As part of the ARTBAT Fest 11, the "Public Art - Art in Public Spaces'' project takes center stage, bringing an innovative social dimension to the event. Rooted in the theme of Anthropocene critique, the initiative focuses on the repercussions of human dominion over nature and its contribution to the climate crisis, for this reason, each installation serves as a visual commentary on the intricate relationship between human activity, environmental impact, and social dynamics.
Set from September 14th to November 15th at Baiseitov Street, the project invites locals and tourists to actively engage with art installations strategically placed throughout the urban fabric that transform the familiar cityscapes into artistic enclaves, offering free access and an immersive experience
In addition to this project, Artbat Fest 11 features a diverse range of activities such as:
Open Curatorial Tours
of Public Art Objects
There will be a guided tour starting at 16:00 at Saule Suleimenova's artwork behind the Pushkin Library.
Presentation of the
Library at Egin Art Space
At Egin Art Space, starting at 19:00, this event is open to all.
Opening of Anna
At Egin Art Space, starting at 19:00 and running until October 9, Anna Kin presents her video art project, "ღ," exploring the state of ethno-linguistic groups.
Opening of Aigerim Tumenbay's Project
At Egin Art Space, starting at 19:00 and closing on October 9, Aigerim Tumenbay presents a personal audio-based triptych project.
Public Talk with InDrive about Social Initiatives
At Egin Art Space, starting at 16:00, this event explores business collaboration with the arts, featuring various guests.
First Series of Film Screenings "Jetiqaraqshy"
Beginning at 21:30 at Lumiere Hall, this series of local documentary film screenings focuses on nature and the Anthropocene.
Opening of the Group Exhibition "Paxta"
Starting at 18:00, at Aspan Gallery, this exhibition explores the significance of cotton in Central Asia and runs until January 14, 2024.
by Yemaa Art Space
Running from October 3 to October 20, this group exhibition on ecology takes place at Egin, starting on October 11 at 19:00.
First Reading Seminar at Egin
Starting at 19:30, the first reading seminar takes place at Egin.
Third Screening Series of Jetiqaraqshy
At Lumiere Hall, starting at 21:30, the series of local documentary film screenings continues.
Opening of the Group Exhibition "Paxta"
Starting at 18:00, Oksun Kim's photo exhibition opens at the Kasteyev Museum.
Dive deeper into the festival's themes through our festival publications, crafted by Ayarkut, Cultura KZ, and inDrive
Public art serves as a potent tool for citizen engagement. These installations, supplemented by curatorial context, aspire to inspire, educate, and catalyze social change.
The foundations involved in this edition are:
As an active participant, inDrive aims to empower public art as a tool for citizen engagement, inspiring social change through creativity.
inDrive is a brand about human connections. Unlike other algorithm-based services, every inDrive ride starts with a conversation between 2 people, who directly agree on a fair price. In an age dominated by technology, data, and globalization, the true value lies not in the accumulation of material goods but in the connections between individuals.
So as a brand, we go beyond rides. Our mission is to foster human connections that subsequently lead to positive community outcomes. That’s why we support art. It is something that connects different people, creates conversations, and as a result, it can ignite change. And we findgreat passion in helping more and more artists to express themselves and deliver their vision.
By supporting art we mean support artists as agents of social change, supporting their careers growth and highlighting social and environmental problems by art to create a wider space for discussion.We believe that the new fair world is driven by human connections and interactions. Supporting artists and their projects - it is a great way to scale conversations and potential impact on communities’ wellbeing.
Established in 2011, the Eurasian Cultural Alliance is a non-profit organization dedicated to supporting contemporary art in Kazakhstan and fostering its global integration. We aim to stimulate the creative economy, enhance cultural actors' socio-economic indicators, and nurture Kazakhstan's identity in the global context.
Art and culture serve as tools for societal development, and we work to improve imagination, openness, aesthetic sensitivity, and emotional intelligence. Our mission is to boost the nation's economy and competitiveness by cultivating proactive attitudes, critical thinking, and creative independence among artists and communities.
Over the past decade, we've collaborated with 150+ artists and art specialists, who've significantly contributed to our projects. We believe contemporary art can critically address the challenges posed by recent technological and social changes in Kazakhstan and Central Asia. Our initiatives include exhibitions, festivals, and projects promoting social inclusion and creative cooperation, free from gender bias or political influence.
The Eurasian Cultural Alliance also facilitates cultural exchange between local and international communities, showcasing Kazakh artists worldwide and involving international artists in local cultural events.
