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
Mieko Shiomi

Mieko Shiomi (b. 1938) is a Japanese artist, composer, and performer who played a key role in the development of text scores, free improvisation, tape music, and many other practices exploring the limits of sound and music. During her studies in the Tokyo University of the Arts, together with Yasunao Tone, Takehisa Kosugi, and others, she founded the experimental music collective Group Ongaku, pioneering electroacoustic improvisation, which later became a worldwide phenomenon. In 1964, she was invited by George Maciunas to join the Fluxus movement, where she introduced and developed some of her practices for an international audience, before returning to Japan and starting work on performances (‘events’), ensemble pieces, and other works — for example, Spatial Poems, an event that bends time and geography and integrates all her practices, based on instructions sent to fellow artists and the careful documentation of the results.

Still active today, her work has been widely circulated as Fluxus editions, featured in concert halls, museums, galleries, and non-traditional spaces, as well as re-performed numerous times by other musicians and artists. Since 2014, Mieko Shiomi has also been giving lectures at Kyoto City University of Arts as a Distinguished Visiting Scholar.

Exhibition
RITES OF ETERNAL WIND EXHIBITION
The Rites of Eternal Wind brings together eleven works across diverse media and genres, united by an expanded understanding of sonic arts: practices of sounding and listening. While rooted in forms traditionally associated with sound exhibitions — such as multichannel installations by Almaty-based artist Rustem Myrzakhmetov and leading sound artist Cevdet Erek from Istanbul — the exhibition gradually extends into visual art and mixed media. These include Azadbek Bekchanov’s large-scale cotton print, which functions as a graphic musical score for his performance, and Ziliä Qansurá’s installation composed of “a thousand” stems of quray — an endemic plant and a key symbol of the Republic of Bashqortostan, from which a traditional flute is made. The curators do not shy away from difficult questions. Bengali artist Budhaditya Chattopadhyay’s participatory sound installation, for instance, invites viewers to “feed” clay pots so that they stop crying—an allusion to the Bengal Famine of 1943 and to similar tragedies in Central and North Asia that claimed millions of lives. Another work in similar direction is an installation by internationally renowned audio researcher and artist Lawrence Abu Hamdan, reflecting on life in the occupied Golan Heights, where wind energy infrastructure is gradually displacing the region’s Indigenous population. The exhibition also features several notable video installations that explore identity through listening and voice: a diptych by Kazakh–Turkish experimental vocalist Saadet Türköz; a film about quray players by Bashqortostan-based director Tañsulpan Buraqayeva; and an experimental work by Korean artist Sojung Jun exploring the history of the Koryo-saram diaspora in Almaty. A key artwork for understanding the Triennial’s central concept — listening and collective music-making as a shared practice — is Mieko Shiomi’s collective sonic sculpture, whose form recalls the jylanbas or asatayaq. The influential Japanese conceptual artist invited all Triennial participants to contribute: each was asked to bring or send “a bell or any other sounding object” and suspend it in a designated location. The work is accompanied (both playfully and respectfully) by a triptych of photorealistic paintings by Kazakhstani artist Lyazzat Khanym, who, drawing on one of Shiomi’s canonical works, offers her own interpretation of how sound and wind might be rendered visually. Most of the works presented in the exhibition were commissioned specifically for The Rites of Eternal Wind.

Starting with a simple instruction — “let something be blown by the wind” — the collectively made sonic sculpture commissioned for Rites of the Eternal Wind offers a strong entry point for exploring the conceptual framework of Mieko Shiomi’s artistic practice, which has been shaping her work for over 65 years. She expands the idea by inviting all Triennale artists, both local and international, to bring or send a bell or any sound-making object to contribute to the sculpture. These objects are to be hung on a piece of wood found near the Syr Darya River in Kazakhstan, and they will be moved by the air, resembling wind chimes — one of the earliest forms of chance-based music known to humanity.Titled Wind Event, the sculpture is not a static object but a durational work that begins sounding even before the Triennale opens; and it will only be fully experienced once each participating artist has had the opportunity to contribute.

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