{"id":4800,"name":"","email":null,"language_id":1,"permalink":"askhat-akhmedyarov","deleted":false,"legal_status_id":null,"url_1":"http://aspangallery.com/en/artists/askhat_eng","twitter":null,"category_id":47,"date_of_birth":"1965-01-01T00:00:00.000+01:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":null,"firstname":"Askhat","lastname":"Akhmedyarov / Асхат Ахмедьяров","annotation":"","url_2":"","url_3":"","cached_name":"Askhat Akhmedyarov / Асхат Ахмедьяров","date_of_death":null,"cached_name_asc":"Akhmedyarov / Асхат Ахмедьяров, Askhat","stream_count_app":80,"gender":"other","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/138/large/Askhat_Akhmedyarov.jpeg?1661507975","poster_credits":"© Aspan Gallery","media_count":1,"items_count":7,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eBelonging to the generation of artists that was formed at the juncture of Soviet times and Kazakhstani independence, Askhat Akhmedyarov has been active since the 1990s. His multi-faceted practice \u0026mdash; spanning drawing, photography, installation, and performance \u0026mdash; deals with the development of the historical and political landscape of Kazakhstan.\u003c/p\u003e\r\n\r\n\u003cp\u003ePursuing his artistic aspirations,\u0026nbsp;\u003cstrong\u003eAskhat Akhmedyarov\u0026nbsp;(\u0026deg;1965,\u0026nbsp;Aleksandrovo Gay, USSR)\u003c/strong\u003e\u0026nbsp;moved\u0026nbsp;to the southern city of Shymkent in 1985\u0026nbsp;where\u0026nbsp;he\u0026nbsp;studied under the founders of the Shymkent Trans Avant-garde group, Vitaly Simakov and Moldakul Narymbetov. Unlike the more Russia-influenced west of the republic, where the Soviet doctrine of Socialist Realism was still prominent, the southern region of Kazakhstan has always been a crossroad of various cultures and traditions. Free from the constraints of the academic tradition, the artists in Shymkent were experimenting with spatial-structural schools of the 20th-century avant-garde, rich local cultural heritage and shamanic rituals. Primarily working with painting at that period, Akhmedyarov created works that reveal a strong influence of Surrealism. In the mid-1990s, in the wake of the liberating transformation of the country, the artist took part in several experimental performances and exhibitions with the members of Kyzyl Tractor art group. In 2002, he participated in \u003cem\u003eOff the Silk Road: No Mad\u0026#39;s Land\u003c/em\u003e (Haus der Kulturen der Welt, Berlin) \u0026mdash; one of the first extensive presentations of contemporary art from Central Asia. The euphoria of freedom that characterised the first decade after the collapse of the Soviet Union and the establishment of Kazakhstan\u0026#39;s independence has been followed by economic instability. Burning bridges and, literally, his early paintings, Akhmedyarov cut ties with Shymkent group and moved to Astana.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe historical and cultural landscape of the developing capital city and its surroundings had a significant influence on his artistic quest during the following twenty years. Focusing on an independent practice since the 2000s, Akhmedyarov continued to explore various media, while critically reflecting on the Soviet colonial past, as well as blatant social inequality caused by the rapid modernisation of the independent Kazakhstan. Filled with profound symbolism and poetics, Akhmedyarov\u0026rsquo;s artistic practice is first and foremost an expression of his civic position in a society that remains largely alienated from both politics