This blog is about a very unusual family of a modern Kazakh artist, writer and journalist, Zitta Sultanbayeva, who is the soul and inspiration behind the creative works by ZITABL & AURA.

Zitta Sultanbayeva is an artist, poet, journalist and art critic; a very talented person who has the ability to process and respond to life’s events in her own philosophical and imaginative way. I came across Zitta’s work via Facebook.  Zitta’s posts caught my attention with her insightful excurses into Kazakhstan’s art and culture.

Contemporary Art Of Kazakhstan - Easy Tips How To Start Your Own Art Collection

1. First of all understand your own motives. Do you want something to decorate your room, or match the curtains? Or are you want to make investment and looking for possibility of a capital increase? Or are you attracted to art as a passionate collector?

2. Be aware that each of the above driving force is related - and each requires a different strategy. If you are looking for something you like, then it's easy: go with your intuition.

Focus Kazakhstan project brings Kazakh artists to the world

ASTANA – The creations of Kazakh artists are being presented abroad through the Focus Kazakhstan project, initiated to support working artists. The project sets up artist residences for eight young painters and photographers in countries around the world and follows them with parallel exhibitions.

The first artist residence for Kazakh artists launched in Berlin in June under the guidance of international curators. The project will run until Oct. 20, 2018, with residences in addition to Berlin in London, New York and Suwon, South Korea.

The Astana Times, 26 JULY 2018

Contemporary Kazakhstan

To get an idea about the Kazakhstan contemporary art scene we asked eight competent people of art for some insights. Dina Baitassova, founder of IADA International Art Development Association, Galina Koretskaya, specialist on questions of development and cultural policy in Almaty Mayor’s Office Department of Culture, artists Galim Madanov, Zauresh Terekbay, and Almagul Menlibayaeva, independent curator and artist Gaisha Madanova, Igor Sludskiy, head of the public association “Eurasian Cultural Alliance” and organizer of the contemporary art festival ArtBatFest in Almaty, and the young filmmaker Malik Zenger talk about the artists to follow and what is happening in contemporary culture in Kazakhstan.

Posted on 20. May 2014 by #VIENNACONTEMPORARY

"Artist In Central Asia" research by Roger Hill

A Report consequent on research conducted during travel across Central Asia – August-October 2017.

"My recent journey across Central Asia was undertaken, at least in part, to research the proposition that artists can and should play a role in the continuing development of the Central Asian Republics post-Independence, ie, since 1992. I took as my subject the republics of Kazakhstan, Kyrgyzstan, Tajikistan, Uzbekistan and Turkmenistan, with some reference to China where my journey began. I had the opportunity to interview 20 artists and arts-related professionals, and I have audio recordings of 16 of these encounters."

Moldakul Narymbetov One-man band

In the early 21st century the artists we now call the pioneers of Kazakhstani contemporary art, namely Shai-Zia, Sergei Maslov, Rustam Khalfin, and Moldakul Narymbetov, went on to the next world, one following the other. Those heart attacks and strokes are a sequence of that great tension they suffered in creating this new art under pressure, rejection and bullying. The audience in Europe loved them, especially Moldakul, who was an exotic thing for them wearing his dressing gown and unusual hat, and with the dombra in his hands. He was free and easy, he could find common ground with anybody without speaking any foreign language, he was able to fit seamlessly into an art sparkling atmosphere in Berlin, in smug Geneve museums, in Vienne squares, where he was beating his drums and played saz syrnai...

A One-and-a-half-eyed rifleman: The part of Kobyz. Notes on artworkS by Kyzyl Tractor art group

So Kyzyl Tractor is an art group from Shymkent (South Kazakhstan). The group was founded in 1990. They have been known for over a decade with numerous events in Kazakhstan and overseas and became one of the leaders of contemporary art in Central Asia. According to the website of Fonkor Gallery that used to be the office of Kyzyl Tractor in Shymkent: «All they had done made the history of Kazakhstani contemporary art»; and there is no exaggeration in this declaration.

The Observatory of the Bereaved: Unbinding the Imaginary in Eurasian Borderlands

In locales where the resources are scarce and the imperial-colonial configurations more complicated than in the West-East or North-South dichotomies, the politics of physical survival and the politics of servility towards the criminal state unfortunately dominate. There are no recipes against this, other than delinking and disobeying. And most of decolonial artists in this situation and in such spaces are confined to the position of subversive tricksters and negotiators, creating, little by little, a decolonial transmodern “community of sense,” to paraphrase J. Ranciere, 2009.

Steppe Forward: Art and Tech at Expo 2017 Astana

In a bid for a more distinctive international profile, Kazakhstan is hosting Expo 2017 through September 10. The arts-and-industry event is sited on the outskirts of Astana, surrounded by ongoing construction projects, reminding visitors that the city is still in active development. Designated the national capital in 1997, six years after Kazakhstan declared its independence from the Soviet Union, Astana is the country’s second largest city; Almaty, the former capital, remains the preeminent metropolis and cultural heart. The first such global extravaganza to be held in a post-Soviet nation, Expo 2017 reportedly cost between $1.3 billion and $5 billion...


Communications: experiences of interactions. the process, so to say, was under way, but not without a contingency now and then. In 2000 the leading artists broke off with the Centre (due to its authoritarian and separatist policy) and it resulted in the collapse of the institutional situation. Progressive galleries gave way
to SCCA and the Centre acquired its long-awaited role of the monopolist. Nevertheless, the artistic community progressed, keeping and strengthening interpersonal connections. Since 2002 the process of consolidation involved not only the artists of Kazakhstan, but also of Kyrgyzstan, uzbekistan, and later – Tajikistan. Collegial, almost family-like fraternal co-existence turned out to produce a synergetic effect. It was possible to achieve impressive results without institutions and substantial financial injections.


Catalogs to download