The core of ARTBAT FEST is an open exhibition of street installations. Placing these artworks into urban context and its direct contact with the real world demonstrates mutual complementing of art and the city, revealing the binding power of culture to a wider audience.

"Any artistic project in an urban environment is aimed at a manifestation of the urban aura. The required multiplicity and comprehension of creative activity is brought through the dialogue with the spirit of location, immersion into its historicity, existence, sensibility and meaningfulness.

Though contemporary art exists above geographical and administrative borders, its natural mission is to find a universal potential in the local context. Based on the figure of the nomad, fundamental for the history and identity of Kazakstan one might assume that the generalized perception of nomadic relationships with the space, time and society could and should enrich the creative content of festival artworks. However, in case of the megapolis of Almaty the key component is the fact that art nomadism is located in the urban environment.

The meeting of the Nomad and the City with their fundamental philosophical differences is an intense challenge to the creativity of artists and expert knowledge of city people. How can one combine now the external space of the nomadic steppe and the internal space of a city in the state, wild field and regularized policy, playing go and playing chess?

The most concise metaphors of smooth space are elements of water and air. Symbolically, air can be extracted and reactivated from a cultural layer of Almaty. The boundless steppe and high sky are those environmental features that are harder to experience in a crowded modern metropolis. However, all these contradictions can be a valuable creative resource for geniuses. They face a general challenge to settle in a neighborhood in the site of the city and the sky, which earlier was the roof of a nomad's home.

One of the strangest features of extraordinary geometry of nomadism is living by touch. "Smooth space is a space of contact, of small tactile or manual actions of contact, rather than a visual space... [It] is a field without conduits or channels. … It [heterogeneous multiplicity] can be explored only by legwork." (Gilles Deleuze and Felix Guattari)

Among the inspiring paradoxes of nomadic corporeality there is a balance of external immobility and internal movement, as profoundly suggested by Toynbee, a British historian: "The nomad [is the one] who does not move." "The nomad knows how to wait, he has infinite patience." In ancient times such figures were referred as people of long will.

Since contemporary art is often defined as practical philosophy one shall determine the mental horizon of our air paths and provide concept of a required unit of urban spirit.

In philosophical tradition there is a well known suitable notion of a monad, the smallest particle in the universe, which paradoxically equals the whole world. In Modern times, Leibniz focused on this metaphysical unit and traced the "connection of the monad with matter as a double-storey house, on the first it is open the sensibilia 'folds and unfolds', on the upper storey absolutely shut and somber and the spirit 'bends and unbends.'

Following the linguistic and semantic accord of conceptual oneness with the possible spirit of the place one might name the formula of artistic aggregate for city's spirit inception – a Nomad monad.

This nearly palindrome saying stands for a chamber type of tangency of the air and earth matters.