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Bukhara Biennial

Bukhara Biennial Sets 2027 Dates and Names New Artistic Director

Organizers of the Bukhara Biennial have announced key details of its second edition: the event will run from September 3 to November 21, 2027, with architect and designer Kulapat Yantrasast appointed artistic director. The announcement was made at the Fondation Beyeler during Art Basel in Basel, Switzerland, placing the Uzbek cultural project before an international art and museum audience. What Is Known About the 2027 Concept Yantrasast will succeed Diana Campbell, who curated the first edition in 2025. The biennial’s organizer remains Gayane Umerova, chairwoman of the Art and Culture Development Foundation of Uzbekistan (ACDF). In 2025, artists were paired with Uzbek master craftsmen. The 2027 format will expand that model by involving local ecologists, scientists, and economists. The central theme will be the connection between art, urban space, and sustainable development. Bukhara as Venue Biennial projects will be housed in restored caravanserais, madrasas, hammams, city squares, and other historic sites, some of which are expected to open to the public for the first time. The aim is to place contemporary art within Bukhara’s historic urban fabric. The city holds UNESCO Creative City status in crafts and folk art, giving the biennial a venue with international cultural recognition. [caption id="attachment_51635" align="aligncenter" width="1280"] Image: bukharabiennial.uz[/caption] Who the New Artistic Director Is Kulapat Yantrasast studied architecture under Tadao Ando and founded the studio WHY Architecture in 2004. His recent projects include the reconstruction of the Michael C. Rockefeller Wing at New York’s Metropolitan Museum of Art, the ILMI Science and Innovation Center in Riyadh, and the Dib art museum in Bangkok. His studio is also working on the Department of Byzantine and Eastern Christian Art at the Louvre in Paris and the National Museum of India, which is expected to become the largest museum in the world. Yantrasast has previously worked with ACDF on When Apricots Blossom, shown at Milan Design Week in 2026. The First Edition The first Bukhara Biennial ran from September 5 to November 23, 2025, under the theme Recipes for Broken Hearts, curated by Diana Campbell. It drew 1.8 million visitors, more than half of them from Bukhara and other regions of Uzbekistan. Participating artists included Antony Gormley, Marina Perez Simão, Erika Verzutti, Subodh Gupta, Delcy Morelos, and Dana Awartani. [caption id="attachment_51636" align="aligncenter" width="1280"] Image: bukharabiennial.uz[/caption] Part of a Wider Cultural Strategy The Bukhara Biennial forms part of a wider ACDF program to expand Uzbekistan’s cultural infrastructure. The foundation is overseeing the Center for Contemporary Art in Tashkent, due to open on September 6, 2026, and the National Museum of Uzbekistan, designed by Tadao Ando. ACDF has also formed an international advisory board for the biennial, with members including Chris Dercon and Michael Govan. [caption id="attachment_51637" align="aligncenter" width="1024"] Image: bukharabiennial.uz[/caption] The Art Basel announcement suggests that Uzbekistan is positioning the biennial as a recurring international platform, while keeping Bukhara’s historic sites and local audiences at its center. In 2025, nearly two million people attended the event in the city’s restored historic spaces. For the 2027 edition, the challenge...

