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

Lyazzat Khanim

Lyazzat Khanim (b.1994) is a visual artist from Kazakhstan who explores the medium of photorealistic painting, often combining it with video and digital art. Dissolving the borders between art and reality, quite literally, by making her paintings look as close to the objects they depict as possible, Lyazzat refocuses her attention on the weirdness of the mundane. Her paintings, usually depicting objects from our everyday life, and sometimes found in rather unusual places (who left the flat breads hanging on the wall?), exist in their own realm, almost like they’re left in a limbo they cannot escape. One can say though that Lyazzat places them in this limbo with good intentions, so the subliminal non-place between the worlds becomes a comfort zone where the consumer products can express their personality, contrary to the universality of mass production they’re destined for.

Currently, Lyazzat is working between Basel and Almaty, pursuing a Master degree in Fine Arts at the Institute Art Gender Nature, Basel Academy of Art and Design FHNW. In 2017 she graduated from Parsons School of Design.

The Three Movements
Triptych, oil on canvas (2026)

Lyazzat Khanim’s commission for Rites of Eternal Wind is related both to her own venture into the bizarre world of objects and to the Triennale’s focus on keeping the framework of “sonic arts” as wide as possible and, at times, quite playful.

Starting with a thought experiment — what if the text scores of Mieko Shiomi, which are meant for performers, are given to visual artists — her triptych is a result of how one can paint sound. Referring to what is called progress and technology as an obsession with “controlling the uncontrollable,” she turns three photorealistic paintings of a modern air conditioning system into a symbolic map of human interaction with the wind, leaving the open question: is it possible for a static object, oil on canvas, to make us hear the wind?
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The Whisperer says

“There once lived a man who began losing his hearing in childhood, until by the time his hair turned grey he could scarcely hear a sound. His only child became a musician, and he loved them so deeply that he taught himself to listen in a different way — so that he could still hear what they played, even when the music existed only inside his mind.”