Our People > Tamila Olzhbaekova

Tamila Olzhbaekova

Journalist

Tamila Olzhabekova is a journalist, award-winning illustrator, and a volunteer, curator and event organizer in the DOSTAR diaspora of Kazakhstan organization.
Prior to working for The Times of Central Asia, she has written for Peter Tv, First Line, Five Corners, Sport.Kz, and numerous other publications. A campaigner for interethnic harmony and the protection of stray animals, she studied at St. Petersburg State University.

Articles

Armed Forces

In the Line of Duty: Hazing, Tragedy, and Reform in Kazakhstan’s Armed Forces

Kazakhstan mandates universal military conscription for men between the ages of 18 and 27, with a standard service term of 12 months. Tens of thousands of young men are drafted into the military each year during two annual call-up periods. Evasion is illegal, yet public attitudes toward mandatory service are increasingly ambivalent. Officially, military service is presented as an honorable civic duty, with promises of educational preferences and social benefits upon completion. In practice, many young Kazakhs seek ways to avoid conscription, motivated not just by the disruption of a year out of civilian life, but by fears of hazing and abuse. ‘Hazing’ refers to a covert system of informal hierarchy in which senior conscripts intimidate and mistreat new recruits. Although the Ministry of Defense claims such practices were eradicated in the 2010s through reform and a transition to a mixed staffing model combining conscripts and contract soldiers, hazing has remained a persistent issue. According to a Demoscope survey from September 2025, 37.8% of Kazakhstanis said violence and informal power structures in the army are excessive. Among respondents aged 18–29, support for a full transition to a professional contract army was significantly higher, reflecting broader concerns about conditions and safety. For many families, a draft notice is not a matter of honor but a potential sentence. The Dark Side of the Barracks: Fatalities and Scandals Kazakhstan’s armed forces have faced a troubling number of peacetime deaths in recent years, prompting growing public concern. Between 2020 and 2022, 259 servicemen died across the armed forces and other security agencies, with at least 11 more deaths reported in early 2023. In late 2025, MP Nartay Sarsengaliyev noted that 270 soldiers had died in three years. In January 2026 alone, three incidents raised alarms: a National Guard serviceman died in Shymkent on January 6; another soldier died from a gunshot wound in Ust-Kamenogorsk on January 23; and a serviceman in the Zhambyl region died from a firearms injury on January 27. While the causes ranged from illness to the accidental mishandling of weapons, many families suspect hazing and abuse as underlying factors. Several high-profile cases from 2025 further damaged public trust. In January, 18-year-old Dastan Kurmanbek was found dead from a gunshot wound in a Saryozek unit; the military declared it a suicide, but his family alleged murder. That spring, 18-year-old Salamat Sabitov, who was drafted despite serious health issues according to his family, died of meningitis just one month into his service. In September, 19-year-old Dinmukhamed Shynarbek was found dead in a military unit in the Almaty region; officials again claimed suicide, but relatives rejected the explanation and demanded an independent investigation. Officers have also been implicated in violence. In summer 2024, a conscript in the Mangystau region was reportedly shot in the face by a superior officer. One of the most publicized cases was that of 22-year-old National Guard soldier Yerbayan Mukhtar, who suffered a severe head injury under suspicious circumstances in a barracks bathroom in December 2023. Though military doctors...

4 months ago

TCA Interviews

TCA Interview: Musician Merey Otan on the Reinvention of Kazakh Musical Instruments

