The Foundation sets an ambitious task to put Yakutia on the world map of contemporary art by creating a new creative environment and conditions for the development of specialists in the field of art in the republic. The foundation's mission is to search, develop and present the culture of Yakutia both in the region itself, and throughout Russia and abroad.
It was founded by Arsen Tomsky’s Sinet Spark Foundation. Like other projects and programs, Sinet Spark is aimed at improving the quality of human life in an extremely cold climate, vast and sparsely populated territories, geographical remoteness from world centers and weak development of human capital and infrastructure.
From September 8 to 12, 2021, at the Moscow Museum at the Blazar fair, the AyarKut Foundation for the Support of Contemporary Art of Yakutia presents the works of young artists from their region.

In total, works of 6 artists will be presented at the stand
Dunya Zakharova
Ksenia Kudrina
Anya Enot
Selena Shestakova
Nadezhda Komissarova
Yen Sur

The curator of the stand is the director of HSE ART GALLERY Yulia Yusma.
She shows her "pandemic diary".

The genre of thoughtful observation and rapid artistic fixation of events that have already become traditional, which will only be comprehended later, is embodied in Ksenia's project in a series of circulation graphics made on the basis of geographical maps, morbidity graphs and other forms of visual statistics.

Since Ksenia traditionally turns to cartography and statistical data in her practices, for her the most natural artistic reaction to the global chaos of the pandemic was to observe how news feeds from different countries use news about the virus, focusing on figures and events that are beneficial for their agenda.
She presents her paintings and ceramics at the stand. The artist observes how her memory works, studies how painting can mix the boundaries of the real and the imaginary.

The field of Anna's artistic research is a fine line between the facts of our real biographies and those images that came to us from outside, eventually becoming an integral part of our personal history.

It is a grey zone between the memory of real facts and nostalgic mirages constructed by consciousness under the influence of the moment or desire.
She also works with memory, but more literal, accurate.

The brightness of her works is a hypertrophied image of rare periods of colorful summer Yakutia, such as the artist remembers it from early childhood.

In the colored spots of the Yakut forests and fields, the artist weaves traditional motifs of Yakut graphics, which her ancestors described this nature long before the appearance of realistic painting.
Comes even closer to the folk Yakut motives.

Her textile works, observing the tradition of the Yakut style of drawing and carving, depict exactly the Middle World of people, filled with animals and plants.
Makes paper for his works out of recycled receipts.

The importance of the environmental agenda manifestation, attention to the fact that an artist can and should also be responsible in relation to the materials that they use for work, are combined in her art with images of human emotions as fragile and ephemeral structures that elude a certain interpretation, as if remaining in space until rational consciousness.

The central installation of the stand belongs to her.

This is a reminiscence of the architectural features of Yakutsk, the largest settlement built in the permafrost zone. All the houses of Yakutsk stand on deeply driven piles, so that the heat from the buildings does not melt the permafrost, and thermal and electrical communications are brought to the surface, since they freeze underground. Due to the thawing of the frozen ground, many of the foundations are in a deplorable state, massive tangled pipes and wires that are not designed in any way envelop the public spaces of the city. For the artist, these piles and communications become the trunks of concrete trees supporting the city crown, which at the same time echoes the mythology of the Yakuts (the sacred tree Aal Luuk Mas is a symbol of the triune world, stratified into spaces of people and spirits), and with the spontaneous nature of many urban solutions on the territory of Yakutsk.

The citizens perceive such gradually decrepit parts of the landscape as familiar and natural, since they have been living among them for decades. Dunya Zakharova exaggerates this perception — in her work, concrete becomes alive, has natural forms, and gets overgrown. Like ancient trees, warped by time and climate, old piles continue to be the support of a whole cultural layer and hundreds of thousands of people who preserve it.