Nurakhmet, Цензура
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The School of Artistic Gesture

Location: Tram Depot

Exhibition dates: 02–19.09.2016 

Curator: Yuliya Sorokina

Olga Veselova, ARTBAT FEST director:

For three years already a project aimed at supporting young artists is activated under the ARTBAT FEST initiative. After carrying out the project of 2014 in an exhibition format at first, it became clear to us that its purpose is to educate, rather than just to demonstrate. Therefore, in 2015 one of the curator's tasks was to work individually with artists on their projects.


This year the idea of ​​a special educational program was pursued to the fullest. Undoubtedly, the educative component was present in previous years of the festival, but they were short event: short workshops, lectures, meetings with artists. However, it requires time for someone to be able to fully assimilate new ideas. In addition, in Almaty there’re no educational programs specializing in contemporary art. Having worked with Kazakhstani artists the lack of communication between generations became evident as well. Continuity, student internships and apprentices practically ceased to exist. That was the reason why it was decided to create a special educational course prior to the festival, as theory goes before practice. We are infinitely grateful that Yulia Sorokina supported this idea. This is how the School of Artistic Gesture (SAG) was born.


The final product of three-month sessions is going to be an exhibition of Young Artists, which will be held at the Tram depot in Almaty. The place was chosen for a reason. One could trace the peculiar connection between Railway Station, where the last year’s opening of the Festival was held, and Tram Depot. The metaphor of movement /relocation perfectly suits artistic practices. In addition, it is no secret that Almaty is in desperate need for exhibition spaces; therefore we constantly search for unconventional ways and places. Finally, we feel nostalgic about trams being part of street life, as are many Almaty residents, and this is kind of a tribute to the history of Almaty. Artists are always at the forefront of social change; we hope that Depot will become a social and cultural space that will diversify lives of Almaty citizens.


Lenya Brick


Arman Sein

DOXA (Kyrgyzstan)

Aida Adilbekova

Liana Akopyan and Alexander Rayevsky (Moldova-Germany)

Alexandra Ali

Dalida Aliyeva

Evgenia Babich

Victoria Baeleva

Syrlybek Bekbotaev

Bakhyt Bubikanova

Art-group "DANAMY"

Mira Evgenievna

Roman Zakharov

Dana Iskakova

Alexandra Kalacheva

Dalila Kanagat

Alina Kim feat. Lilia Kim

Zarine Kirakosyan

Yana Malinovskaya (Russia)

Dana Molzhigit

Anvar Musrepov

Kuban Myrzabekov (Kyrgyzstan)

Aigerim Ospanova

Sonata Raiymkulova (Kyrgyzstan)

Leyla Turlybekova

Zoya Falkova

Ykylas Shaikhiev

Tahir Yahyarov



Alexandra Kalacheva



installation: tram, packing tape, 1900 x 15080 x 2890 cm

Over the past decade, my beloved city has changed a lot – new high-rise buildings, shopping centers, new shops, cinemas. But while running after new things we are losing many other things as well, important things, objects that are almost inherent to the city, that are components of our city’s brand.

 Almaty trams were one of such symbols of the time. Just recently they were cruising the city, playing along to the rhythms of city life. A year ago, the trams were canceled, and now the territory of the tram depot looks more like alienation zone. The fate of the Almaty depot is undetermined. In my installation I wanted to demonstrate this feeling of stagnation, inaction, uncertainty.

Installation "Cocoon" is a tram wrapped in a wrapping tape, as in a cocoon. Like a giant insect hiding, waiting for the best moment to be reborn. Time will reveal what comes out of this cocoon.

Dana Molzhigit

Kazakh dream


installation, 400 x 200 cm

It is a “sacred duty” for an average person in our country to pursue certain goods in life that are as follows: get comfortable in the office chair, because being a boss is a noble affair; get married on time; have connections at the top to resolve problems; have an expensive imported car; throw several big celebrations a year and have at least one loan.

Hence the question is why in Kazakhstan showing off worth more than money?

