The Pygmalion Gallery unites several generations of Kazakhstani artists, from masters who have influenced the art development in the Central Asian region to ultra-contemporary and young artists whose talents have strongly established on the local art scene. In 2024, the gallery's founder, made significant efforts to organize the Kazakhstan pavilion at the 60th Venice Biennale, acting as initiator and curator. The development and promotion of Kazakhstani art are core values of the Pygmalion Gallery. Increasing awareness and building bridges between modern and contemporary artists in Kazakhstan is a primary focus.
In its endeavor to showcase the chronology of the development of artistic language in Kazakhstani art, the gallery does not limit itself to specific genres or media, displaying modernist and expanded painting, video and sound installations, textile art, and many other directions that reveal the diversity and richness of Kazakhstani art.
The Pygmalion Gallery regularly participates in international art fairs such as Volta Basel (Basel, Switzerland), QIAF (Qatar), Asia Now (Paris, France), introducing unique works of art and new names of Kazakhstani artists to collectors, experts, and art enthusiasts. Artists represented by the gallery have been featured in publications such as Financial Times, The Art Newspaper, E-flux, Milk Decoration, Artnews, Art Asia Pacific, and others.
ALMAGUL MENLIBAYEVA
Almagul Menlibayeva, a graduate of the Art and Theatre University of Almaty, is recognized for her multidisciplinary practice, which spans video, photography, AI art, cyber textiles, and mixed media installations. Her work critically engages with post-socialist modernity, examining the intersection of environment, gender, and socio-political transitions within a globalized context. By rethinking local mythologies and traditions through a decolonial lens, Menlibayeva interrogates global narratives and systems. In 2017, she was honored with the prestigious Chevalier of the Ordre des Arts et des Lettres in France. Her other accolades include Kazakhstan’s Daryn State Prize, the Tarlan National Award, and the Grand Prix Asia Art at the II Biennial of Central Asia in Uzbekistan. Additionally, she received the Main Prize at the International Film Festival Kino Der Kunst in Germany.Menlibayeva has collaborated with Louis Vuitton on a special project in Almaty, Kazakhstan. Her work has been exhibited internationally at major biennales, including Venice, Sydney, Sharjah, and Thailand. Notable solo exhibitions include Transformation at the Grand Palais and M HKA Museum, as well as her curatorial debut Bread & Roses at MOMENTUM. In 2023, she premiered a significant installation on the Kazakh Famine, commissioned by the Sharjah Art Foundation at the Sharjah Biennale. Her most recent solo exhibition took place at the Aga Khan Museum in Toronto. Currently, Menlibayeva is presenting a special project on cyber textiles, integrating photography and video installations.
Menlibayeva’s artistic practice encompasses a decolonial and nomadic aesthetic, situated within the dynamic context of contemporary post-socialist Kazakhstan. Through her photographic and video works, she explores the intricate interplay of these themes, drawing inspiration from enduring mythologies and geopolitics. This awakening is influenced by the post-Soviet experiences of the indigenous Kazakh people, who are re-establishing their identity after 80 years of Soviet domination and cultural genocide. Menlibayeva engages in dialogues with the transnational circulation of ideas in contemporary art, meticulously curating raw data and blending various media—documentary, staged footage, and the cyber realm—while exploring themes of memory and reality.
Yellow Butterfly
ink jet on archival paper
edition 3/5 + 2 A.P.
71 x 107 cm
2012
Red Butterfly is closely related to the video Butterflies of Aisha Bibi. This series is set in modern times but draws from the 6th-century legend of Aisha Bibi and her fiancé, Karakhan, ruler of the Karakhanid dynasty. Menlibayeva explores universal themes of unfulfilled yearning, unconditional love, and gender roles. The central female figure, wrapped in red drapery, stands against the ornate wall of the Aisha Bibi Mausoleum, a significant monument in Central Asia and an example of pre-Mongol architecture. The mausoleum's location in Taraz, near the Great Silk Road, also highlights the importance of this period in international trade and cultural exchange. By recontextualizing ancient mythology, Menlibayeva revives the rich heritage lost during the Soviet era.
BEFORE A Solar Eclipse IX
Ink jet on archival paper edition
1/5 + 2 A.P. 71 x 107 cm
2010
Filmed in Central Kazakhstan near Karaganda.
A reminder of the time before the advent of a new world order. Slavery never vanished just transformed with the economy and technology. Stalin's Silk Road. The work is titled "Before a Solar Eclipse," symbolizing rebirth from destruction. This site, near the town of Karaganda, was once part of a network of labor camps that covered an area as large as France and was instrumental to Stalin's industrialization efforts, despite the horrendous conditions and brutal treatment faced by the political prisoners and perceived enemies of the state who were forced to work there. The post-industrial collapse of Kazakhstan following the dissolution of the Soviet Union adds a layer of complexity to the interpretation of the artwork, as it not only recalls the historical suffering but also comments on the impact of such massive socio-political changes on the physical and cultural landscape of a country. This work was shot at the my mother's birth place near Aksu-Ayuly and dedicated to mother Gul Bibi.
