Life & Culture - The Times Of Central Asia

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Venice Biennale

A Polyphonic Process: Kazakhstan at the 2026 Venice Biennale

"There is a Kazakh proverb that says: a foolish person arrives with noise, sweeping everything away in their path, while a wise person arrives quietly, carefully observing the world around them." Syrlybek Bekbota, the curator of the Kazakhstan Pavilion at the 61st Venice Biennale – the most important art event in the world – offers me this thought at the dawn of the exhibition's opening, and it feels like both a manifesto and an omen. The theme of the pavilion is perfectly in line with the overarching curatorial theme, In Minor Keys, conceived by the late Cameroonian-Swiss curator Koyo Kouoh, who tragically passed away before the Biennale opened. And yet the controversies around this edition contradicted this minor key premise, instead turning it into a highly political event: the jury's resignation, widespread protests against the participation of Israel and Russia, rallies against the exploitation of art workers. The Kazakh pavilion was not immune to controversies itself, after artist Äsel Kadyrhanova's installation Machine (2013) – a meditation on Stalin-era repression featuring a vintage typewriter, Soviet-era arrest warrants, and red thread – was dismantled before the exhibition opened. However, on the day of the pavilion inauguration itself, no trace of the controversies was visible inside the high-ceilinged space. Listening to the Quiet Housed within the Museo Storico Navale near the Arsenale entrance, Qoñyr: The Archive of Silence marks Kazakhstan's third participation in the International Art Exhibition of La Biennale di Venezia, and its most ambitious yet. It is also worth noting that it is the first time a Central Asian nation has selected its pavilion curator and artists through an open call – open to citizens of Kazakhstan, with priority given to those currently living and working in the country. It is a deliberate emphasis on rootedness rather than the diaspora-friendly internationalism that, for better or worse, dominates many national pavilions. The exhibition centres around the word qoñyr, a key term in Kazakh cosmology. While its literal meaning refers to the colour brown, qoñyr carries a far richer metaphorical significance: it can describe a sonic register, the scent of earth, or a form of silence with deeply embodied meaning. It is the attentiveness to minor vibrations – the wind, the breath, a footstep – that renders audible what is usually displaced by noise. The pavilion takes its cue from a traditional Kazakh instrumental composition of the same name by the twentieth-century composer Äbiken Khasenov, whose work embodies a broader cultural shift: as cultural theorist Zira Nauryzbay has noted, Kazakh music before the twentieth century was predominantly composed in major keys, while the century's upheavals – Soviet occupation, famine, mass deportations – precipitated a distinctive turn toward minor tonalities. That sonic transformation is the exhibition's guiding metaphor. "In periods of global instability, attention is often drawn to loud events and immediate reactions," the curator Bekbota explains. "Within this atmosphere of noise, personal memory, everyday experience, and quieter forms of knowledge can easily remain unnoticed." His curatorial wager is that restraint, rather than volume, can...

TEDxMarvila

Love Takes Center Stage at TEDxMarvila in Lisbon

Pátio da Galé, one of Lisbon’s most iconic public spaces, became a gathering place for ideas, art, and cultural exchange on Saturday as TEDxMarvila held its latest edition under the theme “What is Love.” Held in the heart of the Portuguese capital, the event drew an international audience for a full day of talks exploring love as emotion, language, identity, and shared human experience. Anel Imanbay, who is originally from Kazakhstan, founded and organized the event. She has built TEDxMarvila as a Lisbon-based platform that brings together people of different nationalities and creative backgrounds. This year’s edition extended beyond the stage, featuring an art exhibition titled “Love at First Sight,” which brought together artists from around the world. Among the participating artists was acclaimed Kazakhstani artist Eduard Kazaryan, who exhibited three works as part of the program. Kazakhstan was also represented diplomatically at the event. Jean Galiev, Kazakhstan’s ambassador to Portugal, attended as an honorary guest, adding to the gathering’s international character and its connections with the Kazakhstani community abroad. The event created an atmosphere of openness and exchange. Guiomar de Oliveira, one of the attendees, said the event showed how differently people can express the same universal emotion. “It was interesting to hear how different people translated love as emotion with words,” she said. “I met people from all over the world. Love is international, and I loved meeting all those translators of emotions.” Behind the scenes, organizers said the event reflected the work of a committed international team. Co-organizer Henrique Tiago del Castro praised Imanbay’s leadership in developing the event. “Anel Imanbay is the kind of professional who brings clarity, dedication, and a strong sense of purpose to every project she is part of,” he said. “For TEDxMarvila, her contribution reflects both confidence and thoughtful engagement, helping shape the conversation with relevance and depth.” With its blend of talks, international art, and cross-cultural participation, TEDxMarvila highlighted love as both a personal emotion and a language of connection across communities and borders.