Physiologist Ivan Pavlov, the Nobel laureate, has dedicated a decent amount of time thinking about it. He believed that the need to show off is associated with "weak conditioned reflex activity". That is, a person associates the presence of certain prestigious things with respect from other people. Things, not intellect, talent or hard work.

Why make stuff yourself when everything is readily sold? Why try hard when money can cover you up? "Let guest have the best piece, we’ll get leftovers" - this is our mentality.

This work is about pompous Kazakh dream to please everyone, and it doesn’t matter what is truly happening.

Bakhyt Bubikanova

Exhibition of carpets


4 carpets – approx.200 x 300 cm each, black acrylic paint, brushes, roller

Fine art is not something society has high demand for. To this day culture is pretty much defined in the carpet equivalent. The painting will never take the best spot in the house. Questions of identity are unsolvable. Carpets were and remain an element of culture - you could see them in every house. Carpets, not paintings. Identity issues became boring. Carpets are no longer portals.

Liana Akopyan and Alexander Rayevsky

Shackled hands

2015 - 2016, video, 9 ': 20''

Freedom is the human essence. You have to be free even to obey. In order to sacrifice yourself, you must belong to yourself. "Shackled hands" declares that only by freeing our thoughts, we begin to feel the weight of our own shackles, which in this context helps us find our limitations.

In order to have freedom, you must limit it.

Zoya Falkova



textile sculptures, 4 x 2 x 5 m

The form of peoples’ coexistence like state presupposes the existence of borders, while international interaction always seems to question their existence in one form or another. The grounds for redistribution can be found at all times and there are always those for whom this redistribution results in economic or personal tragedy. Atelier of historical borders doesn’t consider fate of whole nations, let alone feelings of families and friends who find themselves on different sides of the border.

Textile sculptures of the “Cut” project are created from scraps of clothing sold in hardware stores as rags. These clothing items can’t be restored - pieces are mixed and reshaped by an unknown hand, then piled in different batches. Impassible anonymous scissors divided once complete item to give it a new reality, a new purpose and a new form of existence. These items, connecting along already existing lines, in fact are creating themselves. This is where material dictates the rules, not a sculptor. The artist's work resembles sergeant applying stitches. The artistic medium chosen for reflection emphasizes the individualistic feminine view of global historical processes. It is more about the destinies of separate individuals. At the same time, in the global sense these abstract sculptures act as a metaphor for multinational states. 

Syrlybek Bekbotaev



10 Rubic’s cubes, 5.5 x 5.5 x 5.5 cm

The project consists of ten Rubik's cube toys, each side of which has portraits of different professional groupings and communities.

In this piece I wanted to show the relationships of people, friends or relatives. How do relationships develop, what could be done to have healthy developing relationships? How to maintain good connections and make them long-lasting? These are issues that often bother me. Yes, we are growing, changing; everyone is looking for their own ways. In the process we lose the ones we love, consciously or unconsciously. I wanted to depict it all in the form of toys. Try and solve them. If you can solve the cube and have all portraits done at the same time, then you are a brilliant person.




mural, acrylic paint, 500 x 500 cm

A portrait of a man who wishes to express his ideas, but at the same time wants to stay incognito since there is no freedom of speech. The work demonstrated the fear of being punished for expressing one's opinion, a preference to remain unnoticed.

Alexandra Ali

Web of Time


installation: textile, cord, metal fasteners, size - Variable

Thin ties of traditions that tightly hold us together, and restrain us at the same time, preventing us from flying up to new heights.

Arman Sein



animation, 10"

More postmodernism! Not only names of the great Paul Gauguin and Bogenbai Batyr are consonant, they also share similarities in their appearance, firm character and severe temper. Gauguin's desire to live in the wild, as well as South American roots with little Native American mix (we know that their origins are in Asia) is what gives additional charm to this work. Gauguin has always been a wonderful and strong symbol of the new art. Combining him with historical Kazakh character will be a brilliant symbiotic synthesis.

