Our People > Ola Fiedorczuk

Ola Fiedorczuk

Journalist and Social Media Manager

Ola Fiedorczuk is a freelance journalist, radio personality, presenter, podcaster, musicologist, and social media manager.

Articles

Silk Road

The Artistic Brilliance of Central Asia Takes Center Stage at Sotheby’s

On October 29, Sotheby’s will host its Arts of the Islamic World and India sale, featuring a dazzling selection of manuscripts, ceramics, metalwork, and jewelry that together trace the creative reach of Central Asia across six centuries. The auction highlights how the region’s artists shaped Islamic visual culture from the early medieval period to the Timurid age. Among the most important works is a rare page from the monumental Baysunghur Qur’an, produced around 1400 in Herat or Samarkand. Another piece connects to the earlier Samanid Dynasty, whose rule from Bukhara and Tashkent fostered a flourishing of calligraphic pottery in the ninth and tenth centuries. The Arab geographer al-Maqdisi once praised the “large bowls from Shash,” an early name for Tashkent, noting their reputation throughout the Islamic world. [caption id="attachment_38298" align="aligncenter" width="1797"] A line from the 'Baysunghur Qur'an', attributed to 'Umar al-Aqta, Herat or Samarkand, circa 1400; image: Sotheby's[/caption] Two colorful Timurid mosaic tiles from the fourteenth or fifteenth century illustrate the architectural splendor of Samarkand and Herat. Their glazed patterns in cobalt, turquoise, and white once formed part of vast decorative panels in mosques and mausoleums. The geometric interlace and stylized foliage that define them became a visual signature of Timurid architecture, a style that spread from Central Asia to Persia and India. [caption id="attachment_38301" align="aligncenter" width="1346"] A Golden Horde turquoise and pearl-set gold belt or necklace, Pontic-Caspian Steppe, 14th century; image: Sotheby's[/caption] The Times of Central Asia spoke with Frankie Keyworth, a specialist in Islamic and Indian Art at Sotheby’s, for a closer look. TCA: How did manuscripts like the Baysunghur Qur’an serve as symbols of power and faith in the Timurid court, and what does its immense scale - a Qur’an so vast it took two people to turn a page - reveal about the empire’s ambition, artistry, and self-image? Keyworth: The manuscript was a hugely ambitious and challenging project, even just by the tools it would take to create, with monumental sheets of paper measuring 177 by 101cm., and a large pen whose nib would have to measure over 1cm. Displayed on a magnificent marble stand, the manuscript would be a staggering visual representation of the patron’s wealth and piety. Their subsequent use during public recitation reinforced the elite’s religious aspirations. The fact that this manuscript is unsurpassed by any other medieval Qur’an and remains so valued centuries after it was produced at the turn of the 15th century reveals the key role manuscripts played in the establishment of the Timurid dynastic image. [caption id="attachment_38299" align="aligncenter" width="1346"] A Timurid brass jug (mashrabe), Herat, Afghanistan, 15th-early 16th century; image: Sotheby's[/caption] TCA: A brass jug from Herat shaped like a Chinese vase, a ceramic bowl from Tashkent inscribed in Arabic script - these objects tell of traders, scholars, and artists linking worlds from Samarkand to Beijing long before globalization had a name. What can you tell us about how this trade transpired, and are there similarities to modern transport corridors? Keyworth: Trade via the so-called Silk Road endured for...

