Saule Dyussenbina

She was born in 1971 in Karaganda, lives and works in Almaty.

The practice of Saule Dyussenbina is interesting not only for the presentation of each project in itself, but also for its organic dynamics, which intersects 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, 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 a 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, objects of everyday life and embodies her ideas in several series.
 

Notable recent exhibitions include OY at Esentai Gallery (2014), Kazakh Funny Games in Esentai Gallery (2017), Die Grenze a mobile exhibition of the Goethe Institute (2017-18), Postkoloniale Kunst aus Zentralasien, GEDOK Karlsruhe (2018) and New Mythologies of Central Asia at Sapar Contemporary in 2020

 
 
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SAULE DYUSSENBINA: KAZAKH FUNNY GAMES

Saule Dyussenbina uses motifs for her wallpaper that she has borrowed from Kazakh folk traditions and myths, as well as architectural views of the new Kazakh capital, Astana.

Goethe-Institut30 May 2017

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FOCUS KAZAKHSTAN: POST-NOMADIC MIND EXHIBITION LAUNCHES AT WAPPING’S HYDRAULIC POWER STATION

Last night saw the opening of Focus Kazakhstan: Post-Nomadic Mind, which runs through until 16 October 2018, at the wonderful space that is Wapping’s Hydraulic Power Station, on the north bank of East London’s River Thames.

The exhibition – curated by Indira Dyussebaeva-Ziyabek and Aliya de Tiesenhausen with assistant curator Alima Boranbayeva and consultant Olya Sova – examines Kazakh contemporary art, drawing parallel dialogues between contemporary artists, their Soviet predecessors, and the newly termed subject matter of post-nomadism.

FMS MAGAZINE, 19/09/2018

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Central Asian Art: Tradition in Action

Artists appeal to tradition not only to explore history, but also to express a viewpoint on contemporary matters. For example, Said Atabekov’s video installation Battle for a Square (2009) uses a traditional game, kokpar, to describe competition, a modern and universal concept.

Buro 24/7, April 21, 15

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Видеофильм "Магия архитектуры Сакена Нарынова"

Художник и архитектор, скульптор и философ Сакен Нарынов всю жизнь посвятил разгадке тайн Вселенной, изучению фундаментальных законов природы.

Данил Конищев, January 28, 2018

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Central Asian Art: Tradition in Action

Aliya de Tiesenhausen’s presentation focused on the various modes of Central Asian artistic expression following independence.

Artists appeal to tradition not only to explore history, but also to express a viewpoint on contemporary matters. For example, Said Atabekov’s video installation Battle for a Square (2009) uses a traditional game, kokpar, to describe competition, a modern and universal concept.

VoicesOnCentralAsia.org, AUGUST 21, 2019

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Contemporary collage from Central Asia on view at Sapar Contemporary

NEW YORK, NY.- Sapar Contemporary in collaboration with Aspan Gallery (Almaty) is presenting Beyond Fragmentation: Contemporary Collage from Central Asia. Since antiquity, Central Asia has been a nexus of trade and cultural exchange, where caravans laden with precious goods crisscrossed the desert sands along the Silk Road carrying with them new religions like Buddhism and Islam.​

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