and contemporary art. His actions and performances invite the viewer to engage in a critical dialogue with the collective traumas that have long been suppressed, as well as the conflict situations of the present day. While the elements of traditional culture and shamanic rituals, often incorporated in his work, appeal to the latent vitality of the myth in the subconscious of modern Kazakhstan. Referring to personal and collective memory, as well as mythological and historical narratives, the artist is not simply attempting to reconnect to the past, but rather seeking to reveal the ruptures in the collective identity.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn this regard, Akhmedyarov\u0026rsquo;s particular close attention to environmental issues \u0026ndash;\u0026nbsp;including works such as \u003cem\u003eToray-Proton\u003c/em\u003e (2013), \u003cem\u003eMaly Taldykol\u003c/em\u003e (2021), \u003cem\u003eBalkhash\u003c/em\u003e (2021) and \u003cem\u003eSave Bozzhyra\u003c/em\u003e (2022) \u0026ndash; should be perceived not only as an attempt to shed light on the relationship between reckless practices of the depletion of natural resources of both the Soviet-era and the present, but also as an address to the depth of the Kazakh being for which nature and culture have always been inherently interconnected. In a similar way, the motif of fire, which accompanies the artist\u0026#39;s own biography and runs through many of his works as a common thread \u0026ndash; \u003cem\u003eAutumn Purge\u003c/em\u003e (2012), \u003cem\u003eIf the Pain Burned Away\u003c/em\u003e (2018), and \u003cem\u003eIn Dialogue with Fire\u003c/em\u003e (2019) to name a few \u0026ndash; can be seen both as a key to understanding Akhmedyarov\u0026#39;s practice as well as the societal and political subjects addressed by his practice. Representing the artist\u0026rsquo;s inner fervour in his fight against the abuse of power, it also seeks to appeal to the intrinsic creation-destruction dynamics of human existence. His works in the collection gathers the artist\u0026rsquo;s reflections on the relationship between art and activism. Combining a critical stance with irony, Akhmedyarov\u0026#39;s oeuvre places local issues in the global context and refers to the human condition at large. (EV)\u003c/p\u003e\r\n\r\n\u003cp\u003eAskhat Akhmedyarov lives and works in Almaty, Kazakhstan. Selected exhibitions include:\u0026nbsp;\u003cem\u003eIn Dialogue with Fire\u003c/em\u003e, M HKA, Antwerp (2023); \u003cem\u003eClouds, Power and Ornament \u0026ndash; Roving Central Asia, \u003c/em\u003eCentre for Heritage, Arts and Textile (2023); \u003cem\u003eUMIT\u003c/em\u003e, Aspan Gallery, Almaty (2022); \u003cem\u003eSingular Plural\u003c/em\u003e, National Museum of the Republic of Kazakhstan, Astana (2016); \u003cem\u003ePost-Nomadic Mind\u003c/em\u003e, The Wapping Project, London (2015); \u003cem\u003eProtagonists. The Invisible Pavilion of Kazakhstan\u003c/em\u003e, Venice (2015); \u003cem\u003eLost to the Future: Contemporary Art from Central Asia\u003c/em\u003e, LASALLE College of Arts \u0026ndash; ICA Singapore (2013); \u003cem\u003eOff the Silk Road: No Mad\u0026#39;s Land: Contemporary Art from Central Asia\u003c/em\u003e, Haus der Kulturen der Welt, Berlin (2002); and \u003cem\u003eCommunications. Experience of Interaction\u003c/em\u003e, Soros Center for Contemporary Art, Almaty (2000).\u003c/p\u003e\r\n\r\n\u003cp\u003eThe works by Askhat Akhmedyarov form part of the \u003cem\u003eShagylys\u003c/em\u003e collection created as a result of the long-term collaboration with the Tselinny Center of Contemporary Culture in Almaty, Kazakhstan.