Until recently, Kazakh national instruments were largely associated with school concerts, folk ensembles, and official ceremonies. The dombra (a long-necked, two-stringed plucked instrument), kobyz (a bowed string instrument with two horsehair strings), and sybyzgy (a wooden end-blown flute traditionally made from apricot wood) seemed to occupy a separate cultural space: symbolically important, yet detached from everyday life. “Before, the dombra was for me only part of school concerts,” recalls Sanzhar Uvashev, 24, a sales specialist from Almaty. “It was brought out on holidays, people dressed in national costumes, played a couple of obligatory songs, and that was it. I never thought this instrument could sound different, or be part of contemporary music.” Today, that distance is steadily narrowing. The sound of the dombra is increasingly featured in contemporary original music, electronic compositions, film scores, and social media. Young musicians are not abandoning tradition, but they are no longer treating it as something frozen in time. To understand how this rethinking is taking place, and why tradition need not remain 'untouched', The Times of Central Asia spoke with Merey Otan, a researcher and musician who works with Kazakh instruments in a modern cultural context. ТCA: Merey, how did your study of national instruments begin? Was it a deliberate decision? MO: It started during my master’s studies, when I was writing a thesis on contemporary music in Kazakhstan. As part of that research, I interviewed the ethno-rock band Aldaspan and kobyz player Almat Saizhan. I was especially interested in how the dombra and kobyz were being transformed and modernized and eventually devoted a whole chapter of my work to this topic. So yes, it was a conscious choice. TCA: People often argue that tradition should be preserved in its original form. What’s your take on that? MO: I’ve heard that view often, especially from traditional musicians. Some believe, for example, that an electronic dombra desecrates the instrument. Given the sacred meaning of the dombra and kobyz, I understand that stance. In sociology, these people are sometimes called purists. But I disagree. The world is changing, and some traditions from the nomadic era have lost their relevance or even become barriers. I believe traditions can, and sometimes should, evolve. If modifying an instrument helps engage younger generations, why not? TCA: Where do you personally draw the line between respect for heritage and experimentation? MO: I see nothing wrong with experimentation. On the contrary, bands like Steppe Sons show deep respect for heritage. Their members have formal musical education and a strong grounding in tradition. However, it's important to consider the concept of cultural appropriation from postcolonial theory. This occurs when privileged groups use the culture of marginalized communities for personal gain. In music, this might look like a Western artist profiting from Kazakh instruments without acknowledging Kazakh musicians. That, in my view, is disrespectful. TCA: Is there still criticism about the “incorrect” use of traditional instruments? MO: Yes, certainly. When Aldaspan introduced the electronic dombra, public figures like Bekbolat Tleukhan were highly critical....

5 months ago

Waste

Tajikistan Is Drowning in Plastic: Inside a Waste System Under Strain

According to domestic sector-specific sources, more than nine million tonnes of municipal solid waste (MSW) are generated annually in Tajikistan, of which around 322,000 tonnes is plastic. The key feature of plastic waste is its extreme resistance to decomposition; it can persist in natural environments for decades or even centuries, accumulating in soil and water bodies. However, estimates of total waste generation vary widely depending on the source, with international organizations offering more conservative figures. The United Nations Environment Programme (UNEP), for instance, reports approximately two million tonnes of formally collected municipal waste generated annually in Tajikistan. This discrepancy is likely due to differing accounting methodologies. National statistics typically include waste from unauthorized dumps and the informal sector, while international estimates often rely on formally collected and officially documented waste. Still, even the most conservative figures highlight the significant environmental burden posed by Tajikistan’s waste-management system. Tajikistan’s Position in International Waste Rankings Waste accumulation and limited recycling capacity are reflected in global assessments. According to domestic reporting citing the 2024 Mismanaged Waste Index (MWI), 87.1% of Tajikistan’s waste is either not collected through organized systems or is disposed of in violation of environmental standards. This would place the country among those with the most vulnerable waste-management systems. In practice, this means waste is often dumped at unauthorized sites, openly burned, or dispersed into the environment. These practices place pressure on soil, water resources, and air quality, while also posing long-term risks to public health. This crisis is unfolding amid a global plastic-waste emergency. Even in countries with advanced recycling systems, the proportion of recycled plastic remains low. UNEP estimates that only around 9% of all plastic ever produced has been recycled; the rest remains in the environment. Regional Disparities: Cities vs. Rural Areas Tajikistan’s domestic statistics divide the country into three groups based on waste generation. The “Mega” group includes the largest cities and adjacent areas (e.g., Dushanbe, Khujand), home to roughly 4.2 million people. Average daily waste generation here is 1.013 kg per person, resulting in up to an estimated 148,000 tonnes of plastic waste annually. The “Medium” group comprises 10 mid-sized cities (e.g., Bokhtar, Kulob, Kanibadam), with a combined population of 1.99 million. Daily per capita waste generation in this group averages 0.902 kg, leading to an estimated 62,000 tonnes of plastic annually. In rural areas and smaller districts, with over 4 million residents, waste generation averages 0.79 kg per person per day. While the plastic share here is less precise, these regions still generate an estimated 100,000 tonnes of plastic waste per year. It is in these smaller settlements that waste-management infrastructure is most deficient. While cities have basic municipal services and landfills, many rural areas lack even waste-collection containers. As a result, waste is often dumped in ravines, rivers, or burned in backyards, meaning much of it goes unrecorded in official statistics and may significantly exceed documented levels. Where the Plastic Goes: Disposal, Loss, and Recycling Most plastic waste in Tajikistan is either buried or left in...

