• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00197 -0%
  • TJS/USD = 0.09830 0.92%
  • UZS/USD = 0.00008 -0%
  • TMT/USD = 0.28575 -0.14%
22 May 2025

Viewing results 1 - 6 of 63

Twentieth Century Travelogue Documents British Women’s Experiences in Central Asia

Interpreting English-language sources accurately for Kazakh readers can be quite challenging. It often requires drawing on the richness, expressiveness, and natural rhythm of the Kazakh language. I came to appreciate this during an internship in the United States. Each evening, on the first floor of our home in Arlington, Virginia, I would spend about three hours in the study, poring over old library books containing historical records about Kazakhs. A quote often came to mind during those long nights: “A person with a good book is never truly alone.” It became both a source of inspiration and motivation. One day, I discovered a remarkable book, published in 1927 in both Boston and New York, titled Through the Jade Gate and Central Asia. Written by Mildred Cable and Francesca French, the book recounts their travels as British female missionaries across northwestern China and Central Asia. It offers a vivid portrayal of life in the region a century ago. The authors journeyed through Gansu, Xinjiang, the Gobi Desert, and visited Mongol and Tibetan settlements. In 1923, Cable, French, and their companion, Evangeline French, traveled more than 2,400 kilometers through Central Asia. They set out from Huozhou, spreading Christianity along the way. During their travels, they opened a mission school, distributed religious literature, and tried to learn local languages, such as Uyghur, to better communicate with Muslim women. However, conversions among local women were rare. The group crossed the desert five times, traversed the Tibetan plains, and eventually reached Zaysan via Shauyeshek. In Zaysan they met with Kazakh families and documented their encounters. For example, one Kazakh man asked if they knew how to operate a sewing machine, likely one he had purchased from Russians. They also met a Nogai man with two wives and a son, one wife being Kazakh and the other from another Turkic group. Throughout the book, the authors include photographs and descriptions of the people they met along the way.   Their journey continued along the Irtysh River, where they were moved by a boatman’s song. Upon reaching Semey, they then traveled by train to Novosibirsk and Omsk. On a boat from Omsk, they observed a Kazakh family and were struck by their blend of nomadic tradition and Western education. The family’s Western-style clothing, musical abilities, and refined manners stood out. One Kazakh man even played traditional music on the piano for his child, a moment that so impressed the authors that they included the musical notation in their book. The book also records a striking demographic insight: “We were told the Kazakh population exceeds seven million.” The travelers were clearly impressed by the Kazakhs’ adaptability, modesty, and political awareness, suggesting these qualities would soon position them for greater influence. They were especially taken by the poise and beauty of a Kazakh nurse, who left a lasting impression. In the end, every foreign source that offers insight into our history is an asset. This travelogue stands out as a vivid and respectful portrayal of our ancestors and as...

Kyrgyzstan’s UN Mission Opens Environmental Art Exhibition in New York

In honor of International Mother Earth Day, the Permanent Mission of the Kyrgyz Republic to the United Nations has opened an art exhibition in New York, highlighting the planet’s environmental challenges. The exhibition features works by young Kyrgyz artists that explore the intricate relationship between climate change, human development, and the natural world. Through a mix of paintings and installations, the artists aim to emphasize the environmental threats affecting global stability. [caption id="attachment_31162" align="aligncenter" width="900"] @mfa.gov.kg[/caption] Speaking at the opening, Aida Kasymalieva, Kyrgyzstan’s Permanent Representative to the UN, underscored the urgent need for intergenerational dialogue and collective responsibility in tackling environmental degradation. “Humanity must realize its shared duty to nature and future generations,” she said, calling for stronger efforts to reduce pollution, curb biodiversity loss, and increase funding for green initiatives. “This exhibition supports the Kyrgyz Republic’s broader commitment to environmental sustainability both nationally and internationally,” the Kyrgyz Foreign Ministry stated in a press release. “Kyrgyzstan is actively implementing programs to preserve mountain ecosystems, protect biodiversity, and transition to a green economy.” [caption id="attachment_31163" align="aligncenter" width="900"] @mfa.gov.kg[/caption] Kyrgyzstan has long sought to draw international attention to the unique vulnerabilities of mountain regions. Since the early 2000s, the country has positioned itself as a global advocate for highland communities, particularly in the context of climate resilience and sustainable development.