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":""},{"locale":"fr","short_description":"","description":"\u003cp\u003eActif depuis les ann\u0026eacute;es\u0026nbsp;1990, Askhat Akhmedyarov appartient \u0026agrave; la g\u0026eacute;n\u0026eacute;ration d\u0026#39;artistes qui a vu le jour lors de la transition entre l\u0026rsquo;\u0026eacute;poque sovi\u0026eacute;tique et l\u0026#39;ind\u0026eacute;pendance du Kazakhstan. Sa pratique multifacette, qui regroupe le dessin, la photographie, l\u0026rsquo;installation et la performance, se concentre sur l\u0026#39;\u0026eacute;volution du paysage historique et politique du Kazakhstan.\u003c/p\u003e\r\n\r\n\u003cp\u003eSous l\u0026#39;impulsion de son ambition artistique,\u0026nbsp;\u003cstrong\u003eAskhat Akhmedyarov\u0026nbsp;\u003c/strong\u003e(\u0026deg;1965,\u0026nbsp;Alexandrov Gay, URSS)\u0026nbsp;a d\u0026eacute;m\u0026eacute;nag\u0026eacute; dans la ville du sud du nom de Chymkent en 1985\u0026nbsp;pour y \u0026eacute;tudier aux c\u0026ocirc;t\u0026eacute;s des fondateurs du groupe avant-gardiste Trans de Chymkent, Vitaly Simakov et Moldakul Narymbetov. Contrairement \u0026agrave; l\u0026rsquo;ouest de la R\u0026eacute;publique qui a \u0026eacute;t\u0026eacute; plus influenc\u0026eacute;e par la Russie, et o\u0026ugrave; la doctrine sovi\u0026eacute;tique du r\u0026eacute;alisme socialiste y \u0026eacute;tait le plus ancr\u0026eacute;e, la r\u0026eacute;gion du sud du Kazakhstan a toujours \u0026eacute;t\u0026eacute; un m\u0026eacute;lange de diff\u0026eacute;rentes cultures et traditions. Lib\u0026eacute;r\u0026eacute;s des contraintes de la tradition acad\u0026eacute;mique, les artistes de Chymkent testaient des \u0026eacute;coles spatiostructurelles de l\u0026rsquo;avant-garde du 20e si\u0026egrave;cle, du riche h\u0026eacute;ritage culturel local et des rituels chamaniques. Akhmedyarov a commenc\u0026eacute; \u0026agrave; travailler principalement avec de la peinture lors de cette p\u0026eacute;riode et a cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres qui t\u0026eacute;moignent d\u0026#39;une influence notable du surr\u0026eacute;alisme. Au milieu des ann\u0026eacute;es 1990, \u0026agrave; la suite de la transformation lib\u0026eacute;ratrice du pays, l\u0026#39;artiste a pris part \u0026agrave; diff\u0026eacute;rentes expositions et performances exp\u0026eacute;rimentales avec les membres du groupe artistique Kyzyl Tractor. En 2002, il a particip\u0026eacute; \u0026agrave; \u003cem\u003eOff the Silk Road: No Mad\u0026#39;s Land\u003c/em\u003e [Hors de la route de la soie\u0026nbsp;: No Mad\u0026rsquo;s Land] (Haus der Kulturen der Welt, Berlin) \u0026mdash; l\u0026rsquo;une des premi\u0026egrave;res pr\u0026eacute;sentations d\u0026eacute;taill\u0026eacute;es de l\u0026#39;art contemporain issu de l\u0026rsquo;Asie centrale. L\u0026rsquo;euphorie de la libert\u0026eacute; qui a caract\u0026eacute;ris\u0026eacute; la premi\u0026egrave;re d\u0026eacute;cennie suivant l\u0026rsquo;effondrement de l\u0026rsquo;Union sovi\u0026eacute;tique et la proclamation de l\u0026rsquo;ind\u0026eacute;pendance du Kazakhstan a \u0026eacute;t\u0026eacute; suivie par une p\u0026eacute;riode d\u0026#39;instabilit\u0026eacute; \u0026eacute;conomique. Akhmedyarov a ensuite d\u0026eacute;cid\u0026eacute; de couper les ponts avec le groupe Chymkent et de br\u0026ucirc;ler ses premi\u0026egrave;res peintures pour d\u0026eacute;m\u0026eacute;nager \u0026agrave; Astana.