Explore the artists behind our Public Art Exhibition
Saule Suleimenova (b. 1970) is a visual artist known for her work across various techniques and media, including painting on photography, wax on paper, and a five-year exploration of plastic bag collage and cellophane painting. With a strong societal influence in Kazakhstan, she actively participates in educational, ecological, and other social initiatives.
Her artwork has been exhibited at prestigious venues, including the 'Self' Festival of the 56th Venice Biennale, Manifesta 11 in Zürich, the Second Moscow Biennale, a Christie's auction in London, U.K., the 'East of Nowhere' exhibition in Turin, Foundation 107, the 'One Belt One Road' exhibition of the Hong Kong Women's Federation, and numerous other local and international projects.
Suleimenova, initially exploring post-colonial identity in her series 'Kazakh Chronicle' and 'I'm Kazakh,' has been vocalizing her ideas through public talks and articles. In her recent artistic endeavor, 'Cellophane Painting,' Suleimenova addresses the issue of plastic pollution on the Kazakh steppe, advocating for the collection and cleanup of used plastics.
In a departure from traditional artistic materials, she extends her 'Kazakh Chronicle' series using colored plastic bag. Hernew monumental artwork, 'Yellow Blue Bus,' is created exclusively using cellophane painting and consists entirely of plastic bags, some of which were generously donated by Almaty residents. The creation does not attempt to address the climate crisis, as using art alone to tackle such a complex issue is impossible. Instead, it seeks to discover the poetic potential within plastic bags and redefine the aesthetics of a world where nature extends beyond trees and birds. It represents a form of painting that exists without traditional tools such as canvas, brushes, acrylics, or oil paints.
This artwork narrates the story of the city's intricate web, its inhabitants, bus routes, and the love that permeates it all. The title also carries a subtle nod, indicating that the artist dedicates it to both Kazakhstan and Ukraine
Narynov's primary areas of interest were non-Euclidean geometry, space topology, quantum physics, and Turkic philosophy.
He served as an architect, sculptor, and educator, imparting his knowledge at the Kazakh State Architect Academy. His global achievements encompass five author's certificates for inventions, the development of over a hundred architectural projects, and accolades from numerous local and international architectural competitions.
In collaboration with the Eurasian Cultural Alliance, Narynov has installed two significant sculptures at Astana EXPO 2017, leaving a lasting cultural imprint.
Recent exhibitions feature a solo showcase titled 'Between the Past and the Future' at the National Museum of the Republic of Kazakhstan in 2017, 'Archeology of Actuality' at the Kasteev State Museum of Arts in 2011, and 'Between Heaven and Earth' at the Calvert-22 Foundation in London, also in 2011.During the 1980s and 1990s, the artist created approximately 20 works of 'paper architecture' – delicate objects crafted from fragile materials, offering unique perspectives on the material world by breaking it down into its elemental components An attempt to look into the very essence of matter and understand what the quantum world consists of raises a very important question about the “authenticity” of nature. In this case, the thesis that man destroys the environment begins to seem illusory.
After all, the nature we strive to safeguard might be viewed as a simplified representation of a far more intricate reality, shaped by our consciousness. However, what practical purpose would this realization serve if we fail to preserve the very medium through which we grasp the intricacies of the quantum world?
Yelena Vorobyeva and Viktor Vorobyev have been working together since the 1990s.
Their usage of different genres and techniques results in multilayered, often ironic, works focussing on Post-Soviet realities of constant change, disorientation, and their effects on everyday life.
The artists have been compiling a precise record of the ephemeral and quotidian details of daily life, local particulars, and subjects that have been often overlooked and are not exactly photogenic. They do so in series, sorting images according to their typology. While seemingly insignificant, these details (of objects, colors and customs) are integral to the creation of the new symbols of power and serve as poignant social metaphors.
The pair engages deeply with the environment they live in, examining its socio-cultural underlining, using a light and humorous approach.
The artwork consists of a series of photographs of natural landscapes. Specifically for these photos, the artists wrote the word 'Anthropocene' at different times of the year: in winter, it was formed in shapeless accumulations of ice on a lake, and in summer, it was written on the shifting sands of the desert.
(This inscription, made with organic paints, disappeared after some time, leaving only the photographs behind.) This action appears both as an artistic and a social act. After all, people have been marking their territory on natural objects for a long time. This playful work about very serious matters reminds us that our time on this planet is not eternal and that we are fortunate to live in this short geological moment. The artists themselves ironically describe their work as follows:
"What can be said about a text written in sand or on ice? Only that the wind will blow it away with grains of sand in a couple of minutes after writ- ing, or it will melt along with the ice under the rays of the spring sun.
