Period: A Critical Analysis of the Evolution of Kyrgyz Visual Art
(2011-2013)
Exhibition: Kyrgyz National Museum of Fine Arts named after Gapar Aitiev, Bishkek.
Curator: Shaarbek Amankul
Artists: O. Osmonov, T. Mirrakhimov, M. Bekdzhanov, A. Voronin, T. Butorin, R. Bukharmetov, V. Kim, T. Koichiev, M. Mukambetov, S. Torobekov, K. Artykbaev, S. Aitiev, B. Djaliev, D. Ignatieva, S. Chokmorov, S. Bakashev, Zh. Dzhumabaev, A. Asrankulov, K. Orozmatov, Zh. Kadraliev, D. Kongurbaev, A. Torobekov, S. Torobekov, D. Adashkanova, M. Yugai, V. Fajzyev, K. Davletov, D. Nurgaziev, A. Baigaziev, A. Bajterekov, T. Ogobaev, N. Kotliarevskii, T. Kurmanov, A. Beishenov, Zh. Zhakypov, E. Dogdurbekov, Zh. Maturaimov, B. Usubaliev, Yu. Shygaev, E. Toktaliev, N. Turpanov, M. Kamchibekov, A. Alakulov, B. Arykov, A. Torogeldiev, Nastar Mamai, T. Usubaliev, A. Momunkulov, O. Idirisov, V. Ruppel, Zh. Moldakhmatov, K. Bekov, E. Bojkov, P. Kurinskikh, D. Shkurpela, R. Ryskulov, M. Tomilov, A. Chertkov, K. Shkurpela, N. Kopelovich, Zh. Tunushev, A. Botokanov A. Askat uulu Nurlan. S. Mirziraimov , , E. Turdaliev, T. Sadykov, A. Mukhutdinov, V. Shestopal, A. Sharshekeev, Z. Zhabibulin, S. Azhibaev V. Zukhin, D. Zholchuev D. Zheidze B. Sadykov S. Makeev, A. Turumbekov, B. Arykov M. Ogobaev A. Soloviev S. Toktoev A. Asiamov U. Omurov S. Babadzhanov S. Akmatov K. Ostashev A. Isamadyrov T. Mambetalieva O. Imanalieva N. Shygaev D. Bijmyrzaev A. Ilipov Z. Sadykbaev M. Karakeev B. Kazybekov K. Belkin G. Kuzovkin E. Solop Ia. Dzhangaracheva R. Musakeev T. Absattarov O. Bejshenova G. Polienko O. Esenkanov Z. Bazarbaev D. Misyurev A. Musabaj G. Nudel R. Ilina L. Gerzen T. Akhmedov M. Sooronbaev Sh. Tashiev Zh. Asanov T. Kasabolotova D. Asanova N. Asakunova K. Kasymov T. Pushkarev S. Torogeldieva K. Aralbaeva Zh. Mambetalieva Sh. Yusupov T. Abdullaev M. Umetov Dzh. Lysenki T. Dyusheev B. Аkhmatova R. Turdieva G. Sidneva N. Adralieva Zh. Lysogorov Е. Bolokova A. Isaev K. Toktogonov E. Dudarev V. Kylychbekov E. Syrnev V. Chalanov I. Kononova- Ruppel N. Velichko A. Podzhidaeva L. Кamalov L. Myrzaev А. Alibaev S. Samidinov А. Dzholoev М. Zhakypov А. Zhalalov К. Kazadaev S. Kozubaev T. Choturova Ch. Nurakbaev К. Omurzakova Zh. Akmatov А. Orozaliev Sh. Abdymomunov O. Musaev B. Akunov S. Musaev N. Sakeev E. Kurmaev R. Omurchiev A. Moldogaziev K. Imangaziev B. Apiev A. Sagyndykov B. Zhundubaev A. Polukarov V. Asanov T. Orozaliev K. Ruziev F. Sharshenbiev K. Mamyrbaev A.
This project offers a significant scholarly exploration of the development of visual fine art in the Kyrgyz Republic, spanning three decades from the early 1980s to the present. By focusing on this extended timeline, the project offers an in-depth examination of how political, social, and cultural shifts have shaped artistic practices across generations. It features works by artists from three generational cohorts—young, middle-aged, and older—each represented by a single piece. Approximately 150 artists were selected based on the project’s concept, each offering insights shaped by the historical contexts in which they worked. This diversity creates a rich narrative, allowing for a critical evaluation of Kyrgyz art’s evolution.
The exhibition serves as a bridge between the late Soviet period and the early years of Kyrgyzstan’s independence, a time of profound sociopolitical change. The juxtaposition of works from both periods provides essential insights into the continuity and rupture within the visual art scene. It is important to note how artists navigated political upheaval, censorship, and newfound freedoms. This raises the question: What was the state of art in the past, and how does it compare to today’s artistic landscape? This inquiry opens the door for a broader dialogue about art as both a reflection of society and an agent of change.
Curated across three distinct exhibition halls—painting, sculpture, and applied art—the show highlights the diversity of styles, methodologies, and genres that have emerged in Kyrgyzstan over the past few decades. The range of artworks offers a comprehensive overview of the country’s artistic evolution. Yet, despite this richness, certain shifts in contemporary Kyrgyz art remain underexamined, especially in broader art historical discourse. This exhibition offers a valuable opportunity to engage with these evolving narratives, often marginalized or overlooked in the study of Kyrgyz visual culture. The project extends beyond the capital, with simultaneous exhibitions in Osh, Jalal-Abad, Karakol, and Talas, amplifying regional artists’ voices. This outreach is crucial in understanding the regional variations within Kyrgyzstan’s visual art scene. Artists outside Bishkek often reflect unique local contexts and cultural influences. Historically sidelined in national and international discussions, their inclusion is a significant step toward a more comprehensive understanding of Kyrgyzstan’s artistic heritage.
In conclusion, this exhibition is more than just a presentation of art—it is an essential scholarly intervention into the history and evolution of Kyrgyz visual culture. It invites critical reflection on how art shapes national identity while highlighting gaps in the research and appreciation of Kyrgyz art, both regionally and globally. The project calls for further inquiry into these evolving narratives and the recognition of the untapped potential of Kyrgyzstan's contemporary fine art scene.
The exhibition, initially planned for 2011, was delayed due to unforeseen circumstances and preparation time, eventually taking place in 2013.