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe paysage historique et culturel de la capitale et de ses alentours qui \u0026eacute;taient en pleine expansion a exerc\u0026eacute; une influence majeure sur sa qu\u0026ecirc;te artistique au cours des vingt ann\u0026eacute;es qui ont suivi. Se concentrant sur une pratique ind\u0026eacute;pendante depuis les ann\u0026eacute;es 2000, Akhmedyarov a continu\u0026eacute; d\u0026rsquo;explorer plusieurs supports, tout en menant une r\u0026eacute;flexion critique sur le pass\u0026eacute; colonial de l\u0026rsquo;Union sovi\u0026eacute;tique et sur les in\u0026eacute;galit\u0026eacute;s sociales flagrantes provoqu\u0026eacute;es par la modernisation rapide du Kazakhstan ind\u0026eacute;pendant. Ancr\u0026eacute;e dans une po\u0026eacute;sie et un symbolisme profonds, la pratique artistique d\u0026rsquo;Akhmedyarov est avant tout l\u0026rsquo;expression de sa position civique au sein d\u0026#39;une soci\u0026eacute;t\u0026eacute; qui reste largement ali\u0026eacute;n\u0026eacute;e de la politique et de l\u0026rsquo;art contemporain. Ses actions et ses performances invitent le spectateur \u0026agrave; s\u0026rsquo;engager dans un dialogue critique avec les traumatismes collectifs qui ont \u0026eacute;t\u0026eacute; refoul\u0026eacute;s depuis longtemps, ainsi qu\u0026rsquo;avec les situations conflictuelles de l\u0026rsquo;\u0026eacute;poque actuelle. Les \u0026eacute;l\u0026eacute;ments de la culture traditionnelle et des rituels chamaniques, souvent pr\u0026eacute;sentes dans son \u0026oelig;uvre, invoquent la vitalit\u0026eacute; latente du mythe pr\u0026eacute;sent dans le subconscient du Kazakhstan moderne. L\u0026rsquo;artiste fait des r\u0026eacute;f\u0026eacute;rences \u0026agrave; la m\u0026eacute;moire personnelle et collective, ainsi qu\u0026rsquo;\u0026agrave; des r\u0026eacute;cits mythologiques et historiques et n\u0026rsquo;essaie pas uniquement se connecter avec le pass\u0026eacute;, il cherche plut\u0026ocirc;t \u0026agrave; mettre en lumi\u0026egrave;re les fractures de l\u0026rsquo;identit\u0026eacute; collective.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; cet \u0026eacute;gard, l\u0026rsquo;attention accrue d\u0026rsquo;Akhmedyarov pour les questions environnementales \u0026ndash;\u0026nbsp;comprenant notamment les \u0026oelig;uvres telles que \u003cem\u003eToray-Proton\u003c/em\u003e (2013), \u003cem\u003eMaly Taldykol\u003c/em\u003e (2021), \u003cem\u003eBalkhash\u003c/em\u003e (2021) et \u003cem\u003eSave Bozzhyra\u003c/em\u003e [Sauvez Bozzhyra] (2022) \u0026ndash; peut \u0026ecirc;tre per\u0026ccedil;ue non seulement comme une tentative de mise en avant de la relation entre les pratiques irresponsables en termes d\u0026#39;appauvrissement des ressources naturelles de l\u0026rsquo;\u0026eacute;poque sovi\u0026eacute;tique et du pr\u0026eacute;sent, mais aussi comme une invitation \u0026agrave; s\u0026#39;immerger dans l\u0026rsquo;existence kazakhe dont la nature et la culture ont toujours \u0026eacute;t\u0026eacute; intrins\u0026egrave;quement connect\u0026eacute;es. De la m\u0026ecirc;me mani\u0026egrave;re, le th\u0026egrave;me du feu, qui accompagne la biographie de l\u0026#39;artiste et qui se retrouve dans de nombreuses \u0026oelig;uvres comme un v\u0026eacute;ritable fil conducteur \u0026ndash; \u003cem\u003eAutumn Purge\u003c/em\u003e [Purge d\u0026#39;automne] (2012), \u003cem\u003eIf the Pain Burned Away\u003c/em\u003e [Si la peine partait en fum\u0026eacute;e] (2018), et \u003cem\u003eIn Dialogue with Fire\u003c/em\u003e [En