Steppen Baroque III
Ink jet on archival paper
edition 2/5 + 2 A.P.
71 x107 cm
2016
Map of the Nomadzing Reimaganings
225 x 165.
RESERVED
Artistic Interpretation of Central Asian Emergence
In this multimedia project, cyber textiles are more than backdrops—they are integral maps charting the transformative currents of Central Asia post-USSR. With its strategic geopolitical position and rich cultural tapestry, Central Asia becomes the heart of these narratives. Through 11 site-specific video installations and accompanying photographs, cyber textiles form a visual language, intertwining tradition and modernity. Each piece marks a waypoint on the collective journey of Central Asian societies navigating their post-socialist reality. Highlights include:
Astana – Departure, North Kazakhstan
Kurchatov 22 & TOKAMAK – Nuclear and Thermonuclear Sites, North Kazakhstan
Transoxiana Dream – Aral Sea and Ecological Issues, Kazakhstan-Uzbekistan
Ulugh Beg – Futuristic Machine of Central Asia, Uzbekistan-Pakistan
Karlag Archipelago – Milk for Lambs, Central Kazakhstan
Butterflies of Aisha Bibi – Turkistan, Kazakhstan
My Silk Road to You – Taraz, South Kazakhstan
As the Oil Burns – Qantar 2022, Almaty
Fire Talks to Me – Baku, Azerbaijan
Ride the Caspian – Caspian Basin, Iran-Kazakhstan-Azerbaijan
The Tongue and Hunger – Stalin’s Silk Road and the Kazakh Famine
Woven Waters - Threads of Balkhash
Cyber Textile, 200x160 cm
This project delves into the intricate socio-political and ecological challenges surrounding the management and distribution of water resources in Lake Balkhash, a vital shared resource between Kazakhstan, China, and Russia. By integrating traditional textile storytelling with contemporary digital technologies, the work critiques post-socialist and global capitalist water policies and their profound effects on indigenous communities and local ecosystems. Rooted in the cultural heritage of textile as a medium for narrative expression, Woven Waters reimagines this tradition to shed light on the intersections of environmental justice, policy, and cultural resilience.
Head of Aral Sea
ink jet on archival paper
edition 1/5 + 2 A.P.
71 x 107 cm
2018
Malevich Tank
Ink jet on archival paper
edition 2/5 + 2 A.P.
71 x 107 cm
2015
Ulugh Beg Futuristic Machine
170 x 120 cm
Print on Silk
2021
Nuclear Chapan
120 x 80 cm
Print on Silk
2021
Mother Water. Gulbibi Balkash
2024
Edition
10 + 2 AP
Video 16 min
The use of AI as an artistic instrument to reflect on personal stories and the ecology of a dry lake challenges anthropocentric views by highlighting the interconnectedness between humans, technology, and nature. This approach fosters critical awareness of ecological degradation through ecocriticism, while also exploring memory and identity in relation to place and heritage. By engaging with speculative realism and the ethics of care, such art encourages audiences to consider their responsibilities toward the environment and the implications of their actions in the face of ecological crises.
Caspian Palms
Ink jet on archival paper
edition 1/5 + 2 A.P
71 x 107 cm
2018
Inspired by Oil and artistic Mythology. Caspian nations of Kazakhstan, Azerbaijan, Iran, Russia, Turkmenistan.On this island "Caspian Palms" in economic miracle live happy people, created from the ancient blood of the titans. The people reach very advanced years and are glorified by wonderful legends and artistically gifted.
The blissful life is accompanied by songs, dances, music and feasts; eternal fun and reverent dialogues are characteristic of this people.This island is all in the sun, with a fertile climate and devoid of any harmful wind. Temples for these inhabitants are the Caspian palm trees. On the tops of the Palms the whole society celebrate the Cult of World. Peace, and sing the holy hymns of salvation of whales. People do not know the disputes and all sorts of diseases. Death comes to the people as a deliverance from the satiety of life in an economic miracle, and having experienced all its pleasures, they rush into the sea. You can not doubt the existence of this nation.
Tokamak Nuclear Tree
200 cm x 130
Print on Silk
2020
"Thermonuclear Skin" is a textile inspired by the video installation "Tokamak," which was showcased at the Grand Palais Salon de Honour in Paris in 2016.
This textile symbolizes protection from the intense radiation of the "Artificial Sun," a concept that came to me during my visit to the Tokamak KTM capsule in Kurchatov, North Kazakhstan. alternative energy and generates temperatures exceeding those found onthe Sun. The specialized alloy used in the construction of the Tokamak capsule inspired the concept of "Thermonuclear Skin." In 2013, I created the video installation "Kurchatov 22," which sheds light on the history of the former Soviet nuclear test site.