2 weeks ago

Food

In The Kitchen: A Reflection of Taste and Art, Savoring the Color of Flavor

In the culinary world, all eyes have turned towards Almaty, as the city becomes the stage for In the Kitchen: Anniversary Edition, an international project uniting haute cuisine and contemporary art. This year’s edition centers on Austrian conceptual artist Norbert Brunner-Lienz, whose work explores how language and reflection shape perception, turning words and images into immersive experiences. At Laureate Grand Café, his installation has become the heart of a three-night gastro-performance. Mirrored surfaces invite guests to see themselves within the art, blurring the line between viewer and participant. Each reflection reveals the unseen link between seeing and being seen, transforming perception into part of the artwork. Light and meaning shift with every glance. [caption id="attachment_38089" align="alignnone" width="1600"] Image: Ilyas Otan[/caption] Brunner, who lives and works between Vienna and New York, is personally presenting the project in Almaty, with guests having the opportunity to meet him, learn about his creative philosophy, and experience how his art connects the visual, linguistic, and culinary worlds. The gastronomic performance is led by Michelin-starred twin chefs Dominik Sato and Fabio Toffolon from The Chedi Andermatt in Switzerland. Inspired by the Japanese concept of ichi-go ichi-e, the art of treasuring each unrepeatable moment, their menu transforms dining into a multisensory journey. Completing the team is Yoshiko Sato, pastry chef at The Japanese (two MICHELIN stars), celebrated for desserts that balance technical mastery with grace and feeling. [caption id="attachment_38090" align="aligncenter" width="1600"] Image: Ilyas Otan[/caption] Education plays a key role in this edition. Students from Almaty Technological University (ATU) will attend free masterclasses with the Michelin-starred chefs. Workshops are being held at both the Laureate Grand Café and ATU, giving young chefs direct access to the world of haute cuisine. Among the special guests are Giliola Masseroni, owner of Gioielleria Maison “Giglio” in Cremona, Italy; Olga Daniele, founder of 365 ART in Switzerland; and Ainur Akhmetova, founder of Laureate Grand Café and co-founder of In the Kitchen. Olga Daniele imagined In the Kitchen as a dialogue between art and gastronomy, where creative thought is served alongside taste and texture. In collaboration with Ainur Akhmetova, she brings this vision to Kazakhstan, weaving together good food with art to create an experience that speaks to all the senses. [caption id="attachment_38091" align="aligncenter" width="1600"] Image: Ilyas Otan[/caption] Their partnership rethinks how we encounter art and eating: not as separate disciplines, but as intertwined forms of expression that reveal how creation lives in every brush stroke, flavour, and idea. A forthcoming book of culinary art will capture this collaboration, inviting readers to engage with these themes further. In the Kitchen: Anniversary Edition unfolds as a shared act of creation, where food becomes a language and creativity takes shape in the exchange between those who make and those who taste. The event will be held at the Laureate Grand Café, 85 Bogenbai Batyr St., Almaty, from October 23–25, 2025.