5 months ago

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,...

5 months ago

Air Pollution

Tashkent Choked by Smog: What 2025 Revealed and How Residents Are Responding

The year 2025 proved especially challenging for air quality in Uzbekistan’s capital, with Tashkent repeatedly ranking among the world’s most polluted cities during peak smog episodes. At times, short-term air quality readings placed it alongside major Asian megacities during severe pollution spikes. These rankings were more than just statistics. Thick smog became a daily reality for residents, disrupting everyday life and intensifying concerns over public health and long-term environmental sustainability. Coal, Cars, and Construction: What’s Fueling the Smog Officials from Uzbekistan’s Ministry of Ecology and independent environmental researchers say Tashkent’s air pollution is primarily caused by human activity. The heaviest blow came from municipal furnaces and boiler houses. Amid ongoing natural gas shortages, many public facilities, including schools, kindergartens, and hospitals, were converted to coal or fuel oil, resulting in a surge of emissions. Uzbekistan’s coal consumption jumped from 3.9 million tons in 2019 to 6.7 million tons in 2023. Emissions from these sources accumulate in the lower atmosphere during the cold season, exacerbating pollution. Vehicle emissions are another major contributor. Tashkent has approximately 193 vehicles per 1,000 residents, roughly double the national average. Many cars run on low-octane AI-80 gasoline, which contains high levels of harmful impurities. While coal use has surged, vehicle emissions remain a serious issue. In 2019, motor transport accounted for the majority of urban air emissions in several districts of the city. Adding to the problem are industrial plants on the city’s outskirts, frequent dust storms during dry seasons, and unregulated urban development. High-rise construction has created wind barriers that disrupt air circulation, while green spaces, Tashkent’s natural air filters, have steadily disappeared. Despite an official moratorium on tree cutting, official and environmental group estimates indicate that around 49,000 trees have been felled since 2019, often by developers who face only minimal penalties. According to Uzbekistan’s Ministry of Ecology, PM2.5 concentrations in Tashkent routinely exceed World Health Organization guidelines. During peak smog episodes in early February 2024, pollutant levels were recorded at up to 22 times the WHO’s recommended annual limits. These fine particles penetrate deep into the lungs, triggering allergies, inflammation, and cardiovascular issues. A 2019 World Bank report cited air pollution as the cause of 89 deaths per 100,000 people in Uzbekistan, the highest rate in Central Asia. Winter smog episodes have intensified since then. Living Under a Haze: Residents Speak Out For many Tashkent residents, smog has become part of everyday life. People commonly report throat and eye irritation, a constant dusty haze, and difficulty breathing. “It’s dusty and hard to breathe, you feel it all the time,” said Victoria Son, 18, a student at Bucheon University. Karina Sagidullina, 19, a videographer and programmer with severe dust allergies, said the polluted air significantly affects her health. “My nose often gets blocked, I sneeze a lot. I have to do wet cleaning at home every day,” she said. Some residents, however, say they are less affected. “So far, I don’t really feel the air pollution. I breathe normally and don’t wear a mask,”...