What would have happened if Gauguin, instead of visiting Tahiti for the second time, decided to travel to Central Asia? Perhaps his fate wouldn’t be as tragic, and his paintings would be filled with greater satisfaction from life? After all, it was Tahiti where he came across a small crooked copy of bourgeois France. Later on he fled to the Marxian Islands, where his life came to an end. Perhaps the colonial power of imperial Russia along with nomadic lifestyle would have suited him better?

The main inspiration for the animation is Paul Gaugin’s “Self-portrait dedicated to Vincent Van Gogh. (Les miserables)” (1988). In the background instead of the portrait of Emile Bernard (a young friend of Gauguin) there is an image of Bogenbai batyr’s protege - Kabanbai-batyr.

Arman Sein



animation and sound track, 39''

On July 18, there was a shooting next to the police station of Almalinsky district, Almaty. Official version sounds as follows: after murdering a prostitute couple of days prior to the incident, Ruslan Kulikbayev realized that he’ll definitely be convicted once again, and decided to take revenge on law enforcement representatives – judges and prosecutors. Impatient, he began shooting at the nearest police station. This work concentrates on powerful effect of new media, namely, popular WhatsApp application, through which people spread all kinds of rumors. "A man is shooting from the car, hundred soldiers heading to the center, numerous bombs, hostages" and so on. There was a feeling that people were so bored with life in our quiet city that they were enjoying the bloating of all kinds of unconfirmed information. All of this happened because of some worm with a classic storyline and a hooker under the mattress...

The soundtrack is composed of anxious audio messages from Whatsapp that were sent on July 18.

Arman Sein

Red slap


animation, 10''

The concept of the project brings us back to one of the reasons for closing the Almaty tram depot, namely the road accident of October 13, 2015. Then, 14 cars and 2 women fell victims of tramcar’s brake failure. This project concentrates on these women slapping this "big yellow guy with defective brakes". The project ridicules the newfangled trend of feminist art in Kazakhstan. The topic of trams suits perfectly as a mediator between the exhibition space (tram depot) and the message to the viewer. It demonstrates the perspectives of feminist art, which uses any allegory of patriarchal suppression to prove its point. In this case, this is a large tram with failed brakes sliding off the rails (from the initially expected model of behavior), and poor women giving bloody slaps to the masculine tram.

Arman Sein

Cognitive ornament


animation, 33''

Our consciousness, our whole worldview, is built around certain base point. Starting from this base point, ideological orientation (be it tradition, religion or scientific method), a person constructs explanations for phenomena he finds around him. The artistic allegory of this is represented by Kazakh single-patterned ornament growing into contours of human brain, forming convolutions. Since our consciousness is limited by our ability to communicate with the outside world, there are certain imperfections in the way the ornament lays out. Just as in real life, cognitive dissonances are inevitable when one searches for a universal explanation (even if it’s scientific theory). This means that in order to get proper and neat pattern person will have to somehow adjust his beliefs to reality, distorting or even completely reversing his pattern. Simply put, universals are not viable.

Arman Sein

Requiem for a tram depot


free verse on the depot wall, written in machine oil

Another mediator between the space of the exposition (tram depot) and the viewer. The message is an allegory of feminism and how women see themselves in a modern society, all in context of the relationship with the tram.

Aida Adilbekova

Destructive Children


photo series

Children are not only flowers of life, but also a relentless, immense force of time. The dangerous force of the forthcoming, the one that’s capable of destroying not only the inner silence and peace of the house, but also the country's regime, the norms of society, a force that can reverse presented realities. Children are destroyers of "our" order; they will rebuild their own "world" on the ashes of ours. The only choice that we can make at this point is either resist and fall under the onslaught or step aside and help them do it.

Aida Adilbekova



video, 1 ': 36''

The contrast of the human essence, society and modern Kazakhstan lives and coexists in Almaty, at the intersection of Zhandosov and Rozybakiev streets. In this intersection new mosque and bookmaker center peacefully coexist with each other. The location of objects and their distant kinship (there used to be a casino on the site where mosque was built), demonstrates the demand for opposites. Just like all of us, these two buildings exist next to completely different and unfamiliar neighbors. Same principle applies to geography, society, economics, life, and to human nature. In every good-natured person there is an anarchist, just like every villain has a romantic side.