3 weeks ago

Osaka Expo 2025

Uzbekistan’s Garden Blossoms at the Osaka Expo

At Osaka Expo 2025, Uzbekistan is stepping onto the global stage with a pavilion that embodies the country’s theme: culture as the foundation of future societies. Created by the Uzbekistan Art and Culture Development Foundation (ACDF), the space celebrates heritage as both a legacy and a launchpad to connect communities, bridge generations, and spark global conversations. ACDF is no stranger to ambitious cultural projects. In Tashkent, it has staged the World Conference on Creative Economy, created the first Aral Culture Summit in Nukus, and is behind the renovation of the Centre for Contemporary Art. The Foundation is also working with star architect Tadao Ando on the design of a new National Museum and restoring the storied Palace of the Grand Duke of Romanov. Its research project, Tashkent Modernism XX/XXI, has already caught international attention with publications from Rizzoli New York and Lars Müller Publishers. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/09/IMG_6020-online-video-cutter.com_.mp4"][/video] Recently, ACDF has been igniting fresh cultural currents. In Bukhara, the UNESCO-listed jewel of the Silk Road, the debut of the first-ever Biennial, Recipes for Broken Hearts, has transformed the ancient city into a vibrant stage for contemporary creativity. As we approached the pavilion, the queue was already packed and closed off to latecomers still straggling in. Before entry, a guide explained in Japanese the concepts in motion. Designed by internationally acclaimed ATELIER BRUCKNER, the installation unfolds under the theme Garden of Knowledge: A Laboratory for a Future Society, inspired by Uzbekistan’s fertile soil and fragrant gardens where wisdom and originality take root. Built with materials sourced in Japan, the structure features 10,000 hand-glazed bricks crafted by a master artisan from Uzbekistan. Its design has already earned international acclaim, winning the prestigious Red Dot: Best of the Best, and taking home gold at the German Design Award. Inspired by Khiva and the Khorezm region’s rich architectural and intellectual legacy, it’s a two-storey 750 square meter space that blends the ancient with forward-thinking design, mirroring the life cycle of a garden. Khiva, a UNESCO World Heritage city, has long been a crossroads of learning where scholars, artisans, and merchants exchanged ideas within its madrasahs and courtyards. It reimagines this heritage as a contemporary space for gathering and exchange. [caption id="attachment_36099" align="aligncenter" width="2560"] Exhibit: transport of the future; image: TCA, Stephen M. Bland[/caption] Brick and clay symbolize earth and ancestry, while cypress wood cultivated near Osaka underscores environmental responsibility. The triangular plot draws from the tumar, a traditional Central Asian amulet of protection, while a floor-level garden evokes Uzbekistan’s landscapes. Visitors follow a symbolic journey from planting seeds of knowledge to harvesting ideas, exploring zones aligned with UNESCO’s goals, including quality education, clean energy, resilient infrastructure, and innovation. [caption id="attachment_36097" align="aligncenter" width="2560"] Exhibit blending the ancient and the modern; image: TCA, Stephen M. Bland[/caption] The experience begins in the soil, a ground-floor gallery that highlights Uzbekistan’s shift toward a green economy through renewable energy, eco-friendly transport, and energy-efficient housing, along with landmark projects such as the revitalization of the Aral Sea Basin. From there,...

2 months ago

Osaka Expo 2025

Bold Pavilions, Big Statements: Central Asia at Osaka Expo 2025

On a sweltering August day, The Times of Central Asia arrived at the Osaka Expo 2025. The theme, "Designing Future Society for Our Lives," set the stage for a carnival of new ideas and technology. Pavilions buzzed with invention, each one a world of its own. Central Asia turned heads - with all five countries represented - with vibrant stalls, bustling booths, and grand castle-like showpieces that drew crowds from every corner. [caption id="attachment_35420" align="aligncenter" width="2560"] Kazakhstan Pavilion; image: TCA, Stephen M. Bland[/caption] Kazakhstan’s pavilion presents the theme “Born Bold” in the “Connecting Lives” zone, alongside South Korea, Germany, Luxembourg, Nepal, Azerbaijan, Iran, Monaco, and Türkiye. At its heart rises the shanyrak, the sacred crown of the yurt, once a symbol of roots and now a beacon of unity, mirroring the Expo’s spirit of innovation and shared horizons. The story begins with the essence of the Kazakh people. Generations, history, culture, and traditions unfold from the Kazakh Khanate and the vast steppe to Abai’s poetry and the nation’s sporting heroes. It is a narrative of memory and strength, where the past is not closed, but carried forward as a living value. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/08/KZ1-REMOVE-AUDIO-Videobolt.net_.mp4"][/video] From history, the focus shifts to unity. Every guest becomes part of the experience as their face is woven into a digital mosaic, a vivid symbol of belonging. Interactive technologies present Kazakhstan as a country where diversity does not divide but connects. From past to present, the spotlight then falls on a Kazakhstan that is inventive and future-ready. Visitors explore the country’s energy transition, green initiatives, digitalization, and work in artificial intelligence, alongside its rise as an investment hub. [caption id="attachment_35413" align="aligncenter" width="2560"] Prolonging life - ALEM at the EXPO; image: TCA, Stephen M. Bland[/caption] The final chapter places pride and place on the groundbreaking ALEM (Astana Life Ex-situ Machine) developed by Kazakh scientists. Created by the Heart Center Foundation, it is already redefining the possibilities of transplantation. The window for organ transplants is short, from just a few hours for a heart or lungs to more than a day for a kidney. ALEM changes the game. By replicating the body’s internal conditions, it can keep a donor heart alive for 24 hours, opening new possibilities. Only a few models currently exist, including the one on display in the pavilion. [caption id="attachment_35414" align="aligncenter" width="2560"] The Turkmenistan Pavilion; image: TCA, Stephen M. Bland[/caption] The Turkmenistan Pavilion dazzles with three lavish floors beneath an iconic, rounded-triangular ceiling that symbolizes circulation, sustainability, and the flow of life. On the ground level, an epic immersive video left the Japanese audience gasping as it honored Turkmenistan’s great men, legendary horses, and loyal dogs, while women appeared only in fleeting roles. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/08/TK1.mp4"][/video] The second-floor shifts to the present, celebrating modern achievements, from the smart city of Arkadag to advances in industry, finance, and science. The space unfolds as an eclectic mix of books, jewelry, rugs, and even everyday objects like bottles of oil. At its center, a glowing...

