Exploring the lived experiences of Kyrgyz’s modern day nomadic communities, Gates of Turan illuminates the very fabric of Kyrgyz tribal identity, tracing the thread of memory from modern day Kyrgyzstan through to a shared tribal ancestry.
Significantly, Firouz FarmanFarmaian is the great-nephew of the Iranian artist Monir Shahroudy Farmanfarmaian (1922-2019), who exhibited at the Venice Biennale in 1958, where she was awarded a Gold Medal for her work. As an exile from Iran’s 1979 Revolution, Firouz’s life in Europe and North Africa has profoundly influenced his socially engaged practice. History, identity, the immaterial substance of memory and the post-tribal inform his work. He seeks to actively engage in bridging dialogues between past and future, East and West, as well as craft and technology. His social engaged practice of immersion within tribal and nomadic cultures from North Africa to Central Asia underpins his retrofuturist sensibilities and ecological preservationism. His practice possesses a spontaneous energy alongside a deeply symbolic quality that interrogates a multiplicity of currents in post-tribalism, ethnogenesis, politics and philosophy.
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