Silk Road Treasures - The Times Of Central Asia

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Art and Culture

A Breakout Year for Contemporary Art in Kazakhstan

The year 2025 marked not only a busy period for contemporary art in Kazakhstan but also a decisive acceleration. Art moved beyond professional circles, claimed urban spaces, entered international agendas, and ceased to be a conversation “for insiders only.” The Kazakhstani art scene spoke with growing confidence both at home and abroad. New institutions, landmark exhibitions, festivals, and global collaborations signaled a pivotal shift: contemporary art has become a visible and integral component of the country’s cultural fabric. New Museums and Art Spaces in Kazakhstan Geographically, Almaty emerged as the epicenter of contemporary art activity in 2025. The city saw the opening of key institutions that became new focal points for artists, curators, and audiences. Opening of the Almaty Museum of Arts (ALMA) On September 12, 2025, the Almaty Museum of Arts (ALMA) opened its doors in Almaty, becoming one of the largest contemporary art museums in Central Asia. From the outset, ALMA signaled serious institutional ambitions, with a mission to support and study contemporary art processes and situate them within a global cultural context. The museum’s collection includes around 700 works, more than 70% of which are by notable Kazakhstani artists of the 20th century, such as Zhanatai Shardenov, Tokbolat Togyzbayev, Makym Kisameddinov, and Shaimardan Sariyev. Contemporary artists like Rustem Khalfin, Saule Suleimenova, and Said Atabekov are also prominently featured. Designed by the British architectural bureau Chapman Taylor, the 10,000-square-meter museum includes expansive exhibition halls (“The Great Steppe,” “Saryarka”), an Art Street atrium, storage and restoration facilities, and a creative workshop, setting a new standard for museum infrastructure in the region. [caption id="attachment_42431" align="aligncenter" width="1200"] Installation view of "I Understand Everything" – Almagul Menlibayeva (12 September 2025 - May 2026), Almaty Museum of Arts; image: Alexey Naroditsky[/caption] Tselinny Center of Contemporary Culture: Reclaiming a Building and Its Meaning Just days earlier, on September 5, 2025, the Tselinny Center of Contemporary Culture was inaugurated in Almaty. Housed in a restored 1964 Soviet-era cinema, the building underwent nearly seven years of renovation led by British architect Asif Khan. Notably, the facade’s unique sgraffito by artist Evgeny Sidorkin was preserved. The transformed space now features an exhibition hall, library, cafe, and workshop areas. Its opening was marked by the performance BARSAKELMES, with initial public access free of charge. Tselinny now operates three days a week and serves as a vital platform for exhibitions, education, and creative dialogue. [caption id="attachment_42433" align="aligncenter" width="2400"] The Tselinny Center of Contemporary Culture; image: SAPARLAS/Zhanarbek Amankulov[/caption] A. Kasteev State Museum of Arts: A New Status and Contemporary Focus Kazakhstan’s primary national art institution also redefined its role in 2025. Celebrating its 90th anniversary, the A. Kasteev State Museum of Arts was granted National Museum status. In conjunction with this milestone, a new gallery dedicated to contemporary Kazakhstani art from the independence period was unveiled. The exhibition Memory. Space. Progress brought together works from leading artists, charting the development of artistic practice from the 1990s to the present. Contributors included members of the Shymkent-based Red Tractor group, Almaty conceptualists,...

Food

Beshbarmak, Pilaf, and Olivier Salad: What Will Be Served on New Year’s Eve Tables in Central Asia