3 months ago

Uzbek Literature

From Tashkent to Tennessee: Uzbek Stories Bridge Worlds in Nashville Debut

Uzbekistan's literary luminaries will make their first appearance at the Southern Festival of Books in Nashville, Tennessee. Now in its 37th year, this iconic event is one of the biggest and most celebrated literary festivals in the U.S., and this year, attendees will get a taste of Uzbek storytelling. Avid readers will dive into the vibrant and poetic world of Uzbek literature, where Southern hospitality meets Central Asian artistry. “Nashville is a publishing powerhouse — we love our books here,” Mark Reese, the organizer behind the showcase, told The Times of Central Asia. “I’m proud that my city has come together to support this exciting cultural exchange and open the door to new literary voices.” Reese partnered with Akbar Toshtemurov, founder of Booktopia in Tashkent, to bring the vision to life. “Booktopia is a natural ally in the effort to spread awareness of Uzbek literature abroad through professional translation,” Reese said. “Akbar Toshtemurov has sponsored the translation of over fifty English-language titles into Uzbek and brings deep expertise to the table.” [caption id="attachment_34419" align="aligncenter" width="1152"] Mark Reese - image courtesy of the subject[/caption] Among the featured writers is Abdulla Qodiriy, one of Uzbekistan’s most revered authors. His novel Oʻtkan Kunlar (Bygone Days) — a cornerstone of Uzbekistan’s literary heritage — will be central to the presentation. “Qodiriy will certainly be a focal point,” Reese said, “but I expect other authors, both past and contemporary, to have a seat at my table.” Reese has spent over 30 years bridging cultures. He has created education programs across Central Asia and the U.S., spearheaded eLearning, curriculum reform, and translation projects. As the founding director of the Center for Regional Studies at the U.S. Naval Academy, he crafted top-tier academic content, cementing his legacy in cultural diplomacy. His efforts to promote the Uzbek language and culture, including his English translation of Oʻtkan Kunlar, earned him Uzbekistan’s Presidential Order of Doʻstlik. “My career in Uzbekistan started with the Peace Corps in 1994,” Reese told TCA. “I served in Kokand as one of the first volunteers in the city as an English teacher. “What has always fascinated me and that I’ve admired are the layers of culture that inform each other - Uzbekistan’s rich ecumenical heritage — it has everything from petroglyphs, Zoroastrianism, Buddhism, Christianity, and Islam. Being able to witness the birth of a republic is an extremely rare experience as well. I’ve been a student of Uzbekistan ever since.” TCA: How did you come across Uzbek literature, and what universal themes might appeal to a U.S. audience? “Kokand is known as the center of literary Uzbek, which is mainly attributed to Umar Khon and Nodira. So, I learned the Kokand dialect of Uzbek. The University of Washington’s graduate program in Near Eastern Languages and Civilizations, as well as Tashkent’s Sharqshunoslik University, underpinned my academic knowledge.” TCA: What inspired you to feature Abdulla Qodiriy’s work at the festival? “Uzbekistan suffers from a structured soft power presence abroad. Thirty-plus years of independence, and their narrative still...