Camouflage Centaur
Ink jet on archival paper
edition 3/5 + 2 A.P.
71 x 107 cm
2015
Yerbolat Tolepbay
Yerbolat Tolepbay, born in 1955 in Lenger, Kazakhstan, is a key Kazakh artist of his generation. For five decades, beginning in the 1970s, his work has been an established part of the country's art scene. Marked by bright indigenous colors that seem to embody the essence of Kazakh culture, Tolepbay's works have gained international recognition, including solo exhibitions in 35 countries, such as Künstlerhaus in Vienna, the Miró Hall at UNESCO headquarters in Paris, Tretyakov Gallery in Moscow, and the National Museum of Bulgaria. His style is a synthesis of the abstract and figurative, the spiritual and the material, reflecting the radical changes in society from the Soviet era through perestroika, Kazakhstan's independence, and into today's global transformations.
Tolepbay's art is permeated by a search for spirituality and the return of humanity to itself. His works reflect on themes of internal change and human self-perception, especially relevant in times of crisis and transition. These transformations are central to his art, which is imbued with reflections on how global changes awaken the need for people to return to their roots and inner origins. Spirituality and the aspiration for harmony are signatures of his artistic approach. Tolepbay creates complex compositions that serve as portals for viewers, opening pathways to inner reflection. In these works, the fusion of Kazakh traditions and high mastery of painting forge deep connections between the past and present, as well as between humanity and nature.
The influence of his mother, who was a healer, has deeply shaped his perception of the world. The artist recalls how people came to her from morning until night for healing, which instilled in him a faith in spiritual forces and propelled him toward art. In Tolepbay's paintings, there are no sharp forms; indigenous bright colors symbolize spiritual balance. The art of Yerbolat Tolepbay opens a space where each viewer can find something intimate, regardless of cultural or geographical barriers.
In 2024, Yerbolat Tolepbay represented Kazakhstan in the national pavilion at the most recent Venice Biennale.
qyzğanyş
Hand weaving, wool
280x200, 2012
In this work, the artist draws upon his childhood memories. His mother, a renowned spiritual healer. The central figure in the painting reflects process of healing. Expanding on this theme, the artist creates a unique textile artwork—a tapestry—repeating his signature motif, weaving a narrative of care, resilience, and spiritual transformation.
LIGHT FROM THE HEAVEN. 2017. OIL ON CANVAS. 140Х170
In this work, the artist draws upon his childhood memories. His mother, a renowned healer, welcomed those in need into their home. The central figure in the painting reflects a woman who once came to the artist's family seeking healing.
Ush Apa (Three Graces)
2015
Oil and acrylic
95 x 170 cm
SOLD
The painting manifests the strength of women as "ships of the desert," intentionally blending the figures of the riders and camels into hybrid forms, as though the camels' legs are an extension of the women's bodies. This powerful fusion symbolizes the extraordinary strength, endurance, and grace of Kazakh women, who are the bearers of tradition and the cultural backbone of their society.
Zhanna Nugerbek
Zhanna Nugerbek was born on December 28, 1988, in the village of Aktyk, Akmola region, Kazakhstan. In 2018, she graduated from the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture, and Architecture, specializing in sculpture. She currently teaches ceramic art at the Department of Decorative Arts at the T. Zhurgenov Kazakh National Academy of Arts and resides in Astana, Kazakhstan.
Zhanna’s artistic journey is closely tied to the exploration of masculinity and femininity. Her time studying in St. Petersburg sparked an interest in the visual history of Kazakhstan and a deep investigation into her roots. The feeling of distance and longing for her homeland became a key catalyst in her work, resulting in a series of pieces that reflect her distinctive artistic approach. In her art, she frequently emphasizes feminine imagery, offering a counterbalance to the traditional male monuments of Kazakh warriors (batyrs) that are commonly seen across the country.
Zhanna is actively engaged in developing and experimenting with different forms of sculpture. Her interests range from studio sculpture to monumental outdoor installations and land art.
Centaur
paper, acrylic, metal
80x70x30 cm.
2021
Sold
The centaur sculpture by artist Zhanna Nugerebek explores one of the foundational motifs of Kazakh nomadic culture: the mythical half-human, half-horse figure. This work simultaneously engages in a dialogue with the history of European modernist art, drawing a connection to Giacometti's stylistic influence. The sculpture is also available for commission in a bronze edition.
Sleeping Horses
sculptural composition
height 20 cm width 40 cm depth 25 cm
Three figures of sleeping horses display meditative peaceful poses. For me, nostalgia for the lost nomadic past in Central Asia is represented in this "dream" instead of countless battle images of horsemen.
