Abstract
Abstract: This article explores the politics of the commemoration of the Kazakh famine of the 1930s by analyzing the commemoration strategies employed by visual artists in the period from 2012 until 2019. It identifies two types of art production on the topic—governmental public art, which avoids politicizing the famine and reads it as the greatest humanitarian catastrophe of the Soviet period, and art projects by independent artists who call the Kazakh famine a genocide. Although these two positions seem to be ideologically opposed on a rhetorical level, the article shows that the difference in the visual language used to express these opposite political positions is not always as pronounced as one would expect, and proposes several explanations for this incoherence.