The works of Gulnara Kasmalieva and Muratbek
Dzhumaliyev, contemporary artists from Kyrgyzstan, are
considered by Andrey Fomenko in the context of current
processes in post­Soviet 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 “anti­romantic”, 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.