Firouz FarmanFarmaian
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Open a larger version of the following image in a popup: Kayakalak Panel IV Install Shot Kyrgyz Pavilion 59th Biennale di Venezia
Open a larger version of the following image in a popup: KAYAKALAK PANEL FOUR ( BIENNALE DI VENEZIA COLLECTION ) , 2022

KK P4

Open a larger version of the following image in a popup: KAYAKALAK PANEL FOUR ( BIENNALE DI VENEZIA COLLECTION ) , 2022

KYRGYZ PAVILION

FIROUZ FARMANFARMAIAN GATES OF TURAN WALKTHRU from Firouz FarmanFarmaian on Vimeo.

KAYAKALAK PANEL FOUR ( BIENNALE DI VENEZIA COLLECTION ) , 2022

Felt, Silk and Yak Wool
170x140
NFT Unique Edition Available
Series: KAYAKALAK PANELS ( OG BIENNALE DI VENEZIA SERIES )
We R The Nomads
Reserved

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  • KAYAKALAK PANEL FOUR ( BIENNALE DI VENEZIA COLLECTION )
The KAYAKALAK Series investigate the immaterial substance of memory through the sourcing of archaic cosmogonies across sacred material, derived semiology and spiritual realms.
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Taking his cue from Aligheri e Boetti’s work with Afghan women weavers, Firouz’s approach  to traditional crafts is tempered by a strong spirituality and conceptual investigations. Inspired  by visionaries such as South-Korean installation artist Kimsooja, his practice extends links to  the philosophies of Joseph Campbell, Darius Shayegân and Edouard Glissant. Concepts  present in his Ecology of Soul and Postribal series indicate a dynamic where archaic thought  processes enter a conceptual-spiritual transformation, eschewing the post-industrial ‘isms’ of  negativity, materiality and depression.

The artist draws inspiration from his ‘nomadic displacement’, the result of early exile in his childhood  following the Iranian Islamic revolution in 1979. This led him to investigate his clan’s tribal past - and the hereditary ties linking him to central Asia, Kyrgyz culture and to the myths and epics related to the idea of Turan. In 2021, FarmanFarmaian traveled to Kyrgyzstan to research current day crafts practices inspired  by the Kyrgyz national epic, the Manas. Venturing into the remote highland regions of YSSIK KOL  and NARYN, his immersions within the tribal and nomadic cultures resulted in a collaboration with the local  craftswomen and the creation of textile based installations through a multiplicity of elements including  raw yak wool, felt, Kyrgyz yurt structures and locally sourced pigments. ‘Gates of Turan’ is the result of this collaboration.

In the ten piece KAYAKALAK panel installation, nomadic tapestries are placed to hang as imaginary tribal  banners - nomadic traditional felt making techniques are here reinvented to serve the idea of a lost mythical  Unitarian mandala, traveling through hand sewn designs of the ‘Oïmo’, a mythical visual vocabulary revisited  by the artist and produced in collaboration with the Kyrgyz craftswomen. These myths are closely connected  to the Manas, and as such the banners symbolize the allied tribes of the warrior-hero Manas as he fought for  freedom and independence

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Provenance

Produced in KYRGYZSTAN, KOSHKOR, NARYN VALLEY. in collaboration with  ALTYN KOL women led NGO

Exhibitions

59TH BIENNALE DI VENEZIA - KYRGYZ PAVILION 04-22/ 11-22

Publications

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