Art and Culture - The Times Of Central Asia

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TCA Interviews

Artist Aigerim Karibayeva on How Kazakhstan Is Searching for Its Visual Identity

Kazakh artist Aigerim Karibayeva is part of a new visual wave that seeks to blend traditional culture and contemporary aesthetics. Her distinctive style – bright, airy, almost spring-like imagery infused with ethnic motifs and scenes from everyday life – has moved beyond social media into major exhibition spaces. Her works are currently on display at the Kasteyev State Museum of Arts, where her solo exhibition My Sky Above Me recently opened. In an interview with The Times of Central Asia, she discusses how she coined the term “ethno-modernism,” why ethnic aesthetics is surging in popularity, and how Kazakhstan is searching for its own visual identity. TCA: Aigerim, you describe your work as “ethno-modernism.” How did you arrive at that concept? Aigerim Karibayeva: I started moving in this direction and sharing my work on Instagram several years ago. I quickly found my audience; there was strong interest from the media and many interviews. To talk about my work, I needed a term that would define it, something verbal. But I didn’t want to call it simply “contemporary art,” because that didn’t reflect the essence of what I do. I thought: why not call it “ethno-modernism”? I consulted the well-known art historian Olga Baturina, and she approved. The term immediately caught on. I now see it used in the press, on social media, and even in the profiles of young designers. Today, “ethno-modernism” is used to describe an entire wave of artists and designers, the boom we’ve been seeing over the past five years. TCA: Why do you think ethno-modernism has become so popular now? Aigerim Karibayeva: I think it’s been building for a long time. I’m trained as a graphic designer, so I have a strong visual awareness. I saw how interest in national style and ethnic elements gradually emerged in the country. First, businesses began using it in branding, then advertising picked it up, and eventually it spread into mass culture. Now, ethnic elements combined with modern aesthetics have become a visible part of everyday life. [caption id="attachment_48156" align="aligncenter" width="2000"] From a personal photo archive[/caption] TCA: That was especially noticeable during recent Nauryz celebrations – everyone seemed to be wearing ethnic-inspired clothing. Aigerim Karibayeva: Exactly. Everyone is searching for a new cultural code right now, artists, musicians, filmmakers, craftspeople. At first, you create something within your own circle, among fellow artists, and then it spreads outward. You start seeing and hearing it everywhere, for example, in new interpretations of Kazakh music. You recognize that mix, and it becomes a kind of key. You try to translate that same cultural fusion into your own work. I’ve had people tell me they were inspired by my work. One woman approached me and said that after seeing a traditional headpiece, a taqiya, in my illustration, she was inspired to start making them herself and launched a successful business. That’s how this wave works, there’s a ripple effect, and everyone picks it up. TCA: There’s clearly strong demand for ethnic aesthetics right now. Aigerim...

Ballet

From Kazakhstan to International Ballet: Meirambek Nazargozhayev’s Rise

Meirambek Nazargozhayev’s journey is a remarkable story of talent, determination, and transformation. Hailing from the small village of Karaoy in Kazakhstan’s Almaty region, he grew up like many boys in the countryside, playing football and the dombra, with little connection to the world of classical ballet. Today, however, he is a principal soloist at the Royal Danish Theatre, one of Europe’s most prestigious cultural institutions. Ballet was not part of Nazargozhayev’s childhood dreams. His path changed thanks to his aunt Farida, a choreographic instructor in Almaty, who noticed his potential early on and encouraged him to pursue dance. At the age of ten, he entered professional training, marking the beginning of an unexpected but extraordinary career. Creativity had always been part of his life. He recalls being drawn to music and performance from an early age, playing instruments, exploring artistic interests, and taking part in local cultural activities. In 2006, he was admitted to a choreographic school in Almaty, where he trained intensively. Watching dancers glide and leap across the stage left a lasting impression, turning his initial curiosity into a deep passion for ballet. [caption id="attachment_48150" align="aligncenter" width="300"] From a personal photo archive[/caption] With consistent effort and discipline, Nazargozhayev soon began gaining international recognition and winning awards. His artistic path echoes the words of Rabindranath Tagore, who described art as an expression of the inner self. While many of his classmates aimed to join local theaters in Astana or Almaty, Nazargozhayev aspired to build a career abroad. He first moved to Moscow, where he spent eight months working at a major theater, performing key roles and refining his skills. Eager to broaden his horizons, he then turned to Europe, known for its rich ballet traditions and high professional standards. His European career began in Kiel, Germany, where his distinctive style and talent quickly earned him a contract. He flourished there, particularly in contemporary dance, a genre he continues to value deeply. During his time in Germany, he heard a great deal about the Royal Danish Theatre, which soon became his ultimate goal. An offer from a major theater in Madrid followed, promising strong prospects. Shortly afterward, however, he received an invitation from the Royal Danish Theatre, the very stage he had long dreamed of joining. [caption id="attachment_48151" align="aligncenter" width="300"] From a personal photo archive[/caption] “I was in disbelief,” he admits. “I had applied, but I never imagined I would actually be accepted.” After joining the company, Nazargozhayev made an immediate impact by performing a solo role in Jiří Kylián’s ballet 27’52”, an opportunity rarely given to new members. His performance captivated both audiences and colleagues, establishing him as a standout artist. Over the past eight years, he has continued to grow professionally, appearing on major stages across Europe, China, North America, and at the Kremlin Palace. In recognition of his excellence and dedication, the Royal Danish Theatre granted him a lifelong soloist contract, an honor reserved for only the most distinguished performers. He has also performed before the Danish...