Here is humankind, Homo Sapiens the irrational, imagining its anthropocentrism in the midst of the boundless universe. But nature is not a resort hotel with all-inclusive services; it is both creator and executor of itself. It doesn't matter whether humans exist within its body or if this parasite with all its civilization has disappeared. Without it, everything somehow existed, neither good nor bad - there were stars and galaxies, volcanoes and geysers. It was noisy and fun, but there was no one to appreciate the party back then…
Now it's a different story - the Holocene is over, the Anthropocene has arrived, and the assessors have come to set the prices for the existence of our primate species. We ate, we drank, we celebrated, and then we counted - and we shed tears.
What can be said for consolation... Dear fellow humans, do not exaggerate your greatness, but do not despair either - 'the traces of our activity will not disappear anywhere, at least for the next few million years,' they write on the internet.
You too will remain a thin, smeared layer in the thick pie of geological epochs.
But who will appreciate its taste when the Anthropocene passes?.."
Art, nature, and science form an inseparable sphere of interest for Saken Narynov. Many of Narynov's works are aimed at depicting speculative things hidden from the human eye, such as the infinitely small molecule or the infinitely vast galaxy.
Eco-friendliness, a significant element of the architect's work, determines the formal and substantive content of the image, as well as the choice of material. Contemplating the relationship between science and nature, the artist decides to combine a biological natural object and a speculative formula. The installation's semantic and compositional center is an evergreen tree, the blue spruce.
The choice of this plant is not random, as it illustrates Goethe's lines on one hand and references the blue spruce as a symbol of the Alatau foothills of Kazakhstan, where this unique natural object thrives in abundance, on the other.
Around the trunk and crown (without harming the tree), a construction made of stainless steel will be placed. It will simulate the crystalline lattice of the chemical formula of cellulose, creating symbolic protection for the tree from intrusion and "encroachments" on its life and integrity.
An important conceptual and meaningful accent explaining the title of the work is a quote from Johann Wolfgang von Goethe: "All theory is gray, my friend. But forever green is the tree of life" This statement (in four languages - German, Kazakh, English, and Russian) is intended to be placed on a four-sided granite base surrounding the tree.The diagonal and horizontal lines, points of junction and intersection in a strictly defined sequence, are based on strict logic and precise mathematical calculation.
Born in 1965 in Bes-Terek, Uzbekistan, Said Atabekov currently lives and works in Shymkent, Kazakhstan. Said Atabekov began creating art in 1993 as a member of the Kyzyl Tractor artist group.
As a witness to the successive waves of social and political change in Kazakhstan, an area that saw a transition from nomadic culture to communism and then to capitalism in less than a hundred years, Atabekov explores the intersections and local impact of often conflicting cultures and skillfully identifies and animates elements that reveal their deeper paradoxes.
Like many of today's artists, Atabekov's work spans a variety of media, from video and photography to sculptures and installations.
His use of ethnographic signs is heavily influenced by recollections of the Russian avant-garde and Post-Soviet realities, along with an intimate and often touching analysis of his condition as a contemporary artist.
While acutely aware of the attractiveness of the exoticism associated with iconographical stereotypes of Central Asian art, he often refers to them with a touch of irony.
Notable recent exhibitions include Suns and Neons above Kazakhstan at the Yarat in Baku (2017), The Other & Me at the Sharjah Art Museum (2014), the 5th Moscow Biennale (2013), Central Asia Pavilion at the Venice Biennale (2011, 2007, 2005), Ostalgia at the New Museum in New York (2011), Time of the Storytellers at the KIASMA in Helsinki (2007), 9th Istanbul Biennale (2005). Shymkent artist Said Atabekov creates the artwork 'Traces of Angels.'In the steppe, this term referred to the imprints of hooves with horseshoes on wet soil, later baked by the sun.
A similar 'freezing' of something ephemeral and transforming it into sculpture in some sense brings a piece of the steppe directly into the city. It is important to note that the work is made of iron and bronze – materials often used for significant monuments that mark the ideological direction of a particular country. In our case, this monument is installed right in the steppe itself; for the horses that gallop across it; for the hoofprints that may not last long but always reappear.
LAUREN MOFFAT Within her augmented virtual creation, titled "Reverse Dive (Local Knowledge, Partial Truth)," Lauren Moffatt unveils a captivating reinterpretation of our connection with the world, focusing intently on the intricate relationship between humanity and nature.