Art group "Danami" (Shurova Anastasia, Iskakova Dana)

“Ya prishla syuda iz-za Vlada”/ “YAPRISH ...” (“I came here because of Vlad”)


Installation (LED tape), 17 x 130 cm

Who is Vlad and what is this "here" place? These are two abstract concepts and everyone will interpret them in their own way. Is “syuda”/”here” an exhibition, a tram depot, modern art or life in general?

The aim of the project is to come here “because of Vlad”. Under the rays of soft green light, viewers start thinking, and they think until they realize – they’ve also came here because of Vlad. We all came here because of Vlad….

Zarine Kirakosyan



performance, podium 120 × 120 cm, cloth 30 m

In my performance I would like to draw attention to the issue that is either ignored or misunderstood. The problem that occurs in many young girls and women – it’s the inflammation of reproductive organs. Talking about it is considered shameful and "indecent". But is it really so? Can these prejudices result it the loss of things much more important than tact? Does it worth losing the chance to experience the joy of motherhood?

Naked, stooped girl symbolizes shyness. The color of her body, white, represents her purity, her innocence. The red cloth spiraling down from her thighs symbolizes damages of the "life cycle" - she is disabled and tied with multiple knots.

Anvar Musrepov



video performance, HD

Cameraman - Aidos Nurbulatov

“Haram” is a video about Radical Islam threat looming over Kazakhstan. Islamist sects advocate rejection of traditions, referring to local culture as pagan. Voluntary Arabization of the Kazakhs means self-colonization and loss of national identity, the one we always strived for. A man with a thick beard wearing a white cap slowly and methodically smashes shanyrak. Midway through the video the viewer starts feeling uncomfortable, the lights deem slowly and spectators feel as if they’re being locked in a tight coffin.

Alina Kim in collaboration with Lilia Kim

the Path


installation of different people's shoes, variable size

It’s simple, the project is about the fact that a person's life can be viewed as a path, a path is a road, and as we go along this road we trample tons of different shoes, gaining experience, good or bad... This symbolizes the meaning of life. This road. Through this road we are trying to understand that every single person is going along their own way.

Alina Kim in collaboration with Lilia Kim



Assemblage, Painting, canvas, oil paints

In the past traditions, customs and culture were strong.

What has become of the values today? Things like respect for elderly, caring for those around you, hospitality, woman being a keeper of the hearth?

These are great accomplishments of Kazakh people. Today it seems that we are losing these values. As if the outer form remains, while the substance is no longer there…

Question is: how do you live with this? What will we pass on to the future generation?

Delilah Kanagat, I am the soul, 2016, poster: gouache, kraft, 84 x 200 cm.

If only I could turn into wateR instead of being an eternal souL just become “aitch two O” and fall as million small salty dropS from one meter seventy centimeters high above the grounD and dissolve without a trace in the surrounding environmenT so as not to feel any more of this paiN this terrible paiN that tears youR sOul apArt

PS: The poster should be unfolded completely.

Sonata Raiymkulova, Dream series, 2016, a series of mural interventions, acrylic paint, variable size

Sonata Raiymkulova, Change of reference points, 2016, object, mixed technique, 100x100 cm.

There is a constant need in fulcrum, a starting point, from which you make your decisions.

The world, as well as people inhabiting it, is extremely unstable, people are constantly searching, wandering from one side to another. During our journey, we unwittingly look at certain reference points, which are meant to shape our path. Like guiding stars.

This work is telling about changes of reference points.

Mira Evgenievna, Listen Closely, 2016, installation: inscription on the wall, loudspeakers, sound, variable size

After some reflection, I realized that biggest issue rising in front of me is the issue of the people of Kazakhstan. “Wrong” people, as far as I’m concerned. “Un-educated” people, both intellectually and aesthetically. We refer to these people using derogatory words, bad words - "mambet" and "bydlo" (equivalent to “red-neck” and “human debris”). Why did this happen? Why can’t we, citizens of the country that brags about its achievements during the years of independence, teach each other elementary things? Maybe the reason of general degradation of the modern Kazakh is that the elite of Kazakh intelligentsia were destroyed during the Red Terror? Or maybe things are as they are now because at the important point of our country’s formation we were forced to keep quiet?