5 months ago

Yenlik

Kazakhstan’s Yenlik Brings Her Sound to COLORS

Kazakhstani singer and songwriter Yenlik has made history by becoming the first artist from Kazakhstan to be featured on the international music platform COLORSxSTUDIOS. Founded in Berlin in 2016, COLORSxSTUDIOS, commonly known as COLORS, has grown from a small creative experiment into one of YouTube’s most influential music platforms. Recognized for its minimalist visual style, each performance is filmed against a single-color backdrop without set design or special effects, placing the focus squarely on the music, the voice, and the artist. The channel now counts more than 8.2 million subscribers and over 3.5 billion views, cementing its status as a global tastemaker in contemporary music. Over the years, COLORS has showcased a wide range of talent, from emerging artists to international stars such as Billie Eilish, Drake, Doja Cat, and Joji. The platform describes its mission as an effort to “connect people, countries, and cultures on a creative and emotional level,” framing its global, genre-spanning approach as a form of cultural exchange as much as a musical one. Yenlik’s Voice: Rooted in Culture, Reaching Beyond Borders Yenlik, born Enlik Kurarbek, is one of the most prominent figures in Kazakhstan’s emerging musical wave. Her sound blends alternative pop with modern R&B influences, creating a style that feels both personal and closely tied to her cultural identity. The Kazakh language plays a central role in her work, not as a folkloric reference but as a contemporary form of expression. Her music reflects a broader shift in which Kazakh is increasingly present in global pop contexts without being confined to traditional or ethnic frameworks. Yenlik’s authorial sound, shaped by contemporary production and subtle national influences, is paired with an emotionally restrained vocal delivery that has become her signature. Observers suggest it was this originality that drew the attention of the COLORS curators. Known for prioritizing authenticity over commercial success, the platform seeks artists with strong individuality and a distinctive voice, qualities that align closely with Yenlik’s creative vision. From Rejection to Recognition For Yenlik, the invitation from COLORS marked a long-awaited milestone. She had previously applied to the project without receiving a response, making the eventual outreach from the platform all the more meaningful. “When the invitation came, I was overjoyed and burst into tears,” she recalled. “This project always felt so distant. Two years ago, we submitted an application with no response. And now, COLORS reached out to us first.” The performance was filmed outside Kazakhstan and completed within a few hours. Yenlik was struck by the production’s simplicity, defined by an absence of elaborate sets and large crews, and by the quiet intimacy that has become a hallmark of COLORS. The team fostered a welcoming atmosphere, and she was even able to choose the episode’s background color, which she described as symbolizing “true gentle strength,” a visual reflection of the emotional tone of her performance. Rising Digital Momentum Yenlik’s digital presence has continued to grow steadily, with her music gaining traction among younger audiences on social media. Her songs often circulate...

5 months ago

History

Kinship Clans in Modern Kazakhstan: Historical Continuity and New Realities

Ancestral ties are seemingly embedded in the DNA of every Kazakh. This tradition, rooted in antiquity, reflects the clan structure that historically shaped Kazakh society. The notions of zhuz (a set of clans) and ru (clan) largely determined the social organization of the nomadic lifestyle. Kazakh society traditionally consisted of three zhuzes, the Older, Middle, and Younger which in turn united many clans. The zhuzes were large tribal unions, a kind of higher-level “horde” that included dozens or even hundreds of distinct clan groups (ru), while ru referred specifically to a group of close blood relatives. Such clan structures formed the basis of traditional society. Historical Roots: The System of Zhuzes and Shezhire The origin of the three Kazakh zhuzes remains a subject of historical debate. In early written sources from the 17th century, the names of the zhuzes had not yet been formalized. Chronicles described only a geographic custom: those living in the upper reaches of a river were called the “Big zhuz,” those in the middle the “Middle zhuz,” and those in the lower reaches the “Younger zhuz.” The 16th-century work Majmu al-Garaib mentions Kazakhs but notes that the terms Uly zhuz, Orta zhuz, and Kishi zhuz were not yet in use. The classical three-zhuz system only fully formed by the late 17th to early 18th century, during the reign of Tauke Khan (1680-1715), when the Kazakhs united under a single Kazakh Khanate. According to a legend recorded by traveler G. N. Potanin, one ruler gathered 300 warriors and divided them into three groups: the first hundred, Uly zhuz, were settled upstream along the Syr Darya; the second hundred, Orta zhuz, in the middle; and the last hundred, led by the chief Alshin, downstream as Kishi zhuz. These legends provide a cultural explanation for the emergence of the zhuzes, though historians stress there is no single agreed version. Hypotheses range from military-administrative divisions into “wings” to the influence of geography and climate across Semirechye, Saryarka, and Western Kazakhstan. Alongside the zhuz system, clan identity was reinforced through genealogical chronicles, shezhire, in which Kazakhs recorded their ancestors’ names and clan history. Knowledge of seven generations (jeti ata) was obligatory for every Kazakh and was absorbed “with mother’s milk”. These genealogies had practical implications: knowing one’s lineage helped determine kinship laws, including prohibitions on marrying within the same clan. The clan was not just a social structure, but a fundamental part of identity. As publicist Khakim Omar wrote: “The main idea of the shezhire is revealed in the close connection of ancestors’ and descendants’ names, in the continuity of generations,” allowing a person, through genealogy, “to define their place in the world”. Transformation of Tradition in the Soviet Era Under Soviet rule, internationalism and a break from “tribalism” were officially promoted. Yet in practice, the clan system continued to operate informally as a mechanism of social mobility and legitimacy. While divisions into zhuzes and clans were no longer legally recognized, they endured as a way of thinking, a cultural filter...

