Moldakul Narymbetov Solo Exhibition
A. Kasteyev State Museum of Arts, Almaty
27 February, 2013 – 21 March, 2013
Curators: Arystanbek Shalbayev, Vitaliy Simakov, Smail Bayaliyev
Moldakul Narymbetov (1948-2012) was the lead member of the art group Kyzyl Tractor, which played an instrumental role in the development and popularization of contemporary art in Kazakhstan and in the Central Asian region. A member of the Arts Academy of the Republic of Kazakhstan, the Artists' Union of Kazakhstan, winner of Zhiger award and other international accolades, Narymbetov led a very prolific artistic life. He participated in a number of local and international exhibitions and projects. The artist’s works have been displayed in over forty countries including Austria, Switzerland, Germany, Czech Republic, USA, Italy, and Russia.
Noted for his bright, rebellious, and charismatic individuality, Narymbetov mastered numerous creative forms; he worked in various genres such as installation, painting, sculpture, and performance.
During his last years, Narymbetov collaborated with Marat Guelman (Museum of Modern Art PERMM, Perm, Russia), founded the School of Modern Art in Almaty, and participated in contemporary art festivals ARTBAT FEST 2010 and ARTBAT FEST 2011. After his death in 2012, several installations were made from his drafts and displayed at ARTBAT FEST 2012 in his honor.
“He broke new ground in promotion of new artistic ideas,” writes Yekaterina Reznikova, Ph.D., “It is hardly imaginable that the legendary Kyzyl Tractor art group could ever function without him. He was a man of great originality and outstanding ambition. Catching up with the new technologies in art, Moldakul never lost interest in painting. The subject of his paintings varied widely – from the narrative scenes of steppe life and experimental still life to critical social scenes. There comes a time when his painting was invaded with a strange art material of car tires. The tire pieces were applied onto flat decorative pictures either to create extravagant ornamentation, or to imitate a baguette frame. Later, the tires gained some inherent worth. Reflecting on his national roots, Kazakh history, and culture, Moldakul used incredible material – rugged worn rubber tires. They were cut out in an inexplicable way, heated with a blowtorch and mounted on a wooden or metal frame; the tires were converted into original and expressive sculptural constructions.”