New Year remains one of the most significant holidays in Central Asia. While its scale and prominence have gradually declined due to rising religiosity, many residents still regard it as the foremost secular and ideology-free celebration of the year. Across the region, households prepare their most beloved dishes to ring in the occasion. No New Year Without Olivier Salad For many families, traditional fare is an essential part of New Year’s Eve. Olivier salad has long been a staple of the holiday table. Originally created in the 1860s by a French chef in Russia, the dish once featured ingredients such as hazel grouse and seafood. Over time, particularly during the Soviet era of shortages, the recipe evolved. Today, Olivier salad typically includes beef, chicken (or boiled sausage), potatoes, green peas, pickled cucumbers, and mayonnaise. It is usually prepared in large batches to ensure there is enough for all guests. Other popular salads include herring under a fur coat, vinaigrette, and “Tenderness”, hearty dishes that can leave guests too full for main courses. Even in modest households, red caviar often finds its way to the table, adding a touch of festivity and indulgence. Kazakhstan: Beshbarmak with a Twist In Kazakhstan, beshbarmak remains the centerpiece of the New Year’s feast, as it is for most major celebrations. Traditionally, the dish combines three cuts of horse meat, kazy, karta, and zhay, served with flat noodles and onions. However, some families are adapting their menus in line with the Chinese zodiac. As the Year of the Red Horse approaches, online advice has suggested avoiding horse meat out of respect for the symbolic animal. A vegan version of beshbarmak, featuring mushrooms and pumpkin, is gaining traction. Baked koktal fish is another showpiece dish, while kuydak (lamb with potatoes and onions) and khan syrbaz (a rich stew of lamb, vegetables, barley, and broth) are popular additions. Desserts often include traditional fermented milk products such as zhent, katyk, and irimshik, and the table is rarely without kumys, a fermented mare’s milk beverage. Uzbekistan: Pilaf Reigns Supreme In Uzbekistan, New Year is celebrated with great enthusiasm. According to folklore, Korbobo, a local version of Santa Claus, arrives on a donkey with his granddaughter Korgyz to distribute gifts to well-behaved children. Pilaf, or plov, is the dominant holiday dish. Made with rice, carrots, onions, meat, and spices, regional variations might include raisins or quince for added sweetness. Each area boasts its own version of the national favorite. Samsas, meat-filled pastries baked in a tandoor, are also served, as are manti, large, steamed dumplings filled with lamb, beef, or pumpkin. Other popular dishes include kazan-kabob (fried meat and potatoes). For dessert, chak-chak (fried dough with honey) and halva (made from sesame, semolina, or nuts) are perennial favorites. Kyrgyzstan: Boorsoki and Beshbarmak In Kyrgyzstan, beshbarmak, prepared with either horse meat or lamb, is also a central dish. Families commonly serve manti, baked chicken, and boorsoki (known in Kazakhstan as baursaki), fried dough balls that are a holiday staple. Other meat-based specialties...

Science

Astana Student’s Horse Milk Video Makes Finals of “Breakthrough” Science Contest

Another Kazakh scientist received an accolade this month, after 17-year-old Tomiris Abylkairova from Astana was voted into the final 16 of the prestigious international Breakthrough Junior Challenge. The Breakthrough contest, an initiative of the Breakthrough Challenge Foundation in the United States, is a global science competition for young people aged 13-18. Held for the last 11 years, students are invited to create videos of up to two minutes in length that explain a particular concept or theory in the area of life sciences, physics or mathematics. Abylkairova’s video has a Kazakh flavor, quite literally, as she uses her two minutes to discuss how fermented foods such as kymyz (horse’s milk) influence gene regulation. Her animated video was among the top 16 in a public vote, sending her to the finals after receiving a high number of “likes” on the event website. Collectively, the 30 submitted videos were viewed more than 300,000 times. Abylkairova, a student at Haileybury Astana School who also competes in national fencing championships, commented: “Representing Kazakhstan internationally is both an honor and a responsibility. For me it’s a chance to contribute to my country’s intellectual, scientific, and cultural legacy while engaging in meaningful global dialogue and research.” She added: “I’m proud to help demonstrate that young people from Kazakhstan can make impactful, long-term contributions to the global scientific community". Isabella Leonel Lelles, also 17, from Brazil, was the overall top scorer in the popular vote, with more than 66,000 likes for her video on the protein folding problem. The videos of the 16 finalists will now be reviewed by a Selection Committee of esteemed figures in American science. It has not yet been announce when the committee will select the overall winner. The winning entry will receive $400,000, with the victorious student being awarded $250,000 in educational prizes. Past Breakthrough Junior Challenge winners have come from Canada, India, Mauritius, Peru, the Philippines, Singapore, and the United States. Alumni have gone on to attend institutions including MIT, Harvard, Princeton, and Stanford. All videos, including Abylkairova's, can be viewed on the Breakthrough Junior Challenge’s website.

Cultural Heritage

Kobyz Musical Instrument and Karakalpak Yurt Added to UNESCO Heritage List

At the 20th session of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held in New Delhi from December 8-13, Uzbekistan’s nominations for the kobyz musical instrument and the Karakalpak yurt were officially approved for inclusion in the UNESCO Intangible Cultural Heritage List. As part of the application process, researchers documented the historical and cultural significance of the zhyrau (oral storytellers), whose performances are traditionally accompanied by the kobyz. A documentary film was also produced in Karakalpakstan, an autonomous republic within Uzbekistan, highlighting the craftsmanship involved in making the kobyz. The nomination emphasized the urgent need for preservation, citing a steady decline in the number of artisans who know the tradition. The kobyz is an ancient, bowed string instrument originating among Turkic peoples, with historical roots dating back to the 5th-8th centuries. Its haunting sound traditionally accompanies zhyrau performances and remains prevalent in both Karakalpakstan and Kazakhstan.

