Asia Contemporary Art Week (ACAW)’s third signature program for the season, Thinking Collections: Telling Tales, connects New York and Central Asia’s art scenes through an unprecedented survey exhibition of Kyzyl Tractor, Kazakhstan’s most celebrated art collective. The exhibition, hosted at Mana Contemporary, is part of Focus Kazakhstan—a landmark series of thematic presentations led by the National Museum of the Republic of Kazakhstan across four cities: London, Berlin, Suwon, and Jersey City.
International Archives 2nd half of 2018
Exhibition October 14, November 30, 2018. Mana Contemporary, 888 Newark Ave -
© ArtCatalyse International / Marika Prévosto 2018. All Rights Reserved
The exhibition reunites Kyzyl Tractor Art Collective, noted for their feverish experimentations in the mid-
Constant nomadic movement, a common narrative of the 1990s, is present in most of Kyzyl Tractor’s performances, sacred materials such as wood, wool, felt, and other textiles found in the steppes of Kazakhstan are frequently used, along with instruments like the shan-
The show comprises two monumental sculptural works—one newly conceived and a reproduction of an older destroyed drum as part of a renowned performance Purification that occurred 20 years ago. On October 14, the opening day of the exhibition, the collective will reenact this legendary performance ritual at Mana’s entry steps.
Central to the exhibition is an installation of over 45 paintings by Moldakul Narymbetov—the artist, baksy (shaman), poet, philosopher and former lead member of Kyzyl Tractor—showcasing his work from the 1980s until his passing in 2014. Numerous sculptures, paintings, drawings, found objects and other paraphernalia by current key members Smail Bayaliyev, Said Atabekov, Vitaliy Simakov, and Arystanbek Shalbayev are also included alongside numerous archival photos of the collective’s earlier performances.
Developed around curator Leeza Ahmady’s thesis of “seeing the artist as the first collector and their studios as collections,” the show is staged as a powerful energetic container for the group’s entire artistic oeuvre—an accumulation of the artists’ seeing, feeling, experiencing and questioning the world together. The second portion of the exhibition title, “Telling Tales,” alludes to Kyzyl Tractor’s enduring use of mythology and fiction as a strategy for unearthing profound hidden truths within the labyrinth of modern, living and societal conformities. Thinking Collections: Telling Tales is not only concerned with the stories being chronicled by the collective’s works, but also the story of Kazakhstan itself.
From the Soviet fall through the country’s process of reclamation, Kyzyl Tractor’s earlier works scrutinize structures of national Kazakh identity, memory, and ritual, and, more broadly, humanity's socio-
At the core of Kyzyl Tractor’s practice is a Sufi call to questioning the truth— a multilayered inquiry guided by the spirit of all things connected to nature, the cosmos and living in the present moment. This notion of time and truth is particularly apparent through the collective’s radical, open-
At the crossroads of a historical moment, where there is such a polarity of differences raging across so many countries and regions, it is a befitting challenge to organize an exhibition of such unfamiliar content in New York. Being a relatively isolated art scene, the artists working in Central Asia are distant enough to observe not only their own local historical processes but are engaged in transnational art discourses. Thinking Collections: Telling Tales, in turn, creates a thought-
Focus Kazakhstan is implemented by the National Museum of the Republic of Kazakhstan in association with the Ministry of Culture and Sports of the Republic of Kazakhstan.
Kyzyl Tractor Art Collective, Untitled, 2002. Archival photo print, 27.5 x 47.2 inches. As part of a documentary film shooting by B. Kairbekov. Courtesy of the artists & Asia Contemporary Art Week 2018.