KORKUT2026

Мәңгілік жел салтанаты

II Korkut үн өнері триенналесі

Триеннале дыбысқа және дыбысты қабылдауға арналады әрі институционалды шекаралармен шектелмей, кең диапазонды дыбыс практикалары үшін кеңістік жасайды. «Мәңгілік жел салтанаты» жобасы аясында екі ай бойы мұнда дыбыс инсталляциялары орнатылады, дыбысты қабылдау және дыбыс серуендері сеанстарын қамтитын тікелей іс-шаралар, гибридті дәрістер, пікірталастар мен шеберлік сыныптары, соматикалық перформанстар, сондай-ақ дыбыс мүлдем жоқ немесе ол мүмкін болмайтын орта мен дыбыс рәсімдерін зерттеуге жол ашылады.

«Целинный» заманауи мәдениет орталығы

Jazgul Madazimova

Jazgul Madazimova is a multidisciplinary artist based in Bishkek, working across installation, performance, and socially engaged practice. She approaches body and land as a place of memory and knowledge. Her projects often take the form of durational actions and simple material gestures, building meaning through time and repetition.

Moved and inspired by the sacrifice and resilience of an entire generation of Kyrgyz women who left their homeland to work abroad to support their families, she explores themes of migration and borders, histories and experiences, perspectives, and gender. Performative installations are one of Jazgul’s primary techniques, using which she practices a collaborative and socially inclusive approach, bringing together artists, spaces, and communities. Jazgul studied International and Comparative Politics at the American University of Central Asia and at ArtEast, a contemporary art school in Bishkek.

Rite of the Fallen Mountain
Performance (2026)

For the Rites of Eternal Wind, Jazgul is creating a new performance — a rite with the ‘mountain’, taking shape in kneeling, carrying, breathing that unfold slowly and invite close attention rather than spectacle. Referring to the novel Toolor Kulaganda(“When the Mountains Fall”) by a Kyrgyz novelist Chingiz Aitmatov, a pillar of Turkic-speaking literature of the 20th century, Madazimova dismantles the artificial mountain piece by piece, decentralizing its dominant figure in a silent rite of mourning, and asks whether the sounds of her breathing, the movements of her body and the stones, amplified by microphones, could be considered music?
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The Seeker says:

“Will the Samal wind continue to blow from the sacred mountain, stripped bare by years of quarrying? Or will it bring only white salt to every home, as a reminder of its existence? The wind crosses national borders without passport control. It cares not for the color of the skin it caresses with its cool touch. It carries voices and songs, regardless of their language”

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