From October 24th
to April 13th, 2025
Fondazione Elpis, Via Lamarmora 26
Condividi
A cura di
Dilda Ramazan e Aida Sulova
YOU ARE HERE. Central Asia
From October 24th
to April 13th, 2025
Fondazione Elpis, Via Lamarmora 26
Condividi
A cura di
Dilda Ramazan e Aida Sulova

With Munara Abdukakharova, Aïda Adilbek, Chyngyz Aidarov, Aika Akhmetova, Vyacheslav Akhunov, Said Atabekov, Medina Bazargali, Azadbek Bekchanov, Bakhyt Bubikanova, Ulan Djaparov, Saodat Ismailova, Anna Ivanova, Kasiet Jolchu, Daria Kim, Jazgul Madazimova, Yerbossyn Meldibekov, Gulnur Mukazhanova, Nurbol Nurakhmet, Rashid Nurekeyev, Qizlar, Marat Raiymkulov, Sonata Raiymkulova, Alexey Rumyantsev, Zhanel Shakhan, Temur Shardemetov, Ester Sheynfeld and Emil Tilekov.

From 24th October 2024 to 13th April 2025, Fondazione Elpis presents the group show YOU ARE HERE. Central Asia, a vibrant constellation of artistic visions from Central Asia, curated by Dilda Ramazan and Aida Sulova.

YOU ARE HERE. Central Asia is a vibrant constellation of artistic visions from Central Asia curated by Central Asians.

The exhibition presents the works of 27 contemporary artists born in Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan, featuring a range of media including painting, video, sculpture, photography, textile, site-specific installation as well as performance.
The show's title and thematic frame originate from the eponymous everyday phrase, which literally means marking a presence in various places, streets, cities, and countries. It is often accompanied by the graphic pin that indicates the current location and shows the position and orientation in physical spaces. Metaphorically, You Are Here manifests self-awareness and acknowledgment of one's presence within various levels of existence.
In today's world marked by constant migration, displacement, and the search for a home, the concepts of identity and belonging are of a great importance, securing one's visibility and right to self-placement.

As curators of YOU ARE HERE. Central Asia we encouraged Central Asian artists to detach themselves from the literal map and, without being instrumentalized or exoticized, mark their presence in the ways which resonate with their self-perception, views, memories, feelings, and life experiences. Whether through mental, bodily, spiritual, geographical, metaphysical, or political spaces, all perspectives were embraced in the conception of the show.

Aika Akhmetova
Medina Bazargali
Temur Shardemetov
Gulnur Mukazhanova
Qizlar
Nurbol Nurakhmet
Aïda Adilbek
Marat Raiymkulov
Kasiet Jolchu
Sonata Raiymkulova
Saodat Ismailova
Chyngyz Aidarov
Azadbek Bekchanov
Munara Abdukakharova
Emil Tilekov
Yerbossyn Meldibekov
Vyacheslav Akhunov
Ester Sheynfeld
Alexey Rumyantsev
Anna Ivanova
Bakhyt Bubikanova
Ulan Djaparov
Zhanel Shakhan
Said Atabekov
Rashid Nurekeyev
Daria Kim
Aika Akhmetova

In their Rage Fantasies (2023), Akhmetova recreate pod’ezd: a communal entryway space between the street and the home, a familiar concept to many residents of Soviet-era apartment buildings. The surface of the walls in pod’ezd is visually segmented by paint: the bottom part of the wall is painted by either blue or green color, making it practical and easy to clean, whereas the top part remains white. The choice of blue and green is rooted in Soviet history: the green used for military and blue used for civil machinery. The abundance of these paints shaped the color palette or the pod’ezd environment. In this space, the metal mailbox serves as both a literal holder of mail and as a trash can for everyday items. The presence of plants and posters in pod’ezd represents the attempts to domesticate and personalize the communal space. For Akhmetova, this space is a sanctuary for intimate experiences. They describe their project as “about love, rage, and healing,” with heart imagery to represent emotions. Thinking about pod’ezd as a liminal space, Akhmetova reflect on high concentration of trapped passionate emotions: from sneaky teenage kisses and other mischief to overheard conversations, fights, and celebrations. The use of the word mahabbat (which means love) is intentional, as it appears in various languages and can be understood by a broader audience.

photo by Fabrizio Vatieri