Today we live, read, visit exhibitions, listen to politicians – we simply got used to, grew into the norms that others or we ourselves have imposed on us. In order to hear the sounds of reality that surround us, not miss echoes reaching us from the past, we need to stop, look around and "Listen Closely".

Victoria Baeleva, Archaic Exhibitionism, 2016, Triptych 60 x 90 cm, additional photos 60 x 90 cm.

From psychological point of view, the phenomenon of tattoo art has long been studied, mainly in Western countries. It is connected with individual’s desire to change his/her appearance, which in turn is provoked not by problems with appearance itself but born through conflicts with surrounding world.

When someone feels like their contacts with the world are not the ones they desire, one of the quasi-solutions that society tells them to do is to change their own appearance. Placing various images on oneself, leads to transformation of this person, becoming someone else. "It's not me anymore, it's another person, and that person can’t have my problems."

This phenomenon can be observed in the way Kazakhstan’s mass art is presented; prevailing of archaic symbols and crafts. This need for external transformation came to the fore, obscuring the reflection of real problems and true reactions to the events taking place on the outside.


DOXA, Portrait, Corrugated cardboard, collage, 200 x 120 cm.

Portrait of Suimenkul Chokmorov - Soviet Kirghiz actor, artist, Distinguished Artist of the USSR


DOXA, "- eee, kandai?", 2016, corrugated cardboard, acrylic paint, 200 x 120 cm.

The painting of a Kyrgyz child looking out the car window with the question: "- eee, kandai?". In Kyrgyz it means "- hey, what’s up?". The image on the boy's T-shirt shows two balbals (ancient stone sculptures). This is a reference to another product of our group, a street art project in the Boomsky Gorge for the street art festival "basicolors" in 2014. This project brought great resonance in society, resulting in national activists partially covering our work. The question of a child is addressing them.


DOXA, Enjoy Maksim, 2016, corrugated cardboard, acrylic paint, spray paint, 200 x 120 cm.

The painting depicts a graffiti artist spray-painting "Maksim" - the name of a national Kyrgyz drink, on a billboard with Coca-Cole advertisement. The aim of the work is to convey the idea of ​​promoting national products to the viewer and replacing products of globalization with locally produced goods.


DOXA, Selfie, 2016, corrugated cardboard, acrylic paint, spray paint, 160 x 100 cm.

Remake of the well-known picture of S. A. Chuikov "Morning" (1947). S. A. Chuikov (1902 -1980) - Soviet painter, Distinguished Artist of the USSR. In fact, this is an exact copy of the original picture, with only one change - the woman on the painting is holding a cell phone.

Dalida Aliyeva, Dis-veloping game, 2016, two part installation, jigsaws, PVC, photo print, 200x300 cm.

There are developing games, as well as dis-veloping, dispersing games. While the former are meant to create, the latter are destructive and letting things down the wind. This work is about what happened to our tram depot. At first, against the will of citizens this beloved transport had disappeared from our city streets. It wasn’t even its fault. Our unhasty friend will not return. Who cares, that we loved it? Who cares, that it was a part of this city and a symbol, a connection to the past? It’s over! Stop waiting, forget it, it’s hopeless. No tram means no depot. There will be something new, something beautiful, and most importantly, something useful. They even announced a competition. Why can’t we just leave alone this little something, which has been working well and proper for such a long time, why do we need to destroy everything, and humiliate it while doing so? The future of a former depot is unknown and the whole story is just very sad. Like the gaping holes of a crumbling jigsaw. Like missing elements that vanish and eventually the picture disappears.

Evgenia Babich, Masks, 2016, mixed technique, variable size

Every person is the creator of his own spiritual world. Everything – their mental processes, life experiences, appearances as they are, are unique and valuable and can be regarded as a work of art.