Film Festival

Eurasian Film Festival in London Showcases Cinema from Central Asia and Beyond

The ninth edition of the ECG Eurasian Film Festival has concluded in London, bringing together films from Central Asia, the Caucasus, and the wider post-Soviet space. The festival, held in partnership with the Romford Film Festival, was created to promote Eurasian cinema in the English-speaking world and connect filmmakers from the region with international audiences and industry professionals. It is also listed by FestivalFinder, the European Festivals Association’s platform for film festivals. The festival still gives filmmakers from smaller Eurasian film industries access to London audiences and industry professionals. Too often, movies from across Eurasia are framed through a narrow lens as “regional,” “political,” or useful mainly for their cultural differences. The London program suggests something broader. Its strongest entries were not simply statements about places, but stories about youth, memory, technology, art, identity, and imagination. This year, the top prize went to K-Poper by Iranian director Ebrahim Amini. The film follows a teenage girl who becomes fascinated by a Korean pop star and dreams of traveling to Seoul, despite her mother’s opposition. It is a story rooted in Iran, but its subject is immediately recognizable: pop culture, generational tension, and the private worlds young people build for themselves. Other winners showcased the range of the program. The animation prize went to Swiss photographer Bellopropello for a film about the way smartphones are reshaping human behavior. Best Documentary was awarded to Russian director Vladimir Sumashedov for a film about an artist who tries to confront the violence of World War II through art. The Best Book Trailer award went to Armenian writer Elena Aslanyan’s The Gold of the Aryans. Central Asian works also formed a key part of the selection. The Uzbek film Batyr Zakirov & Frank Sinatra: The Meeting That Could Have Happened... won the Audience Choice Award, imagining a cultural encounter between the Soviet East and American popular music. Kazakhstan was represented by Saule Rysbaeva’s Children, the Seeds of the Future, while Uzbekistan’s Legends of the Great Silk Road revisited the region’s cultural inheritance through animation. The value of festivals like ECG is not only in the awards. It is in giving audiences a chance to see Eurasian cinema as cinema first: varied, ambitious, and fully part of the global film conversation.