Altynai Osmo’s New Show in New York: Restoring Female Narratives

In the heart of Tribeca in New York, the Sapar Contemporary Art Gallery has launched a new exhibition, Beneath the Earth and Above the Clouds, which brings Central Asian narratives to the forefront. This dual show – which runs until May 15, 2025 - features Altynai Osmo and Aya Shalkar, two artists who have been devoted to exploring female narratives in the region, and do this through works that are both steeped into tradition, and modern and vibrant at the same time. The Times of Central Asia spoke with Altynai Osmo, a multimedia artist from Kyrgyzstan whose work weaves the threads of nomadic heritage with contemporary expression. Born in Bishkek and nurtured by the serene shores of Lake Issyk-Kul, Osmo's artistic journey is deeply rooted in the traditions of her homeland. A graduate of Central Saint Martins in London, she seamlessly blends mediums — textiles, metals, video, and installation — to explore themes of identity, matriarchy, and the evolving role of women in Central Asian societies. Her works such as Blessing Yurt, a red fringed costume inspired by the Kyrgyz nomadic traditional dwelling, not only pay homage to ancestral practices but also challenges present-day socio-political narratives. Speaking with TCA, Osmo reflects on the layers of meaning in her new series, her enduring engagement with mythology and matriarchy, and how her practice bridges personal memory and collective history. [caption id="attachment_31131" align="aligncenter" width="2231"] Image courtesy of Altynai Osmo/Sapar Contemporary Art Gallery[/caption] TCA: Can you tell me about how your previous practice led to this new series for the show? My previous work has always involved exploring the intersections of feminine identity, cultural memory, and inherited spirituality in Central Asia, particularly in Kyrgyzstan. This new series evolved naturally from that foundation. It reflects a more layered and intentional engagement with Central Asian history, mythology and matriarchal histories — particularly the symbolic and spiritual dimensions that have often been erased, distorted and forgotten. The materials and narratives I use now draw more explicitly from the Kyrgyz epic, Manas, ancestral craftsmanship, and belief systems like Tengrism, allowing me to express deeper reflections on women's roles across time. TCA: Your Kyrk Kyz series reinterprets the legendary warrior women of Central Asia. How does this mythology resonate with contemporary Kyrgyz identity and gender roles? The Kyrk Kyz legend, with its origin in female strength and collective action, presents a striking contrast to the more patriarchal norms that dominate present-day Kyrgyz/Central Asian society. Revisiting these stories reminds us that women were once seen as the protectors of land, lineage, and cultural continuity. By reimagining these warriors through my art, I want to challenge modern gender expectations and inspire a reconnection to a more empowering view of womanhood that is already rooted in our collective past. [caption id="attachment_31132" align="aligncenter" width="2560"] Image courtesy of Altynai Osmo/Sapar Contemporary Art Gallery[/caption] TCA: The use of felt in your masks ties your work to nomadic traditions. How does the choice of materials reinforce the themes of your work? Felt is not just a...

Future Nostalgia: Alexander Ugay’s Parisian Debut at NIKA Project Space

Have you ever had that feeling of “Future Nostalgia” - as Dua Lipa would put it – when looking at old sci-fi movies that imagined a future that never came to pass? The fact that this future didn’t materialise might be as might be seen as both a blessing and a disappointment, as artist Alexander Ugay has us reflecting upon with his Parisian debut. Born in Kazakhstan to a Korean family deported under Stalin’s regime, Ugay’s work is heavily inspired by his own experience and is layered with echoes of ancestral trauma, the faded promise of Soviet modernity, and the flickering ghost of a future once imagined but that never fully came to fruition. A child of engineers and inventors, Ugay grew up among circuits and cyanotypes, and in his art, he uses materials such as 8mm film and VHS tape. With this vintage spirit, his body of work looks at the past to speak of the present, and posits a critique of the techno-utopianism of the Soviet 1970s, as much as today's AI-driven image culture. In his new show, More than Dreams, Less than Things, at NIKA Project Space Paris, Ugay looks at the origins of image-making both literally and philosophically. Inspired by Ibn al-Haytham’s Book of Optics, the artist reanimates the ancient camera obscura, letting light seep through the book’s pages to birth abstract images: faded records of a presence. The exhibition, which opened on March 16, explores the tension between technological progress and the way this can be disrupted by the power of imagination and poetry - eminently human things - by looking at the intersection of photography, technology, and diasporic memory. His show, curated by Elena Sorokina, situates an emergence of Central Asian narratives coming more and more to the forefront of the international art and cultural world of Europe. Through the lens of Soviet futurism, Ugay explores a broader vision of seeing in an age where so much remains invisible. TCA spoke with Ugay about the way he approaches his art, his sources, and how he conceives images not as finished objects but as processes — mutable, unstable, and deeply human. [caption id="attachment_30561" align="aligncenter" width="2560"] 03_Alexander Ugay, More than Dreams, Less than Things. Courtesy of the artist[/caption] TCA: Where does the title for your new show, More than Dreams, Less than Things, come from? The title came about after reading Henri Bergson's book, Matter and Memory. I really liked the idea that an image is not only the relationship between absence and presence but also intensity and density. This idea made up for my dissatisfaction with the notion of resolution in photography. The title, in this case, is not just a definition of the image but a key to understanding its substantive basis. The image is the surface of the ‘grand contract’ between necessity and freedom, memory and matter, entropy and being. TCA: In More than Dreams, Less than Things, you use the camera obscura technique. How does this historical process relate to your exploration...