Personality is multifaceted and single person can live through many characters, while remaining his/her true self. Each role creates an image and translates specific status. A person seems to be putting on and taking off masks. Few people around us might have the opportunity to look closely at these masks, they are constantly escaping and changing, some of them are very interesting. I would love to witness their materialization.

Yakhyarov Tahir, Inflamed emotional center (organ), 2016, object: molding, clay, HMA, digital multi-purpose disc, acrylic paint, lacquer, 14x14 cm.

An inflamed emotional center is an organ in the body of a modern person. It is inflamed and infected. These days people are born into the world filled with unnecessary objects and information. Every single object aims to be added to the long list of person’s possessions, it tricks and manipulates that person’s behavior through their emotional center (organ).

Yakhyarov Tahir, Inflamed intellectual center (organ), 2016, object: modem, router, HMA, digital multipurpose disk, USB, glazed peanut, headphones, acrylic paint, lacquer, 18x18 cm.

An inflamed intellectual center is an organ in the body of a modern person. It is inflamed and infected. These days people are born into the world filled with unnecessary objects and information. Every single object aims to be added to the long list of person’s possessions; it tricks and manipulates that person’s behavior through their intellectual center (organ).


Yakhyarov Tahir, Inflamed instinctive center (organ), 2016, expressive gluing: modeling, clay, HMA, digital multipurpose disc, cooling tubes, sharpener’s shaving collector, masking tape, plastic bottle, acrylic paint, lacquer, 14x14 cm.

An inflamed instinctive center is an organ in the body of a modern person. It is inflamed and infected. These days people are born into the world filled with unnecessary objects and information. Every single object aims to be added to the long list of person’s possessions; it tricks and manipulates that person’s behavior through their instinctive center (organ).

Yakhyarov Tahir, Inflamed motor center (organ, 2016, expressive gluing: plastic «Квас» bottle, HMA, digital multipurpose disc, cooling tubes, masking tape, bubble wrap, plastic food wrap, acrylic paint, lacquer, 14x14 cm.

An inflamed motor center is an organ in the body of a modern person. It is inflamed and infected. These days people are born into the world filled with unnecessary objects and information. Every single object aims to be added to the long list of person’s possessions; it tricks and manipulates that person’s behavior through their motor center (organ).

Aigerim Ospanova, Feature Article, 2016, assemblage, 500 x 500 cm.

A virtual diary might disappear forever in a matter of seconds or remain still for an indefinite period of time. Such diary is convenient in a way that it is both real and nonexistent at the same time. Virtual reality contains unspoken words, everything that I wasn’t able to reconcile with and share. If words come from the mind, then paintings come from the heart. We are completely sincere and vulnerable when we create.

Lenya Brick, Passenger’s Diary, 2016, murals, 5 x 20 m.

Passenger’s Diary is a glimpse from the outside at miracles of ordinary life around us. An attempt to get an outside viewer involved in happenings around him, letting him connect to the lively rhythms of our public transport.

It's like having a glimpse of stranger’s eyes, looking through these windows to his soul; like being a temporary resident in someone else’s head.

Yana Malinovskaya, National Fault, 2016, video, installation, variable size

By decree of the Presidium of the Supreme Soviet of the USSR of August 28, 1941, Soviet Germans were declared enemies of the nation. They were suddenly deprived of their property and belongings, entrained and sent off to Siberia and Central Asia.

 More than 400 thousand Germans were deported to Kazakhstan. More than 100 thousand were mobilized in labor units for construction of the NKVD and the People's Commissariats of Industry. Families were separated. Men, women, teenagers were forced to join the labor forces. Tens of thousands of Germans died on the way from overwork, hunger and injuries. Many were shot for attempted escape, for non-compliance with the labor norms. The deported Germans-intellectuals: artists, architects, musicians, writers served the so-called "national fault" through physical work in agriculture, industry, and construction. Only in 1991 the law rehabilitating repressed people was adopted.

This is the story of my family as well. It was scattered by deportation during the war. Today I want to recall the history of my people who survived the genocide in their own country and lived with a sense of imposed guilt for several generations, because the notion "national fault" goes on. It follows the same pattern: "all Russians are descendants of the colonialists, all Arabs are terrorists." Everything works as the "Big Brother" had bequeathed.