Census

Uzbekistan Census Reveals Bigger Population, Younger Pressure, and Planning Gaps

Uzbekistan's first full census since the Soviet era has found more than 810,000 people who were missing from the country's running estimates, shifting the baseline for schools, clinics, housing, labor forecasts, regional budgets, and agriculture. The preliminary results put Uzbekistan's population at 39,047,321 as of January 15, 2026. That was 810,617 more than the official estimate used at the start of the year. The gap is only 2.1% in percentage terms, but in practical terms it is the size of a major city. The count also shows a country that is larger, younger, and harder to plan for than regular estimates suggested. It gives the authorities a new map of where people live, how old they are, what homes they occupy, and how much farmland and livestock the economy really has. National Statistics Committee Chairman Behzod Hamrayev presented the first results in Tashkent on June 30. The count was part of a combined population and agricultural census held from January 15 to February 28 under a September 2025 decree. It was the first such count in independent Uzbekistan. The last nationwide census took place in 1989, when the country was still part of the Soviet Union. The Times of Central Asia previously reported that Uzbekistan's permanent population was estimated at 38,236,704 on January 1, 2026. Two weeks later, the census found 39,047,321 people. Men numbered 19,766,166, or 50.6% of the population, and women 19,281,155, or 49.4%. The census also counted 56,900 foreign citizens who had lived in Uzbekistan for more than a year, mostly from India, Russia, and Kazakhstan. The largest corrections appear to be regional. Most of the 810,617-person difference was concentrated in Tashkent Region. Its population rose from an estimate of about 3.2 million to nearly 3.8 million, moving it from seventh to third among Uzbekistan's 14 administrative territories. Five regions, Namangan, Jizzakh, Kashkadarya, Surkhandarya, and Bukhara, came in below earlier estimates. The changes represent more than a statistical adjustment: a region that suddenly has about 600,000 more people on paper needs different calculations for roads, schools, clinics, water networks, public transport, land use, and housing. It also changes the way Tashkent Region is compared with the capital and other fast-growing parts of the country. The first demographic results show the pressure that is coming through the age structure. Children under five were the largest age group, at 4.6 million. There were 3.86 million people aged 5-9 and 3.41 million aged 10-14. The working-age population stood at 21.7 million, while 12.5 million people were below working age. Nearly 169,000 residents were 85 or older. Uzbekistan is not Central Asia's youngest country, but it is the region's largest young society. OSW put Central Asia's median age at 26.6, with Tajikistan the youngest at 22.1 and Kazakhstan the oldest at 29.6. By comparison, Eurostat said the European Union's median age reached 44.9 on January 1, 2025. Uzbekistan's challenge is therefore different from Europe's: it must educate, house, employ, and retain a large rising generation. The housing results also changed planning...

Obituary

Comedian Bakhtiyor Rahimov, Who Lamented Decline of Satire in Tajikistan, Dies

Tajik satirist Bakhtiyor Rahimov, whose comic performances lampooned daily life and sometimes touched on power, corruption and bureaucracy, has died after longstanding health problems. He was 56 years old, according to media reports. Rahimov, founder of a comedy group called Gharibsho Company and a fixture on Tajikistan’s comedy scene over several decades, had performed at a resort in the western city of Hisor on the night before his death on June 30. He was buried in his home village of Nojii Bolo, near Hisor. “The news saddened thousands of his fans. Indeed, the death of such an artist is a great loss to Tajik culture,” news site Oila.tj reported. Several Tajik media outlets reported on a debate about why Rahimov was never awarded a state title recognizing his comedic contributions. In a news conference on Monday, Culture Minister Matlubakhon Sattoriyon expressed condolences to Rahimov’s family on his death and said that the satirist had received recognition, if not a title, from the state. “Others have criticized the attitude of the cultural authorities and suggest that, in recognition of his contribution to the development of Tajik satire, he be awarded an honorary state title after his death,” reported Azda TV, a Tajik-language site that is registered in Poland and aims to provide alternative perspectives to state-controlled media in Tajikistan. The name of Rahimov’s comedy group, Gharibsho, derives from Persian and refers to a wanderer or stranger, a description that echoed the experience of many young people in Tajikistan who were emigrating to other countries, particularly Russia, in search of work. The name also incorporates a term for king or noble. "We were kings on stage, but at the same time, like these wanderers, we had nothing behind us," Muhammadjon Kholov, an early member of Gharibsho, said in an interview with the Your.tj outlet several years ago. He recalled that fans who couldn’t get tickets to the group’s first show on a big stage were so eager to see the performance that they smashed windows and doors and stormed the concert hall where the comedians were appearing. The group, which started in 2000, had to donate all its proceeds from ticket sales to cover the damages. In a 2024 interview with the Asia-Plus publication, Rahimov said satire had been marginalized in official circles in Tajikistan and that he hadn’t been invited to state events or programs in nearly six years. Asked if there was still political or social satire in Tajikistan, he said: “Yes, but very rarely.”

Podcast

Pannier and Hillard’s Spotlight on Central Asia: New Episode Out Now

As Managing Editor of The Times of Central Asia, I’m delighted that, in partnership with the Oxus Society for Central Asian Affairs, from October 19, we are the home of the Spotlight on Central Asia podcast. Chaired by seasoned broadcasters Bruce Pannier of RFE/RL’s long-running Majlis podcast and Michael Hillard of The Red Line, each fortnightly instalment will take you on a deep dive into the latest news, developments, security issues, and social trends across an increasingly pivotal region. This week, the team covers a new election date being set in Kazakhstan, with the country's largest party staying off the ballot, rare protests in Turkmenistan over blackouts and economic frustration, the removal of one of Ashgabat's most important religious figures, renewed clashes along the Afghanistan-Pakistan border, fuel shortages hitting much of Central Asia, and border swap deals that have seen thousands of people suddenly finding themselves in a new country. Before then turning to our main story this week, where the dramatic end to the Kamchybek Tashiev trials has delivered one of the biggest moments in Kyrgyz politics this year. Special guest: Medet Tulegenov (Director of the Silk Road Research Center).