dialogue avec du feu] (2019) pour n\u0026rsquo;en citer que quelques-uns \u0026ndash; peut \u0026agrave; la fois \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme une cl\u0026eacute; pour comprendre la pratique d\u0026rsquo;Akhmedyarov, mais aussi les sujets soci\u0026eacute;taux et politiques qui sont abord\u0026eacute;s dans sa pratique. Il repr\u0026eacute;sente la ferveur int\u0026eacute;rieure de l\u0026rsquo;artiste dans sa lutte contre l\u0026rsquo;abus de pouvoir et cherche aussi \u0026agrave; aborder les dynamiques de cr\u0026eacute;ation-destruction inh\u0026eacute;rentes \u0026agrave; l\u0026rsquo;existence humaine. Ses \u0026oelig;uvres de la collection constituent un r\u0026eacute;sum\u0026eacute; des r\u0026eacute;flexions de l\u0026#39;artiste \u0026agrave; propos de la relation entre art et activisme. En associant une position critique et de l\u0026rsquo;ironie, l\u0026#39;\u0026oelig;uvre d\u0026rsquo;Akhmedyarov int\u0026egrave;gre des questions locales dans un contexte international et fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; la condition humaine dans son ensemble.\u003c/p\u003e\r\n\r\n\u003cp\u003eAskhat Akhmedyarov vit et travaille \u0026agrave; Almaty, Kazakhstan. Les expositions s\u0026eacute;lectionn\u0026eacute;es comprennent\u0026nbsp;:\u0026nbsp;\u003cem\u003eIn Dialogue with Fire\u003c/em\u003e [En dialogue avec du feu], M HKA, Anvers (2023)\u0026nbsp;; \u003cem\u003eClouds, Power and Ornament \u0026ndash; Roving Central Asia \u003c/em\u003e[Nuages, pouvoir et ornements - Une errance en Asie centrale], Centre pour l\u0026rsquo;h\u0026eacute;ritage, les arts et le textile (2023)\u0026nbsp;; \u003cem\u003eUMIT\u003c/em\u003e, Galerie Aspan, Almaty (2022); \u003cem\u003eSingular Plural\u003c/em\u003e [Pluriel au singulier], Mus\u0026eacute;e national de la R\u0026eacute;publique du Kazakhstan, Astana (2016)\u0026nbsp;; \u003cem\u003ePost-Nomadic Mind\u003c/em\u003e [\u0026Eacute;tat d\u0026rsquo;esprit post-nomade], The Wapping Project, London (2015)\u0026nbsp;; \u003cem\u003eProtagonists\u003c/em\u003e [Protagonistes].\u003cem\u003e The Invisible Pavilion of Kazakhstan\u003c/em\u003e [Le pavillon invisible du Kazakhstan], Venise (2015)\u0026nbsp;; \u003cem\u003eLost to the Future: Contemporary Art from Central Asia\u003c/em\u003e [Perdu dans le futur\u0026nbsp;: de l\u0026rsquo;art contemporain d\u0026rsquo;Asie centrale], LASALLE College of Arts \u0026ndash; ICA Singapore (2013)\u0026nbsp;; \u003cem\u003eOff the Silk Road: No Mad\u0026#39;s Land: Contemporary Art from Central Asia\u003c/em\u003e [Hors de la route de la soie\u0026nbsp;: No Mad\u0026rsquo;s Land\u0026nbsp;: de l\u0026rsquo;art contemporain d\u0026rsquo;Asie centrale], Haus der Kulturen der Welt, Berlin (2002); et \u003cem\u003eCommunications\u003c/em\u003e.\u003cem\u003e Experience of Interaction\u003c/em\u003e [Exp\u0026eacute;rience d\u0026rsquo;interaction], Centre Soros d\u0026#39;art contemporain, Almaty (2000).\u003c/p\u003e\r\n\r\n\u003cp\u003eLes \u0026oelig;uvres d\u0026rsquo;Askhat Akhmedyarov font partie de la collection \u003cem\u003eShagylys\u003c/em\u003e qui a \u0026eacute;t\u0026eacute; cr\u0026eacute;\u0026eacute;e \u0026agrave; la suite de la collaboration prolong\u0026eacute;e avec le Centre Tselinny de culture contemporaine \u0026agrave; Almaty, Kazakhstan.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"KZ","place":" Almaty","category":{"en":"Based in","nl":null,"fr":null}},{"country":"KZ","place":"Aleksandrovo Gay, USSR","category":{"en":"Born in","nl":"Geboren in","fr":"Né à"}}]}