9 months ago

Comics

“Ergenekon Is Not Just a Myth, It’s a Cultural Bridge”: An Interview with Artist and Designer Emre Erdur

Today, comics and visual storytelling are increasingly going beyond entertainment. They are becoming part of a cultural dialogue, helping audiences reconnect with their roots. One such project is the graphic novel series The Legend of Ergenekon (Ergenekon Destanı), created by Turkish artist and designer Emre Erdur. The Legend of Ergenekon is a Turkic origin myth that tells of a people driven into a remote valley after defeat in battle, where they lived in isolation for centuries until a blacksmith forged a path through the surrounding mountains. Guided by a gray wolf, they emerged to reclaim their strength and expand across the steppe. In Central Asia, the story symbolizes resilience, unity, and renewal, often invoked as a metaphor for nations overcoming hardship to reassert independence and identity on the Eurasian crossroads. It resonates strongly in Kazakhstan, Kyrgyzstan, Turkmenistan, and Uzbekistan, where Turkic identity, language, and heritage are foundational. Born in Istanbul and trained as an architect at Mimar Sinan Fine Arts University, Emre Erdur worked for many years in the entertainment and design industries. Since 2019, however, he has dedicated himself to developing a multi-volume graphic novel series inspired by ancient Turkic history and mythology. His work was first presented at a festival in Taldykorgan. As part of his research, he visited the National Museum of Kazakhstan in Astana and collaborated with historian Assoc. Prof. Dr. Talgat Moldabay to ensure historical accuracy. [caption id="attachment_35647" align="aligncenter" width="1824"] Image: Emre Erdur[/caption] For Central Asia, Ergenekon Destanı is more than a creative project; it represents an effort to connect a shared heritage through the language of comics and popular culture. In an interview with The Times of Central Asia, Emre Erdur spoke about his inspiration, research, the role Kazakhstan plays in his work, and his plans for expanding this unique visual universe. TCA: You were born and educated in Turkey, yet you chose to dedicate yourself to wider ancient legends and Turkic history. When did you first feel drawn to this theme? Erdur: Yes, I was born in the westernmost corner of Turkic geography, but every individual in this world has cultural roots that reach out and nourish them. Naturally, as an artist, the desire to draw from and explore my own roots is an inner force. Although I was born and raised in Istanbul, you can find traces of our roots as far as Yakutia in Russia, Buryatia, Mongolia, the Altai, further south in East Turkestan, in the Gobi Desert, and even in Korea. None of these places feels separate from us; you can sense the connection. Of course, as a human being, every part of this world is valuable and fascinating; each region holds its own beauty and heritage. But there is also something called “national identity,” which is different from our individual identity. Our soul cannot be confined to this world; it knows no geography or race, it belongs beyond time and space. Yet during our lifetime on Earth, we do carry both national and individual identities, and defining them correctly...

10 months ago

Culture

“Recipes for Broken Hearts”: Bukhara Launches First Art Biennale

This autumn, the ancient Silk Road city of Bukhara is poised to reemerge as a global cultural destination, hosting its first-ever international art biennale, Recipes for Broken Hearts. Running from September 5 to November 20, the ten-week festival will transform Bukhara, a UNESCO Creative City, into a vibrant arena for contemporary art, community rituals, and culinary experiences. The initiative is spearheaded by Gayane Umerova, chair of the Uzbekistan Arts and Culture Development Foundation (ACDF), with renowned curator Diana Campbell at the helm. More than 70 new works, created in Uzbekistan, will be displayed in historic madrasas and caravanserais, reimagined as immersive exhibition spaces. The event promises to be among the region’s largest cultural gatherings, aiming to reclaim Bukhara’s place on the global cultural map. Not Just an Exhibition, A Sensory Ritual Recipes for Broken Hearts is not a traditional exhibition. Designed as a “ritual for the senses,” it invites audiences to engage with art not just visually but through touch, scent, sound, and taste. Sculptures, textiles, music, and food converge into an experimental space for “emotional healing.” Visitors become participants rather than spectators. At the opening ceremony, instead of a red carpet, guests will be welcomed by the scent of fermentation. Korean Buddhist nun and chef Jeon Kwan will prepare kimchi, place it in a clay pot, and bury it. Ten weeks later, the fermented dish will be unearthed and shared with the public, symbolizing transformation and healing through time. A Dialogue Between Cultures The biennale’s installations span a wide geographic and cultural range. Egyptian-American artist Laila Gohar will craft navata, a crystal made from grape juice and saffron. Colombian artist Delcy Morelos will construct a dome of clay, sand, and spices to symbolize human connection to the earth. Uzbek artist Oizhon Khairullaeva and ceramist Abdurauf Tahirov will create “organs of the city,” including a beating ceramic heart and a “stomach” integrated into historic architecture. Indian sculptor Subodh Gupta will build a giant dome from enamel teapots and bowls, shaped like a yurt, where guests will be served fusion cuisine. Central to the project is the in situ approach: every piece is created in Bukhara with the support of local artisans, potters, weavers, and carpet makers, infusing contemporary works with traditional skills. “This isn’t an art fair,” explained the curators. “Each piece speaks from this land, even if the whole world sees it.” [caption id="attachment_21936" align="aligncenter" width="2560"] The Kalon Mosque, Bukhara; image: TCA, Stephen M. Bland[/caption] Bukhara as a Living Gallery Festival venues are dispersed throughout Bukhara’s historic core, effectively turning the city into an open-air gallery. Four restored caravanserais symbolize the emotional journey from grief to hope. The 16th-century Gavkushon madrasa, repurposed as the “House of Softness,” will host workshops, public readings, and a symposium titled The Craft of Mending. There, artists and scholars will explore the “culture of repair”, from object restoration to the preservation of historical memory. “Erasing history is also a form of pain. Restoration is resistance to oblivion,” notes Harvard-based art historian Aziza Izamova. Concurrently,...

