Said Atabekov was born in the Tashkent Region in Uzbekistan in 1965. He graduated in 1992 from Shymkent Art College in Kazakhstan. Soon after, he became a part of the art group “Kyzyl Tractor”, which was considered a creative laboratory that evoked aspects of nomadic culture.
The group was also the first avant-garde artistic group founded in the southern country, after Perestroika. His work has been widely featured at the forefront of international museums and art events.
His works push boundaries and perspectives on transcultural contexts. It also fosters and stimulates a young and emerging generation of artists. He is now a teacher at Shimkent Art College, and remains a key figure in Central Asian art.
Fairy Tales was a video art festival at the Plaza of the Museum of Contemporary Art, Taipei, Taiwan.
Artists
Lida Abdul, Afghanistan
Said Atabekov, Kazakhstan
Mohamed Bourouissa, Algeria
Chen Chieh-Jen, Taiwan
Cao Fei, China
Yang Fudong, China
Cyprien Gaillard, France
Dejan Kaludjerović, Yugoslavia
Mari Kim, South Korea
Kamin Lertchaiprasert, Thailand
Taus Makhacheva, Russia
Almagul Menlibayeva, Kazakhstan
Mariko Mori, Japan
Ahmet Ögüt, Turkey
Adrian Paci, Italy
Public Delivery, South Korea
Wang Qingsong, China
Walid Raad, Lebanon
Cheng Ran, China & Item Idem, France
Taps & Moses, Germany
Guido van der Werve, Netherlands
Erwin Wurm, Austria
Miao Xiaochun, China
stereo, DVCAM (color)
Authors: Abisait Atabekov (Said), Kazakhstan
Cinematography: Vladimir Filippov, Ukraine
Film editing: Ivan Volkov, Ukraine
Exhibited: Neon Paradise, 2004
The video documents a performance in which the artist kneels and bows in front of an automatic door. In a dervish-like, praying manner, he opens up the doors of a supermarket by his rhythmical bowing.
Whether the door opens into a corporate building, modern supermarket, or university is not clear. However, what is clear is the deconstruction of contemporary realities such as economics and the alienated radical movement involves.
Comical at first, it provides trenchant thoughts on worship and religion, stereotypes and notions of progress and modernity. Here the artist questions migration and the resulting recurring cultural ‘invasion’, which contributes to his research on developing a common cultural expression across Central Asia.