Uzbekistan at the 2025 Venice Biennale: Ekaterina Golovatyuk on the Modernist Legacy of a Soviet-Era Solar Furnace

Is it possible to preserve architectural heritage while working towards sustainability? And what to make of the architectural relics of the past century? Can they somehow take on new meaning rather than remaining a representation of dystopias and utopias of the past? All these questions and more are addressed by the Uzbekistan Pavilion at the 2025 Venice Architecture Biennale. Running alternate years with the Art Biennale, this is undoubtedly one of the most important architectural events in the international arena. Promising to be a thought-provoking exploration of Soviet-era scientific ambition, modernist architectural heritage, and the challenges of sustainability in a rapidly changing world, the pavilion hosts the research of GRACE studio - an architectural firm established by Ekaterina Golovatyuk and Giacomo Cantoni - which operates at the intersection of built heritage, contemporary urbanism, and cultural production. Commissioned by the Uzbekistan Art and Culture Development Foundation (ACDF), the pavilion responds to the theme of the Biennale’s curator, Carlo Ratti’s overarching Biennale concept of 'Intelligens'. The pavilion focuses on the Sun Institute of Material Science, originally known as the Sun Heliocomplex, a vast Soviet-era solar furnace built outside Tashkent during the Cold War to test materials at high temperatures. What emerges is the paradox of a structure designed for technological advancement that now faces questions of obsolescence and adaptation in contemporary discourse. TCA spoke with Ekaterina Golovatyuk to understand how the pavilion evolved from years of research into Tashkent’s modernist legacy and why this solar furnace has become the focal point of Uzbekistan’s presence at the Biennale. [caption id="attachment_30103" align="aligncenter" width="2560"] Heliocomplex Sun, field of heliostats, Tashkent, Uzbekistan; image: Armin Linke[/caption] TCA: The Uzbekistan Pavilion for the 2025 Venice Biennale builds on your previous research, Tashkent Modernism XX/XXI. Can you tell us how this project began? This is a project commissioned and initiated by Gayane Umerova of the Uzbekistan Art and Culture Development Foundation that works with cultural heritage, museums, and other culture-related initiatives in Uzbekistan but also promotes Uzbekistan’s culture abroad. They have curated large exhibitions in the Louvre, in the British Museum, showing historical artifacts from Uzbekistan, but also art of the 20th century, and Tashkent Modernism is part of their mission in regards to architecture. The Tashkent Modernism XX/XXI project began in 2021, when it became clear that Tashkent had started to change so rapidly that special tools had to be put in place in order to protect the recent architectural heritage that, at the time, was mostly not listed and therefore at risk. Our project team consisted of multiple experts from Uzbekistan and abroad, including a historian, Boris Chukhovich, a team of preservation specialists from Politecnico di Milano led by Davide Del Curto, urbanists Laboratorio Permanente, and an artist [photographer], Armin Linke. For this project, we started by selecting 40 buildings and then narrowed it down to 24, for which we created monographs and statements of significance that described the important values of the building as well as what parts should be absolutely kept and what parts could...

Kazakh Theatrical Performance Breaks Annual Record

The play Gauhartas, directed by Kazakhstani theater artist Askhat Maemirov, has been staged over 250 times within a year, marking a record achievement in Kazakhstan’s theater industry. This widely acclaimed production is an adaptation of a work by esteemed Kazakh writer, Dulat Isabekov. His story depicts the life of a Kazakh family during the Soviet period, shedding light on the struggles of ethnic minorities under an authoritarian regime. In 1975, the Kazakhfilm studio produced a movie based on this work.   With every show selling out, the play has already drawn nearly 75,000 spectators. It has been performed in several major cities across Kazakhstan, including Aktau, Atyrau, Oral, Taldykorgan, and Almaty. Plans are now in place to present the production on an international stage. “In this production, we emphasize the significance of family and cultural values in Kazakh society,” said the director of the musical drama. “We examine the roles of mothers and fathers, questioning their responsibilities and influence. By portraying the life of an ordinary Kazakh family, we aim to reflect deeper human emotions. At its core, the play conveys the importance of safeguarding love and happiness within the home.” Though Gauhartas was first introduced to readers fifty years ago, its themes remain highly relevant today. The dynamics of family life and the bond between parents and children continue to be timeless subjects in literature and theater, and currently, many young people in Kazakhstan are coming to watch this play. [caption id="attachment_29683" align="aligncenter" width="1023"] Image: TCA, Duisenali Alimakyn[/caption] This work was written by the recently deceased Kazakh writer, Dulat Isabekov, when he was 25 years old while serving in the military near Moscow. Depicting Kazakh society, including one family’s internal resistance to the system and the impact of Soviet society on people, this work became one of the author’s timeless creations. The play offers a fresh perspective to Kazakh audiences by addressing the issue of women’s equality. It delves into the fractured relationship between society, a father, and a son, highlighting their inability to connect and understand one another, ultimately leading to tragedy. In essence, this work looks back at the past, aligns with the present, and paves the way for a hopeful future.