direction: to contemporary art as a technique of transformation, an arena where it com-ingled with other domains of culture-from theater to festivals to film-and with the transformative agendas of state agencies, corporations, and others.…”

Section: The Perm Project: Creative Life In a Cultural Capitalmentioning

confidence: 99%

‘Bilbao on the Kama’? The Perm Cultural Project and Its Critics (Part 1)

Роджерс¹

2019

Вест. ПГУ. Полит.

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The following text is the first part of the Chapter 8 of Douglas Rogers's book The Depths of Russia: Oil, Power, and Culture after Socialism (Cornell University Press, 2015). The second part will be published in the next issue of the journal. The review of the book was published in the journal in 2017, No. 2. It is a prominent study of the 'Perm cultural project', one of the most important events in regional politics over the 2000s. That is why we publish this text with the kind permission of the author and the publisher. Earlier chapters of the book are dedicated to the Soviet-era history of oil in the Perm region, the privatization of the 1990s, and Lukoil's social and cultural projects.

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Portraiture and Proximity: ‘Official’ Artists and the State-ization of the Market in Post-Soviet Kazakhstan

Cited by 9 publications

References 25 publications

Shamanism, Globalisation and Religion in the Contemporary Art of Said Atabekov and the Kazakh Art Collective Kyzyl Tractor

Shamanism, Globalisation and Religion in the Contemporary Art of Said Atabekov and the Kazakh Art Collective Kyzyl Tractor

Between the state and the artist: Representations of femininity and masculinity in the formation of ideas of the nation in Central Asia

‘Bilbao on the Kama’? The Perm Cultural Project and Its Critics (Part 1)

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