fellows

Photo by Dmitry Ingolychev, kipyat.com

Gaisha Madanova (b. 1987, Alma-Ata, Kazahstan) is at the moment located in Munich, Germany. In 2009, she graduated from the Faculty of Architecture of Almaty College of Construction and Management. From 2012-18 she studied at the Munich Academy of Fine Arts under the mentorship of Prof. Hermann Pitz (Sculpture, Diploma) and participated from 2016-18 in the project class led by Prof. Julian Rosefeldt (Digital and Time-based Media). Her artistic practice involves different media and techniques (printmaking, objects, digital media, installations). Gaisha Madanova is a founding member of the international art collective Artpologist established in 2007. Since 2012 she has curated different projects inside and outside Kazakhstan (VIDEO[ARTiFACT]; DIYALOG: New Energies, VIENNAFAIR; mikro[smART]raiony, ARTBATFEST; Internal Storage - Not Enough Space? Garage Museum of Contemporary Art). In 2016 she co-founded Kazakhstan based platform ARTCOM. Gaisha Madanova has founded the first Kazakhstan conceptual art magazine ALUAN - EXHIBITION ON PAPER (issue #1 Art Upside Down, 2015). Notable group exhibitions where her works have been shown include DIE GRENZE (2019-17), Eurasian Utopia: Post Scriptum (Suwon, 2018), BREAD&ROSES: Four Generations of Kazakh Women (Berlin, 2018), Postnomadic Mind (London, 2018), SUNS AND NEONS ABOVE KAZAKHSTAN (Baku, 2017), BALAGAN!!! Contemporary Art from the Former Soviet Union and Other Mythical Places (Berlin, 2015), A TIME FOR DREAMS - 4th Moscow International Biennale for Young Art (Moscow, 2014), ONE STEP/PE FORWARD (Venice, 2013).

Links to artist's web page, Facebook and Instagram.  

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All the images made by the artist herself except image №5.; 1. Untitled; 2. Birdcatcher; 3. Untitled; 4. Beam Me to the Presence; 6. Beam Me to the Presence – photo by Zhanarbek Amankulov; 6. Handsome Price; 7. #0000ff; 8. Untitled
Artist statement

My artistic practice is very diverse and I'm interested in working with different media. I combine different elements, reuse by me produced imagery to shape multi-layered works, that never show the complete structure nor could without the delivering or mentioning the source depict some universal questions and involve the viewer to examine the relation between artificial and natural existence. The medium of installation art has become very present in my practice. It's not only allowing me to respond to the surrounding contexts and perception of space/things but it is also letting me include the techniques that I am working with (digital media, objects, printmaking). The visual vocabulary I use is based on the objects of different origin that are dislocated from their original function and often follow the principle of a collage to set up the composition. Topics like watching and being watched, the body as an expression of the inner self or the strategies of transformations and displacement can be seen as links through the various series of my works. A work like the Bird Catcher (2011-2016), which was inspired by a scene at the market in Uzbekistan where living birds are packed into small sacks and hung from walls for sale, has become one of the regular subjects for me. It can be read on several levels and should not be reduced to a simple political statement or a comment on Central Asia. Without being hindered by the historical reality the duality of the work develops through different interpretations and becomes a poetic piece that disturbs the viewer without the need for explanation and manages to be deeply evocative without sentimentality. My series of silkscreen prints and nitro-frottages are based on the illustrated manuals for gymnastics, massage, body stretching, and kinesiotherapy, published in the Soviet Union and other countries related to that era. The motifs I use are associated with the use of the human body, as well as in some way, the inner self. I often use only close-ups, fragments or details from the original images. It is not only the technical description of the proposed action that interests me, but also the moment of body manipulation, the use of hand gestures, contact through the interaction between people, and the displacement of the original meaning to disclose a metaphysical level. In my series of works that function like tiny gestures, the conceptual approach is also focused on the reaction and play with the context of the exhibition space. Often these works have the presence at the place, but still, due to the different reasons are absent for the viewer. In this case, besides delivering the main message, I'm also interested to work with the viewer's expectations and the process of looking at/seeing art. The work Beam me to the presence (2017) is a 32-meter message about hopes of mankind for a better future in Mars that I installed on the public library handrails, and it remains unnoticed. But still, even without seeing this work, people constantly got involved with this piece by holding hands on it. The similar approach could be found in the works Handsome Price (2016) and #0000ff (2017).


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