Through shifts in perspective and scale, the artist introduces an awe-inspiring character crafted from flowers - a monumental collage that breathes with life.
Through a technological object, the portal, observers are invited to engage with an innovative proposition created by the artist, within the same environment they presently stand.
Nature, and more specifically flowers, a vital component of our planet's life cycle, becomes animated with an aesthetic and colorful soul - a giant hybrid stands before us
Be- tween the human, composed of limbs and inhabited eyes, and the realm of fantasy, a digital floral collage, emerges on our screens - a sense of intimacy blooms, and a pro- found connection is forged. We then bear witness to the relationship between humankind and nature, almost as if to remind us that nature, often perceived as in-animated, is in reality alive in its entirety.
Moffatt astutely re-centers our discourse, orchestrating a dance of size and imagination around a pivotal theme: the enduring interdependence of humanity with nature, its surroundings, and its elements - an invitation to awaken from this lethargy, a challenge to the ceaseless control and domination we exert over nature.
Moffatt's work is undeniably infused with optimism, being part of the series "Flowers for Suzanne Claire" - the artist draws inspiration from a science fiction novel "The Crystal World" where the secondary character, a woman named Suzanne Claire, witnesses the disastrous change in our world, its impending end.
Unlike the main character, her male counterpart, Suzanne Claire views the world's transformation as an alternative to the known, as an unfamiliar opportunity for a novel existence.
The augmented reality installation is imbued with history, humanity, fantasy, and inevitably political undertones: the roles of the feminine and masculine, and our relationship with the environment. A virtual installation that raises contemporary questions that we must confront. And what if a portal finally enabled a drastic shift in our relationship with nature? Lauren Moffatt presents this proposition to you - the decision is yours to make.
What lies within the bounds of being? IntraBeing confronts the boundaries of imaging the human body to imagine a boundless and intra-active sense of being. During the STEAM III Residency, Eli Joteva worked remotely with researchers at Fraunhofer MEVIS to investigate the capacities of medical imaging and simulation procedures and locate enigmatic spaces that emerge at the limits of their resolution and computation.
She conducted a series of full body MRI scans and Dif- fusion Tensor Imaging (DTI) scans, commonly used only to show connectivity in the brain, to in- stead uncover nerve fibers in the chest and pelvic regions of her body. She drew inspiration from the fact that hydrogen atoms, which MRI processing relies on, are also in constant flux on a na- no-second timescale and thus evade accurate measurement.
These components are key ele- ments in the artwork, which exhibits an oscillating inner landscape of hydrogen atoms, the nerves they flow along, and the magnetic potentials generated between them.
In this piece, Laya Mathikshara endeavors to delve into the profound transformations occurring on Earth, driven by factors such as pollution, global warming, aging, and various other influences—both human-induced and natural.
The artwork envisions a future Earth submerged in water, yet it also evokes a sense of optimism, depicting life forms resiliently thriving amidst this watery expanse, as illustrated in the glitching nets.
Saule was born in 1971 in Karaganda, lives and works in Almaty.
The practice of Saule Dusenbina is interesting not only for the presentation of each project in itself but also for its organic dynamics, which intersect several border statements. The artist operates first with traditional mediums of drawing and painting, studying the subject world around herself; her home, her body, her story, and her memory.
These studies gradually lead to the creation of assemblies, including not only painting and painted images, but also objects, photographic materials, textiles, and natural objects. A complex palimpsest of collages turns into a palimpsest of generalizations that can not be articulated with simple narration.
Dyussenbina makes a study that brings her to the questions of the formation of an archetype and its introduction into the structure of the multicultural state of our times. To solve such a difficult problem, she chooses an exact medium - an area of applied design – the design of interiors, and objects of everyday life and embodies her ideas in several series. Artist Saule Dusenbina explores the place of myth and history in today's pop culture. In her visual vo- cabulary, batyrs peacefully coexist with flies, ram horns with logos of Italian fashion houses, traditional chapans with masterpieces of world art.
Moreover, the line between urban and natural also becomes blurred.It seems that in the soup of urban visual culture, identities are born anew every day, and as a result, it's difficult to determine the influence of one culture on another. For the ARTBAT FEST 11 festival, Dyussenbina creates the first mural in Kazakhstan made with neon elements. It can be seen both during the day and at night.
Explore the minds and perspectives of the artists
Artbat Fest 11, Center of Almaty
Admission:Most events are open to the public, and some require pre-registration. Check event details for more information.
Explore artists' inspirations and creative processes in our short video series
Stay updated with our latest news and highlights
by following our Instagram account.