TCA Interviews

“Don’t Try to Please the West” – Screenwriter Kazybek Orazbek on Kazakh Cinema

Kazybek Orazbek is one of the screenwriters behind a recent shift in Kazakh cinema, as locally produced horror and thriller films have begun to punch above their weight, both at the domestic box-office and internationally. His credits include Dästür, the Kazakh-language horror film that earned more than 1 billion tenge ($2.2 million) in its first week, and Auru, a 2025 drama-thriller released with a 21+ rating in Kazakhstan and screened internationally under the English title Sicko. In an interview with The Times of Central Asia, Orazbek explains why deeply local stories can resonate globally, why Kazakhstan’s film industry needs international markets, and what mistake local filmmakers most often make when trying to appeal to Western audiences. TCA: Sicko, for which you wrote the screenplay, is a genre film aimed at mass audiences, yet it ended up in the International Film Festival Rotterdam program. Was that your goal from the beginning? Orazbek: Honestly, when we made the film, we weren’t thinking about festivals at all. We never set ourselves the task of getting into an international competition. We simply made a film we ourselves would want to watch. But after Dastur (Tradition), we met the European producer Anna Katchko and showed her Sicko. She immediately said the film had strong festival potential and started promoting it. That’s how it ended up in Rotterdam. If we had thought about festivals earlier, perhaps we could have submitted it to larger festivals as well. We finished the film after most major deadlines had already passed. TCA: How did international audiences react to the film? Orazbek: It was an interesting experience. We were given a fairly large screening hall with 600–700 seats. At first, the audience consisted mainly of Kazakhs living in Rotterdam and nearby cities, so everything felt familiar. I wasn’t nervous because our whole team was there – director Aitore Zholdaskali, actor Ayan Utepbergen, and producers Kuanysh Beisek and Almas Zhali. But then more and more foreigners started arriving, Europeans in the broadest sense, people of different ages, backgrounds and appearances. And when you realize they came specifically to watch a story created in Kazakhstan for a Kazakh audience, it becomes overwhelming. TCA: Were you nervous? Orazbek: It was a strange feeling. I was both happy and extremely anxious. I sat there listening to the audience reactions. They reacted even more intensely than audiences back home. They laughed exactly where they were supposed to laugh, and they were genuinely frightened where we wanted them to be frightened. Every emotion we had built into the film, they understood perfectly. That surprised me because they are far removed from Kazakh reality, yet they still connected with the story exactly as intended. Maybe that distance made their reactions somehow “cleaner” and more direct. Whenever someone left the theater, I worried they hated the movie. In my head I kept saying, “Please come back.” Thankfully, people returned and stayed until the end. TCA: And what was the reaction during the Q&A afterward? Orazbek: The film was very...

Cultural Heritage

From Golden Treasures to Looted Burial Mounds: How “Black Diggers” Are Destroying Eastern Kazakhstan’s History

Eastern Kazakhstan has gained international recognition for its extraordinary archaeological discoveries, but alongside that fame has come a growing threat: illegal treasure hunters, known locally as “black diggers,” are destroying historical monuments and depriving future generations of access to invaluable artifacts. Eastern Kazakhstan’s Archaeological Treasures In recent years, the Eastern Kazakhstan has become one of the most important archaeological regions in Central Asia. Researchers have uncovered ancient burial complexes belonging to the Saka, nomadic peoples of the early Iron Age whose sophisticated culture has challenged long-standing assumptions about the civilizations of the Eurasian steppe. Excavations at the Shilikty, Eleke Sazy, and Berel burial mounds have revealed thousands of gold ornaments, clothing adornments, and ceremonial decorations noted for their craftsmanship and artistic sophistication. At the Shilikty necropolis, archaeologists uncovered burials containing unique gold jewelry, including earrings, bracelets, fibulae, and miniature decorative elements used on clothing. Each object demonstrates extraordinary craftsmanship, intricate ornamentation, and meticulous attention to detail. [caption id="attachment_49642" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] At Eleke Sazy, archaeologists found an intact burial containing jewelry, clothing adornments, horse harness ornaments, and other decorative objects associated with a teenage archer who was no older than 18. A heavily looted grave of a girl aged 13 or 14, thought to have been his sister, was found nearby. Berel yielded particularly significant discoveries, including gold and bronze ornaments, clothing fragments, and horse trappings that reveal the high artistic culture of the ancient nomads. Artifacts from Berel were later displayed at the Fitzwilliam Museum in Cambridge, England, as part of the exhibition Gold of the Great Steppe, drawing widespread attention from scholars and visitors. The discoveries quickly gained international recognition and confirmed the sophisticated level of Saka civilization. Equally striking finds emerged from the Kurchum district, where archaeologists uncovered horse equipment, including bits, saddles, and straps, crafted from gold and preserved for millennia. These objects demonstrate that the nomadic cultures of Eastern Kazakhstan possessed metallurgical and jewelry-making skills comparable to the great centers of ancient craftsmanship. Every archaeological discovery offers another glimpse into the past, a chance to better understand the daily life, beliefs, and culture of the Saka. Yet these discoveries remain vulnerable to destruction by illegal excavators. The Rise of the Black Diggers Alongside the archaeological boom has come a darker phenomenon: the rapid growth of illegal treasure hunting. Rather than preserving history, black diggers destroy burial mounds and ancient cemeteries in search of gold and valuables, obliterating archaeological layers and artifacts that could provide scientists with invaluable information about the past. In many cases, illegal diggers arrive at excavation sites before archaeologists have even begun clearing the area. In pursuit of treasure, they use shovels and metal detectors, as well as heavy machinery such as bulldozers and excavators, which strip away entire layers of earth and destroy everything in their path. The scale of the destruction has become alarming. [caption id="attachment_49643" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] [caption id="attachment_49644" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] Last year, more than 200 burial mounds in the Zharma district of Kazakhstan’s...

