The artists Pasha Cas and Diana Scar presented the collaborative art project, entitled “Hope for a Bright Future,” that they have been working on in recent months. They portrayed a train following the “Hope — Bright Future” route on the walls of “DOM/House on Baribayev St.,” a new sociocultural space in Almaty.
The art project also includes a written manifesto and a video created by the artists and their team.
HOPE FOR A BRIGHT FUTURE
No one knows how much longer we have to stand in wait, hoping for something better.
It seems we only have to open the door, enter the train car, take a comfortable seat, and finally set off. But what is the place we are all striving towards? Does it even exist if none of us has been there?
We want to believe that someone will appear who will launch the train in the necessary direction—who will fight for truth and freedom and help the needy. And all of this we will be able to observe from the window of our own compartment.
You need only stand in line a little longer, since the ticket for your desired journey is already in your hands, purchased with your carefully set aside earnings.
But it’s possible to stop waiting. To stop believing in the imposed image. And to start creating your own reality that you want to live in, here and now.
At Adamdar/CA’s request, the artists told us about how the idea for the project came to be and how their work on it has progressed.
The message of the project emerged back at the beginning of the year, when the lockdown began and the global situation shifted to the status of “waiting for hope of a bright future.”
But in July the idea took on its final form.
Dauren and Nafisat [part of the team for the “House” space—Å] invited us to realize the project in the “House 36” space, and the very moment they showed us the location, the context of the place became obvious: we envisioned a train in the building.
The project turned out fairly large-scale—an entire month passed from the moment of the idea’s conception to the video shoot.
Before directly approaching the task of painting, we had to prepare the wall, work out the sketch, and select and purchase materials.
Filming was a separate, complicated “quest,” but we have a strong team, with whom we were able to do everything at the highest level.
The last stage is post-production. In total, all the work took around three months.