3 months ago

Darvaza

Turkmenistan Contains ‘Gate to Hell’ Fire After Decades of Inferno

The fiery spectacle of the Darvaza Gas Crater, feared and revered as the 'Gate to Hell,' has dimmed significantly after over fifty years of continuous burning. Turkmenistan’s government announced that the massive blaze, located in the heart of the Karakum Desert, is now largely under control, marking a historic milestone in environmental and resource management efforts for the country. A Fiery Origin The story of the Darvaza Gas Crater began in 1971 when Soviet scientists attempted to study and manage methane leaks in the desert. Digging into what they believed was a minor pocket of natural gas, they inadvertently pierced a massive underground gas field. When the drilling rig and associated equipment suddenly collapsed into the cavern below, toxic gases began escaping uncontrollably. To prevent the spread of noxious fumes, the team decided to ignite the methane, hoping it would burn out in a matter of days. They were wrong. Instead of a quick resolution, the crater transformed into the longest-burning man-made fire, its eerie yellow flames licking at the edges of the 200-meter-wide pit. Visible from miles away, the burning crater became a bizarre and otherworldly landmark, attracting adventurers, scientists, and tourists alike. From 'Gate to Hell' to 'Shining of Karakum' [caption id="attachment_32708" align="aligncenter" width="2560"] Image: TCA, Stephen M. Bland[/caption] Now officially named the 'Shining of Karakum,' the Darvaza Gas Crater has been both a source of national pride and a symbol of environmental mismanagement. The flames and the heat haze rising from the crater have drawn global attention, but they have also brought concerns. Methane seepage from the pit has been a major environmental issue, contributing to greenhouse gas emissions. Furthermore, some locals living in the harsh desert environment have long argued that the crater should be extinguished, citing health risks and economic losses due to the wastage of valuable natural gas. A Turning Point in Fire Containment The efforts to extinguish the 'Gate to Hell' reached a decisive turning point in January 2022, when then-President Gurbanguly Berdimuhamedov ordered action to put out the flames, emphasizing the detrimental effects of the blaze on the environment and the squandered financial potential of the escaping gas. However, earlier attempts over the decades failed to curtail the inferno. This time, Turkmengaz, the state energy company, launched a sustained effort involving drilling additional wells around the crater to capture and divert the methane. According to Irina Luryeva, a director at Turkmengaz, these operations have significantly reduced the volume and intensity of the fire. “Whereas before, a massive glow from the blaze was visible for miles, today only faint combustion remains,” Luryeva stated. Independent satellite data confirmed the success, showing a threefold reduction in methane emissions from the site. Global Collaboration and Environmental Initiatives The containment of the Darvaza blaze is a result not just of national initiative but also of international collaboration. In March 2024, Turkmenistan partnered with the United Nations Environment Programme (UNEP) to address methane emissions comprehensively. The project included advanced monitoring technologies and strategies to manage methane leaks across...

5 months ago

Baikonur

Unveiling the Magic: Behind the Scenes of “Baikonur”

