In March, Tselinny Temporary hosted an exhibition here, there, nowhere («здесь, везде, нигде», «мұнда, анда, ешқайжақта») at Tselinny Temporary public space. 

The exhibition collects the works of twenty artists representing the new generation of Kazakhstani art. The history of contemporary art began in Kazakhstan and Central Asia with the fall of the USSR. Being free from censorship restrictions, the first generation of contemporary artists emerged from the cramped house exhibitions and the environment of so-called "unofficial art" giving a critical view on historical and political processes in the region. The establishment of a new artistic language that breaks with the traditional Soviet academism, as well as the theme of the search for identity were central to the discourses of regional contemporary art in the late 1990s. Artists, curators and art historians from Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan have consolidated into one art community to represent the voice of the entire region united by common historical and cultural interconnections on the international stage.

Over the past 30 years, the region has seen the emergence of new generations of artists who have developed in a completely different context – they are the peers of independence, or a younger generation that has grown up with the rapid development of the internet and new technologies. The exhibition project focuses on the differences in discourse and the transformation of artistic language of the last two generations of artists with their own specific approach and perception of art. According to the curator, the distinctive features in the works of young artists are an intentional departure from conceptual articulation, critical agendas, and biased themes. Central to the practice of the new wave artists is an empirical experience, liberation from logocentrism, and irrational and intuitive artistic quest.

"The art in Central Asia shall not always be critical, political or refer to cultural background. The local culture becomes a mixture of post-Soviet experience and topical issues of new time, as a reminiscent of the complicated forms of the korpe (a traditional patchwork quilt) in the work of Alexei Shindin or the chapans and embroideries of Dilyara Kaipova. Some elements of the traditional aesthetic, like cultural layers, create a cocktail of strange but unique components" — Kamila Narysheva, the curator of the exhibition here, there, nowhere («здесь, везде, нигде», «мұнда, анда, ешқайжақта»).