Language without Alphabet by Babi Badalov & Aziza Shadenova
Private Institution debuts in Paris with Language Without Alphabet. The inaugural duo show, featuring works by Babi Badalov and Aziza Shadenova, invites viewers into a visual conversation that transcends the limits of text. It is a poetic and empirical exploration of art’s ability to connect and communicate on the most primary level.
In this dialogue, Babi Badalov and Aziza Shadenova bring distinct yet complementary perspectives in their shared effort to break free from the authoritarian and utilitarian confines of text. Badalov transforms writing into visual poetry, seamlessly blending text and image across fabrics, sheets, and walls. His works are polyglot and universal, redefining the very boundaries of language. Shadenova’s practice, often described as a visual puzzle, is steeped in humour, absurdism, and ornamentation. Through layered signs, text fragments, and gestures, she explores themes of memory, womanhood, and immigration in a quest for universality.
Inspired by Umberto Eco’s concept of the text as an open work, the exhibition embodies a poetic openness that invites multiple interpretations, each reinforcing the others. Etel Adnan’s assertion that writing is drawing resonates deeply here, as does Babi Badalov’s addition, drawing is writing. Known for placing the word at the core of his practice, Badalov now transitions to a more visual-centric approach, yet he doesn’t relinquish the communicative power that words once held. This evolution in his work speaks to his ongoing exploration of how both text and image can bridge or emphasise divides.
On the other hand, Aziza Shadenova’s work, deeply rooted in semiotics, transforms symbols and motifs into her unique visual language—the language of the soul. Drawing inspiration from Central Asia’s rich textile traditions and 20th-century avant-garde movements, Shadenova explores the profound impact of Sovietisation on Central Asian women and, more broadly, the intricate, ever-evolving transitions of nomadic and shamanic cultures.
Together, their works convey a universal message—an unfiltered effort to preserve and transmit poetic heritage. This is more than a communication tool; it is an act of existence—a raw and primal form of visual expression that transcends formal constraints.
This exhibition consciously departs from speculative narratives, favouring honesty and pure emotion. It challenges the politicised expectations often placed on non-Central European artists, rejecting the myth that they must critique and conform to Cartesian frameworks of exoticism. Instead, it offers a moment of reflection and a bold statement of artistic sincerity.