World Cup 2026

World Cup: Uzbek Referee Under Scrutiny After France-Paraguay Game

Uzbek referee Ilgiz Tantashev has come under heavy criticism over a rough FIFA World Cup match between France and Paraguay, in which the South American side went for an especially physical approach. France won Saturday’s knockout game 1-0 on a penalty kick by Kylian Mbappé, but much of the post-match debate centered on whether Tantashev had lost control of a situation on the field that was often combative. While he handed out several yellow cards to France, the Paraguayan players didn’t get any during the game while engaging in physical confrontations that critics said should have been punished. Video showed Mbappé getting pushed and shoved so much at one point that he was laughing it off. He later said, “We knew what kind of match it was going to be. We can also get our hands dirty.” While French media condemned the conduct by the Paraguayan players, Paraguayan media were supportive of their team’s efforts, which included a dogged defense. In a blog post for Brazil’s Globo Esporte, analyst Rodrigo Coutinho focused on the offense, defense and other tactical aspects of the match, while acknowledging Paraguay’s attempts to get under the skin of Les Bleus. At various points, the Paraguayans also sought to provoke the French players. Shoves during set pieces, needless complaints and the French players' growing frustration were all part of the first half,” Coutinho said. Many veteran analysts and online commentators questioned whether Tantashev had done enough to control the match. “Uzbek referee Ilgiz Tantashev with an extraordinary performance,” tweeted football journalist Colin Millar. “No interest in refereeing, no interest in applying the laws of the game, no interest in player welfare or well-being. A FIFA-listed referee for 13 years! France very fortunate to avoid serious injuries.” In an Asian Football Confederation video that was posted before the World Cup, Tantashev said he was “happy” to have been selected as a referee for the global event. He said he had been a referee for 20 years and to receive the selection letter in April was “a big gift for me.”

Art and Culture

Kanybek Kalmatov Interview: Kyrgyz Director Takes on Chinghiz Aitmatov

At 25, Kanybek Kalmatov is taking on a subject many older directors might have avoided: Chinghiz Aitmatov, Kyrgyzstan’s most internationally recognized writer and a figure deeply embedded in the country’s cultural identity. Kalmatov, a cinematographer and graduate of VGIK, the prestigious Moscow film school, is making his directorial debut with Aitmatov, billed as Kyrgyzstan’s first full-length feature film about the writer’s life and career. The project has already drawn attention beyond Kyrgyzstan, not least because Russian actor Sergey Bezrukov has joined the cast. For Kalmatov, the film is also personal. He first encountered Aitmatov as a schoolboy through The Little Soldier, and later found that even at film school in Moscow, Kyrgyzstan was often viewed through the writer’s name. Now, after months of research and nearly a year spent developing the screenplay, he says he is ready to take on a life that one film can only partly contain. The Times of Central Asia spoke with Kalmatov about why he chose a biopic rather than an adaptation, how he approached Aitmatov’s life at such a young age, and why he hopes the film will send younger viewers back to the writer’s books. TCA: You have chosen an ambitious project for your directorial debut. How did the film come about? Kanybek Kalmatov: Since childhood, there have been two stories I always dreamed of filming. The first is about my parents, because they have an incredible love story. The second is about Aitmatov. It wasn’t only his works that fascinated me. It was the scale of his personality, how determined he was and how many different things he managed to do at the same time. I fell in love with Aitmatov when I was about 12, after reading The Little Soldier. It’s about a boy whose father died in the war. Since then, Aitmatov’s works have always stayed with me. Even at VGIK, where I studied, people often saw me through that lens: “You’re from Kyrgyzstan? The homeland of Aitmatov?” For us, he’s not just a writer; he’s part of our cultural code. So I felt that, sooner or later, this film was bound to enter my life. TCA: Were you afraid the project might not work? Kanybek Kalmatov: No. Probably because I believe strongly in intention. Any big undertaking starts with that. If your motivation is right and you understand why you’re doing it, things begin to fall into place. From the start, my intention was pure. I never saw this film as a way to gain fame or prove something to anyone. I wanted to tell the story honestly of someone who means so much to our culture. TCA: Don’t you think one has to “grow into” Aitmatov first? Kanybek Kalmatov: There are topics you need to mature into. But if you wait for the perfect moment, you may never make anything at all. Maybe if I waited another 15 years, I would approach this story differently. Or maybe I’d never dare. Personally, I respect people who aren’t afraid...