Literature

TCA Interview: Author Judith Lindbergh on Her Novel “Akmaral”, Set on the Kazakh Steppe

In recent years, many international writers have written books about Kazakhstan. One of these is the American author Judith Lindbergh, whose latest historical novel, Akmaral, is set on the Kazakh steppe. TCA: The story of Akmaral is related to Central Asia, and particularly, Kazakhstan... JL: Absolutely correct. Akmaral is about a nomadic woman warrior on the Central Asian steppes in the 5th century BCE. It’s based on archaeology that many of your readers are likely familiar with: the Siberian Ice Maiden discovered in Tuva and the Issyk Golden Warrior of Kazakhstan. These two burials were just the beginning of my research, which also included the writings of the Greek historian Herodotus about the Amazon warrior women who fought in the Trojan War. I delved deeply into the history, landscape, and cultures of Central Asia, both ancient and modern. In writing my novel, I worked hard to understand how people lived, and still live, on the steppes: their traditional nomadic ways of herding and hunting, and especially how this ancient, often-forgotten culture fits into the broader story of human civilization. [caption id="attachment_38735" align="aligncenter" width="349"] Judith Lindbergh[/caption] TCA: How did the idea to write such a novel come about? JL: It all started with a documentary about the Siberian Ice Maiden. I love ancient history and archaeology, especially when they reveal truths about women’s lives. The Ice Maiden burial was fascinating. Her body was so well preserved that I could almost imagine her standing before me. I wanted to understand how she might have lived, and to uncover the mystery of why she was buried in such an isolated place. As I continued my research, I realized that she was not the only important female burial from that era in Central Asia. There were, in fact, countless others. Many women who had died of war wounds were buried with weapons. I began combining these burials in my imagination to create my main character, Akmaral, which I learned means “White Deer.” The name felt connected to the Siberian Ice Maiden’s famous tattoo, which became an important spiritual symbol in my novel. I used extensive research to try to accurately represent what life might have been like for these ancient women. In historical fiction, as in history itself, women rarely play significant roles in public life. Yet these artifacts and burials show us that many nomadic women once held important military and spiritual positions. There are almost no works written in English about nomadic peoples, including the real life and history of the Kazakhs. In fact, nomads were people who lived freely and truly in their time. And now we are not able to glorify their values, their way of life. What do you think about this? You’re right that there’s very little written in the West about the Sarmatians, or really much about Central Asia at all. I wanted to bring my fascination with this vital, “forgotten” part of history to new readers. In many ways, it can be hard for modern...

Art and Culture

AI Creator Ilona Brazhnik on Kazakh Myths and Creative Freedom

Alena Brazhnikova, better known by her pseudonym Ilona Brazhnik, is in many ways a product of her time. A decade ago, she was transferring art onto skin as a tattoo artist. Today, she creates viral videos powered by artificial intelligence, bringing to life mermaids, Zvezdy, and mythological girls with hooves and wings, symbols of a digital era in which neural networks replace paintbrushes, yet the pursuit of beauty, meaning, and freedom remains unchanged. TCA: Ilona, did your artistic journey begin with tattooing? Brazhnik: Yes, it all started rather quickly. When I began, there weren’t many artists in Karaganda, a mining town in central Kazakhstan, offering the style I worked in. At the time, "old school" tattoos with bold, rough lines were popular. But I wanted to explore subtlety, fine lines, and detailed work. Inspired by European artists, I posted an ad online. Within a month, I was fully booked for the next three months. My client base grew on its own because I was offering something different. TCA: Are there particular tattoo motifs that resonate with you? Brazhnik: I wouldn’t say I have one favorite. I rotate motifs regularly to avoid burnout. But I do love working with thin lines and soft dot shading, it gives the image depth and detail. [caption id="attachment_38469" align="aligncenter" width="417"] @ilona_brazhnik[/caption] TCA: The tattoo trend seems to have quieted. Is that your impression too? Brazhnik: Absolutely. The hype has passed. There was a time when everyone was getting tattooed just for the sake of it. Now, people are more thoughtful. They take their time, consult with others, and carefully choose their designs. The “everyone’s doing it, so I will too” trend ended around eight years ago. TCA: You’ve transitioned to AI and now earn money creating videos? Brazhnik: You could put it that way. There’s definitely demand for AI-generated content. But I didn’t start doing it for the money, I just found it interesting. When people started to respond positively to my work, I thought, why not? TCA: Your videos are visually striking. How much does a project like that cost? Brazhnik: It depends on the complexity. Is it a brand advertisement or a fantasy story? Do you need to showcase clothing, jewelry, or a specific location? Will the same character appear throughout? And of course, duration matters. I can only quote a price once I receive the technical brief. TCA: Are brand commissions more expensive? Brazhnik: Not necessarily. I never charged tattoo clients more just because they could afford it. It depends on the task. Brand work is usually more technically demanding. AI doesn’t like repetition; it redraws objects each time, so logos, packaging, and inscriptions often need to be added manually. I once made a video where glasses were disassembled into ornaments and then reassembled. When asked to replicate it, it took 20-30 failed attempts. AI just doesn’t do “exactly the same.” TCA: Did you start making videos to grow your TikTok and monetize content? Brazhnik: In Kazakhstan, you can’t earn money from...