Numerous cherry trees grew around my grandparents’ house. When cherries were ripe, Grandma baked traditional German cake - Rivel Kuchen. To prepare the stuffing, she needed to take out cherry pits. It is not an easy job – sometimes pit comes out with the flesh, cherry juice splashes everywhere.

Kuban Myrzabekov, Untitled, 2016, a series of mural interventions, acrylic paint, variable size

Kuban Myrzabekov, ...on Zhibek Zholu, 2016, audio installation, 1h. 7min.

This audio installation was meant to create a dialogue between cities, demonstrating contrasts between "inanimate" and "active" transport. The topic of road traffic, transportation in Bishkek and Almaty is of current interest. These days the pace of change is rapid, one thing is replaced by another; one kind of transport comes in place of the other. The tram lost its popularity and was replaced by a new transport. However in Bishkek, minibuses remain popular and convenient way of transportation, although not always eco-friendly. The idea was to take the most popular transport route in Bishkek - minibus number 113, which has a cyclic, circular route that goes through the central part of the city. Taking this route enables one to get to several major locations of the city: the Osh market – a labor center with a certain population, the Alamedin market, two central mosques (new and old), two bus stations linking regions with the capital of the country, the city center, Moscovskaya and Zhibek-zholu streets. The main idea is to record one life cycle in a minibus, take a few photos and hang them in a tram located in a non-functioning depot in Almaty, so that the audience experiences the boiling life of one transport while standing in another one that is already dead, give them a ride on modern Silk Road.

Ykylas Shaikhiev, Window, 2016, installation, mixed technique, 150x200 cm.

We look through the window that symbolically divides the outer and inner worlds, just as it divides actual and virtual realities, which in turn is not completely true in modern world context. There is a constant interaction between the objects of these two worlds.

Scientific and technological progress, the rapid growth of digital technologies created virtual reality that might pretend to be an alternative environment, sometimes even prevailing over nature itself (in its usual sense). Given that the nature of the new geological epoch of Anthropocene has been conceptually replaced by the problem of ecology, and digital world, although not substantive, but quite real, is already a daily and natural part of our being and is regarded as a new ontology, there is a need for an organic symbiosis of natural and digital.

What we observe in the modern world is that these concepts do not contradict each other and are not separated. On the contrary, they interact; penetrate into each other in the unity of the ideal and material, natural and digital, real and virtual, living and non-living.

"In Plato's multi-level reality, ideas are not abstractions, but miracle-producing entities, “matrices.” Platonic eidos is a virtual object of an invisible being, in the image and likeness of which real things are formed. " (I. Garin). The functions of these "matrices" have an equivalent analogue with the material, substantial world in the evolution of human consciousness, which places them on a level with nature.

Dana Iskakova, Enlightenment, 2016, installation: incandescent lamp 150 W, acrylic paint for glass, 5.9 x 11 cm floor lamp

Light is strongly associated with information (enlightenment, "learning is light"). Nowadays the metaphor is complicated by a new connection: the information on the Internet spreads at a speed of light. A burning light bulb, among other things, symbolizes ideas, new knowledge. When children think of Archimedes exclaiming: "Eureka!" they imagine a light bulb lit over his head. A black burning bulb makes you realize just how oversaturated our life is and that we are bombarded by so much information that it blends into mere noise.


Roman Zakharov, Window, 2016, video, 2 ': 55' '

Roman Zakharov, The Route Supervisor, 2016, mural, acrylic paint, 500x700 cm.

Roman Zakharov, Untitled (Swing set), 2016, installation: tram chair, author's pants and shoes, variable size

Leila Turlybekova, Goodbye, tramway! 2016, installation in a tram (smoke machine, Smart Bulb, mobile application)

It’s such a pity that trams have disappeared from the streets of the city. Before we part, let's enliven the tram with lights, colors and sounds.

© 2018 by International festival of contemporary art ARTBAT FEST