PLASTICITY VS CONSTRUCTIVISM

Constructivism  is  characterized  by austerity,  geometricity,  conciseness  of  form  and  monolithic  appearance. As  a  formula  that  communicates  to the viewer the basic idea, through the lines, is the sense of non-objectivity, the combination of simple forms in dynamics and statics, subtly feeling abstract geometric elements.  In  the  exposition  space,  plasticity  and  constructivism  enter  into  a  dialogue,  where  the  integral  part  of  the viewer's  perception  is  the  search  for  harmony  among  the  artistic  conflict.  Taking  various  forms,  genres, techniques the two very different directions enter into a dialogue of functionalism, which sought to emphasize the expression of modern structures in art and rhythmic combination of aesthetics, coherence of movements, flexibility.  Transformation  of  different  forms  and  their  application  in  the  context  of  art  carries  a  clear perception of reality and the actuality of human existence. Artistic conflict (from Latin conflictus - clash, disagreement, and dispute) is a representation and embodiment of  acute  struggle,  collision,  opposing  interests,  passions,  aspirations,  ideas,  actions,  and  characters  in  art. Economic, political, philosophical, moral and other major contradictions of the era are specifically reflected in artistic conflict. Artistic conflict is an essential moment of the ideological and aesthetic content of art. The philosophical  depth  of  a  work  of  art  is  largely  determined  by  how  it  reflects  the  contradictions  of  the  time. The  concept  of  conflict  is  close  to  the  collision,  but  has  an  independent  meaning,  because  the  conflict  is  a sharp  and  clearly  expressed  collision.  Artistic  conflict  is  not  reduced  to  a  simple  depiction  of  the  real contradictions  of  reality.  Conflict  in  art  is  an  artistic  and  figurative  reflection  of  contradictions  that  are difficult to solve or unsolvable at all, like in social being and human psychology, in the deepest dialectics of human life, class antagonisms, the struggle of the new with the old, where each artist seeks his own form to express and reflect the opposites on one surface, in order to form a harmony.  Conflict in art always has an aesthetic coloring, it represents a struggle between the forces of good and evil, light and darkness, humanism and reaction, i.e. the clash of the beautiful and the ugly, the sublime and the base,  chaos  and  order.  This  is  a  means  of  deep  and  large-scale  artistic  reproduction  of  life,  the  dynamic development of the subject, a multifaceted and vivid disclosure of human characters and concepts.  With diversified research paths of each artist, the conflict takes the form of a clash of characters and forms – seen  in  the  sculptures  of  Alibek  Mergenov;  the  struggle  of  passions  –  in  the  abstract  paintings  of  Darkhan Rukholla  and  the  graphic  art  work  of  Nurlan  Tapauov;  the  ideological  confrontation  -  the  collages  of  Mariya Peskova,  tragic  states  -  sculptures  by  Saken  Narynov  and  installation  by  Sabirzhan  Bespayev,  harmony  of incompatible forms, process and completeness - depicted in works of Bakhyt Bubikanova, Syrlybek Bekbotaev and Munisa Guliyeva, and also juxtaposition of minimalism and chaos, reflected in works by Lyazzat Khanim, Shege, Katya Kan, Violetta Bogdanova and Galymzhan Balsary.