TCA Interviews

Uzbekistan’s New Visual Language: How OZBE Reimagines Culture Through Streetwear

Uzbekistani fashion is increasingly moving beyond traditional interpretations of national motifs. A new generation of local brands is engaging with cultural heritage through streetwear, using the visual language of youth culture and contemporary identity to resonate in Uzbekistan and internationally. The Times of Central Asia spoke with Raupjon Eshtemirov, a representative of the Uzbekistani streetwear brand OZBE, about how Uzbek ornaments, symbols, and cultural references are being transformed into modern fashion, why young people are rediscovering their cultural roots, and whether Uzbekistan’s fashion scene can gain greater international visibility. TCA: Please tell us a little about the OZBE brand. How did it begin, and what idea did it grow from? Raupjon: OZBE emerged as a local streetwear brand based on the idea of expressing the modern perspective of a new generation through clothing. We started with small drops, and gradually a community formed around the brand. TCA: How would you describe the philosophy of OZBE? Is it more about fashion, culture, self-expression, or a new interpretation of Uzbek identity? Raupjon: For us, OZBE is a combination of all these things. We use fashion as a tool for self-expression and for a contemporary reinterpretation of local culture and identity. TCA: OZBE is often seen as a brand that speaks to young people in a modern visual language. How do you see your audience? Raupjon: Our audience consists mainly of teenagers and young people for whom self-expression through style, visual culture, and clothing is important. At the same time, our audience also includes tourists and people who want to represent modern Uzbekistan through a local brand and its aesthetic. [caption id="attachment_49659" align="aligncenter" width="1200"] @OZBE[/caption] TCA: Why did you choose streetwear as the main form for working with culture and local identity? Raupjon: Streetwear is a modern form of fashion that remains timeless and extremely popular among young people and tourists. It is one of the easiest ways to combine style, culture, and a contemporary view of Uzbekistan. TCA: Uzbekistan has a strong visual tradition, including ornaments, architecture, crafts, and patterns. How do you work with this heritage in your collections? Raupjon: We draw inspiration from local aesthetics, but we try to adapt them to a modern visual context through forms, graphics, details, and presentation. TCA: For you, it is important not simply to use national motifs, but to reinterpret them. What does that process involve? Raupjon: Traditional patterns, ornaments, and cultural elements always remain recognizable and popular. For us, it is important not just to copy them, but to adapt them to modern styles and make them relevant for a new generation and for global streetwear culture. TCA: How can Uzbek patterns, symbols, and cultural references be made to look modern and organic for younger audiences? Raupjon: Through reworked design, modern presentation, and the use of bright, memorable phrases that attract the attention of young people and bring cultural elements closer to contemporary streetwear aesthetics. TCA: Which aspects of Uzbek culture inspire you most: ornaments, language, urban life, music, history, or everyday...