Drinking the Wind I (2020)
(original 5:35 min)
For centuries, nomadic cultures have thrived in profound symbiosis with the animals that sustained them, most notably horses, which were integral to both their survival and identity. Horses were far more than companions—they were essential partners in shaping nomadic traditions, enabling mobility, and constructing cultural narratives. This deep, enduring relationship fostered a world of cooperation, mutual respect, and shared purpose, transcending generations and bearing witness to an era of harmony and coexistence. The video examines the figure of the nomad through both Kyrgyz cultural perspectives and broader global ideologies, highlighting the pivotal role of horse culture in shaping identity. How can we preserve this traditional bond between nomads and horses—so central to cultural history—while moving beyond reductionist stereotypes? It urges a reconsideration of contemporary identity—both in life and in art—inviting us to reimagine our connection to horses and the nomadic legacy that continues to shape our understanding of the modern world, offering a nuanced framework for exploring our place in the present.
Zindan (2007)
(original 6’20 min)
The video is filmed in an abandoned uranium factory on the southern shore of Lake Issyk-Kul, where two women, their faces veiled by flowing hair, move through the desolate, sandy basement. Their bodies penetrate the walls, symbolizing the possibility of new life emerging after the devastation of World War III. Though they come from different worlds, they share an unspoken bond of sorrow and isolation. Their embrace is not a connection, but a profound expression of loneliness, representing the universal human desire for communication—both something we seek and something that often remains out of reach. The abandoned factory, once a site of Soviet industrial ambition, becomes a central figure in the narrative. It reflects the decay and emptiness left behind by the relentless pursuit of progress. This deteriorating space amplifies the theme of existential isolation, offering a haunting commentary on the cost of human ambition and the disillusionment that follows our search for meaning in a fractured world.
Duba (2007)
(original 6:56 min)
The screen focuses on a close-up of a face, immersing the viewer in the mesmerizing physiognomy of a trance. A herbalist and natural healer conducts rituals designed to cure illness, awakening dormant forces within the human psyche. Emotions of surprise and fear trigger a journey into the subconscious mind, calling upon its power to confront affliction. In states of vulnerability and confusion, individuals turn to shamans, seeking remedies for ailments that modern medicine cannot always explain. The seemingly irrational practices become a path to restoring a fractured identity, offering healing and solace in the mystical realms of the unknown.
Sham (2007)
(original 4’20 min)
In this place, belief in miracles is a powerful force. The individuals, immersed in prayer, experience a range of emotions: yawning, crying, screaming, and belching, as they release both physical and emotional ailments. Their meditation is unorthodox, marked by scratching, smacking, and jolting one another in a strange rhythm of surrender and transformation. Afterward, many have no memory of the experience but attribute everything to the will of higher powers, believing that all that transpired was beyond human control.
Circumcision (2011)
(original 4:10 min)
The modernization of the country was essential for access to qualified healthcare, particularly for practices like traditional circumcision. The video underscores how deeply rooted religious traditions remain in Kyrgyz society. Despite the apparent contradiction, these practices were revived on a large scale after the collapse of the Soviet Union and have since become a widespread and integral part of contemporary life throughout Central Asia.