10 months ago

Art and Culture

Almaty to Open Central Asia’s First Private Museum of Contemporary Art

Almaty is preparing for a cultural milestone of international significance. In September 2025, the Almaty Museum of Arts will open its doors as the first private museum of contemporary art in Central Asia. The project is poised to reshape Kazakhstan’s cultural landscape and position Almaty as a new regional hub for artists, curators, and global audiences. Architecture and Concept The 10,000-square-meter building was designed by British firm Chapman Taylor, in collaboration with Buro Happold and Lord Cultural Resources. The architectural concept draws on Almaty’s unique identity: stone elements evoke the surrounding mountains, while metal structures reflect the city's dynamism. Together, they create a space where art exists in a dialogue with both nature and urban life. The museum will include permanent and temporary exhibition halls, artist studios, educational auditoriums, a performance venue, a restoration laboratory, a café, and a museum shop. [caption id="attachment_35388" align="aligncenter" width="657"] Image: Almaty Museum of Arts[/caption] Investment and Collection The project is valued at approximately $100 million, with $30 million allocated for construction and $70 million for building the collection and outfitting the museum. The collection already comprises more than 700 works, spanning Kazakh and Central Asian artists as well as internationally renowned figures such as Yayoi Kusama, Alicja Kwade, Richard Serra, Yinka Shonibare, and Bill Viola. One permanent installation has already captured the public's attention: Nades, a 12-meter sculpture by Spanish artist Jaume Plensa, stands at the museum's main entrance. Depicting a young girl with her eyes closed, the artwork has sparked mixed reactions. Museum founder Nurlan Smagulov described it as a symbol of the "strength, dignity, and beauty of women.” While some praised its serenity and conceptual elegance, others questioned its cost and originality. Regardless, Nades has succeeded in igniting a public discourse, something all meaningful art aspires to, making the museum a topic of national conversation before its official opening. [caption id="attachment_35389" align="aligncenter" width="527"] Image: Almaty Museum of Arts[/caption] Curators and Opening Program Meruert Kalieva, founder of Almaty’s Aspan Gallery, has been appointed artistic director. The museum’s chief curator will be Inga Lāce, formerly of the Latvian Centre for Contemporary Art and a contributor to the Venice Biennale. The inaugural program includes: “I Understand Everything” - a solo exhibition by Kazakh artist Almagul Menlibayeva, tracing her work since the 1980s, and “Qonaqtar” - a group exhibition exploring themes of hospitality and migration, curated from the museum’s growing collection. [caption id="attachment_35399" align="aligncenter" width="884"] Aisha Galimbaeva, "Shepherd's Wedding", 1965; image: Almaty Museum of Arts[/caption] Role for the City and the Region The Almaty Museum of Arts aims to serve as a bridge between Central Asia and the global contemporary art world. Beyond exhibitions, it will function as an educational platform, hosting lectures, masterclasses, and programming for children and students. The institution is expected to boost the local art scene while drawing international visitors, contributing to the creation of a new cultural district in Almaty. More broadly, it signals Central Asia’s readiness to participate fully in global artistic discourse. Almaty stands to emerge as the cultural...

10 months ago

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