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Central Asian Art-Traffic

TitleCentral Asian Art-Traffic
Publication TypeWeb Article
Year of PublicationSubmitted
AuthorsSorokina Y
Series Titlen.e.w.s
Keywords* contemporary policy * independence * international biennale * international events * nomadic workshop * non-governmental institutions * silk route, ACC Gallery, Air Astana, Anna Harding, ArtEast, Arts Council of England, Asia Art+, Bishkek International Exhibition of Contemporary Art 2005, Bishkek International Exhibition of Contemporary Art 2007, Bishkek International Exhibition of Contemporary Art 2008, British Council Kazakhstan, Center of National Arts of Uzbekistan, Central Asia, Central Asian Pavilion, Central Asian Project. UK+CA, Central Asian Video Festival 2004, CMA-Geneva, Contemporary Archive, Art from Central Asia, CORNERHOUSE Gallery, DARA Foundation, Desht-i-Art, Fifty First Venice Biennale 2005, From Red Stars to Blue Cupolas, Guldana Sapharova, Gulnara Kasmalieva, HIVOS Foundation, IFA-Gallery, Inventarisation, Kathy Rae Hufmann, Kazakhstan, KURAK, Kyrgyzstan, Larissa Pletnikova, Leeza Ahmady, Martell Contemporary Asian Art Research Grant, Mediating the Mekong: Thailand, Vietnam, Cambodia, Myanmar, Laos, Muratbek Jumaliev, Muzykstan, No mad’s land, Non-Silk Way – Asian Extreme, Open Society Institute, OSI Foundation, Public Organization ArtEast Bishkek, Reorientatio, Rich Streitmatter-Tran, SCCA-Almaty, SHEZHIRE Gallery, Soros Center, Soviet Vanguard, SPACE Gallery, Tadjikistan, Tashkent, Tengri-Umai Gallery, The House of World Culture, Trans Forma, Turkmenistan, Ulan Djaparov, Unveiling Contemporary Art in Central Asia: Afghanistan, Uzbekistan, Kazakhstan, Kyrgyzstan, and Tajikistan, Uzbekistan, Vanabbemuseum, Victor Misiano, Visiting Arts, Yuliya Sorokina
Abstract

When I am visiting the next symposium about contemporary art issues, organized by some famous international biennale or any other international forum, I am sure that this or that issue relating to the geopolitical identity in contemporary art will be raised. Presenters speak about ‘Eastern’ art and I am sure that they mean the so-called Far East: China, Korea, Indonesia, Vietnam, or maybe India… And when European art is presented, then it’s about Central and Western Europe, or Eastern Europe and Russia. Central Asian art is situated somewhere in-between these fundamental poles. It is neither good nor bad; it is just what it is. Art-Traffic, we call it.

URLhttp://northeastwestsouth.net/?q=node/102