According to Zygmunt Bauman, we live in a world of accelerating change, generating instability and uncertainty, in a period of “fluid modernity” that metaphorically characterizes the globalizing world. Looking into the future through the foreseeable past, we stumble upon the ruins of abandoned settlements, ideologies, failed systems and social superstructures. What makes us see the future in the disturbing light of the past? Perhaps this is the impossibility to immerse yourself in and comprehend local and global historical processes - a mass of punctuation marks without a dot sign? Nevertheless, we strive to start life from scratch, just like Astana, but the shadows of the incompleteness of the past are visible in the reflections of the glass facades . Constructive analysis, honesty and knowledge will help us get answers in this limitless dialogue over time .

Astana is a new city that did not choose its own history either during the development of Celina, or in the case of the transfer of the capital. The city, which has grown in the steppe for 20 years in difficult climatic, economic and political conditions, has become a visiting card, center and symbol of Independent Kazakhstan, claiming to be the cultural and economic center of the Central Asian region. An accomplished mega-project, where, due to rapid changes and vertical rhetoric of the future, a man-city gap arises, in which the city dominates.

Astana, like other megacities, is prone to growth problems. Today we see in the city space the coexistence of dimensions of the past - the right bank, the present - the left bank and the future - the EXPO territory. The effect of novelty and temporality is tangible in the air of the young capital. Goro Janes are mostly internal migrants, looking at the city through the prism of consumption in search of new prospects and opportunities. Often arrived for "a month or two"

stay here for years, and continue to think by inertia that there is still “nobody and nothing” in Astana. The philosopher Antonio Gramsci designates such periods with the concept of “interregnum” in the modern interpretation, “that the old no longer works, and the new has not yet been born. Or it was born, but we still do not notice it ... "

The discrepancy between form and content can be found both in people and in the urban environment of a metropolis: the illusion of physical distances between objects, infrastructure and communication, projected onto the collective qualities and society of the city.

In our study, the city, as an object of sociological knowledge, appears as an object of artistic reflection. If we recognize that the city is primarily its inhabitants, who are of true value, then what solutions can artists offer to develop a friendly public space in the city? How to appropriate Astana, make it personal and thereby help a person find his place in space among large-scale buildings and “weathered” distances.

 

Time and Astana: After the future

 

Aigerim Kapar , curator

Browse catalog

View exposition and works

DECEMBER 22, 2017 - JANUARY 22, 2018

 

Participants

Aigerim Ospanova

Aisulu Shaikenova

Almagul Menlibayeva

Aida Adilbekova

Aida Isakhankyzy

Anar Aubakir

Anvar Musrepov

Armine Chilingaryan

Arman Sain

Askhat Akhmedyarov

Balnura Nusipova

Bakhyt Bubikanova

Bekezhan Albosunov

Gulnur Mukazhanova

Gulmaral Tatibaeva

Zhenis Nurtasuly

Kanat Beisekeyev

Kuralay Meirbekova

Kulyash Zhumadilova

Roman Zakharov

Saule Dyusenbina

SUINBIKE

Sabina Kuangalieva

Fatima Omir

Tutors

Almagul Menlibayeva

Askhat Akhmedyarov

Curator

Aigerim Kapar

More information in links and media mentions:

© 2020 ARTCOM PLATFORM

%D0%BC%D0%B5%D0%BD%D1%8E%D1%88%D0%BA%D0%