Space continues to capture our imagination and inspire our stories, as we try to make sense of this vast final frontier. In the last part of our series on Baikonur, we explore its depiction within cinema. In 2011, German filmmaker, Veit Helmer released Baikonur, a story about space, scavenging and misguided love that was shot within the region. TCA spoke to him about filming in this heavily restricted landscape. TCA: What was the inspiration behind your film, Baikonur? What drew you to this subject matter? Helmer: I was fascinated by the actual place, or what I knew about it; a hidden city with such a glorious past. Whilst researching, I found out about the scavengers who collect the pieces which fall on the steppe when the rockets are heading to space. To tell both stories at the same time intrigued me: space exploration and hunting for scrap metal. TCA: Given you also directed Absurdistan and Tuvalu, would it be fair to say you’re drawn to far-flung places? Helmer: Yes, I love to explore and find locations which haven’t been filmed before. But compared to the locations of my previous films - Tuvalu, which was shot in Bulgaria, and Absurdistan, which was shot in Azerbaijan - to travel to Baikonur was a much longer journey. [caption id="attachment_21684" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" leaving, villagers standing near yurt; image: Veit Helmer[/caption] TCA: As stated in the tagline of your film, “Whatever falls from heaven, you may keep. So goes the unwritten law of the Kazakh seppe. A law avidly adhered to by the inhabitants of a small village, who collect the space debris that falls downrange from the nearby Baikonur space station.” The village scavengers portrayed in your film are based in reality; how did you find out about them, and what was your experience with them? Helmer: It was very funny reading the first review from Kazakhstan, where a young journalist wrote that the film is based on the old Kazakh law “Whatever falls from heaven, you may keep,” which in reality was an invention by my screenwriter, Sergey Ashkenazy. But as this fable seems to feel so real, I never tried to dispel that myth. When writing the screenplay, Sergey and me went to Zheskaskan and the surrounding steppe, talking to the hunters of the scrap metal. It was not an ideal moment, because Roscosmos started to collect the debris themselves and the local villagers’ activity became illegal. The new reality was not villages against each other, but villagers against Roscosmos. [caption id="attachment_21685" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" (center) cleaning assembly hall in Baikonur ; image: Veit Helmer[/caption] TCA: As a Western filmmaker you were granted a unique opportunity to film within Baikonur - what did you observe of the landscape? What were the highlights of this experience? Helmer: There was a saying among the early cosmonauts that the Central Asian steppe was for them...

1 year ago

Baikonur

Baikonur: An Alternative Journey Into Space

The moon landing is imprinted on the Western collective psyche, but Baikonur is not. Like most children growing up in the U.S., I watched William Shatner on Star Trek, and when we think of space, we think of Neil Armstrong and NASA, not Kazakhstan. However, on April 12, 1961, the first man in space, Yuri Gagarin, took off from the Baikonur Cosmodrome in what is now Kazakhstan. Like WWII, however, space is the subject of parallel narratives, and the “Space Race” was an integral part of the Cold War. Baikonur Is a Place of Firsts Baikonur is a place of firsts - the first artificial satellite, Sputnik 1, the first dog, Laika, the first higher living organisms to survive a journey to outer space, Belka and Strelka, the first man, Yuri Gagarin, and the first woman, Valentina Tereshkova, all took off from Baikonur. Originally constructed during the Cold War as a missile test site, the area was chosen for several reasons; it’s isolation from densely populated areas and proximity to the equator made it easier to launch rockets, and the flat landscape ensured radio signals would not be disrupted. The battle for control over space between the U.S. and the Soviet Union was both ideological and military in nature. Baikonur was baptized in Cold War misinformation tactics. Located thirty kilometers south of the launch facilities, the closest town was originally known as Tyuratam. In 1961, Soviet officials swapped its name with a town located some 350 kilometers away, “Baikonur,” to misdirect Western intelligence. A fake spaceport constructed from plywood was erected in the “real” Baikonur to deceive enemy spy planes. In the early 1960s, the Soviet Union's covert actions allowed it to advance its space program faster than the United States, which faced public and media scrutiny. While U.S. space missions were broadcast live, exposing any failings, the USSR could operate clandestinely, protecting its missile technology and maintaining a strategic edge. A key example is the R7 rocket used to launch Yuri Gagarin into space; the largest intercontinental ballistic missile of its time, its details were closely guarded. [caption id="attachment_21512" align="aligncenter" width="1622"] Fifty year commemorative stamp of the first woman in space, Kazakhstan, 2013[/caption] “Space Race” Propaganda Another tool of Cold War propaganda was the flight of Valentina Tereshkova, the “First Lady of Space.” Prior to her journey to the stars in June 1963, Tereshkova had worked on an assembly line in a textiles factory. Her parachuting experience with a local paramilitary flying club proved crucial in her selection. In her three-day flight, the every-woman clocked up more space hours than all American astronauts up to that time combined. Tereshkova may have been a propaganda tool dispatched for Western audiences as proof of gender equality in the USSR, but it would be a nineteen year wait for the next female cosmonaut. In 2007, at the age of seventy, Tereshkova volunteered for a one-way mission to Mars. Having turned to politics as her primary concern following her spaceflight, in...

1 year ago