Abstract
The works of Gulnara Kasmalieva and Muratbek Dzhumaliyev, contemporary artists from Kyrgyzstan, are considered by Andrey Fomenko in the context of current processes in post-Soviet art, including the request for factography, as well as “orientalist” aestheticization of national and cultural identity of an artist. The video installations of Kasmaliyeva and Dzhumaliyev, outwardly strictly documentary and “anti-romantic”, are in fact far from being so unambiguous in their implications and can be interpreted as a resuscitation of romantic values at a new level of reflection.
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