Milan Design Week

Uzbekistan’s ‘When Apricots Blossom’ Shortlisted for Fuorisalone Award at Milan Design Week

Uzbekistan’s first national exhibition at Milan Design Week 2026 has closed with strong international recognition, drawing large crowds and earning praise from critics for its focus on culture, craft, and environmental change. Titled When Apricots Blossom, the exhibition ran from April 20 to 26 at Palazzo Citterio, welcoming around 25,000 visitors over seven days. Organized by the Uzbekistan Art and Culture Development Foundation (ACDF), the project was commissioned by its chairperson Gayane Umerova and curated by architect Kulapat Yantrasast, founder of WHY Architecture. The exhibition was shortlisted for the main Fuorisalone Award, which recognizes leading installations among the thousands of events held across Milan during the week. It also received a Special Mention from a panel of media partners and critics. The jury praised the project for creating “a dialogue between the space and the content” and for encouraging deeper engagement with its themes. Uzbekistan’s debut comes at a time when design is increasingly addressing global challenges, including climate change and sustainability. In this context, When Apricots Blossom stood out for its focus on the Aral Sea region, one of the world’s most widely recognized environmental disasters. [caption id="attachment_47943" align="aligncenter" width="451"] Cooking demonstration led by Bayrangul. Still from the film Where the Water Ends by Manuel Correa and Marina Otero 2026. Courtesy of ACDF[/caption] Over the past six decades, the Aral Sea has largely disappeared, reshaping life in Karakalpakstan, an autonomous region in northwestern Uzbekistan. The exhibition explored how communities in the area have adapted to these changes, not only through new solutions but also through long-standing traditions. Rather than presenting craft as something of the past, the project framed it as a form of living knowledge. “Our intention was for the Aral Sea to be recognized not only as a site of loss, but as a lens through which design considers broader questions of climate, culture, and responsibility,” Umerova said. She emphasized that collaboration played a key role in the exhibition. Designers from different countries worked alongside Uzbek and Karakalpak artisans, creating a space for exchange between tradition and contemporary practice. “The knowledge exchange between our craftspeople and international designers has helped reconnect past, present, and future,” she said. Inside Palazzo Citterio, visitors moved through installations centered on three fundamental aspects of life: food, shelter, and clothing. These were represented through bread-making, yurt-building, and textile weaving, practices that have helped communities adapt to changing environments. Twelve designers created new works inspired by these traditions, including bread trays and stamps used in the preparation of non, a staple of Uzbek cuisine. Made from materials such as wood, ceramics, felt, and reeds, the objects reflected both local resources and evolving design approaches. The exhibition also included artifacts selected by participants of the Aral School, an international educational program focused on the region through design and research. A film, Where the Water Ends, offered visitors a closer look at the lives and landscapes shaped by the disappearance of the sea. For Yantrasast, the project marks the beginning of a longer process. “This...

Silk Road

Silver, Silk, and Forgotten Power: Central Asia’s Islamic Past Comes to London

At Sotheby’s in London, Central Asia comes into view as a world of dazzling craft and taste. The Arts of the Islamic World & India auction on April 29th gathers rare eastern Islamic works that show how the region turned faith, power, and luxury into art. The standout lot is a 12th or 13th-century silver ewer, catalogued as Persian or Central Asian. Most related vessels are brass or bronze. This one is comparable to vessels from the Harari Hoard, a group of 10th and 11th-century silver objects now largely held in the L.A. Mayer Museum for Islamic Art in Jerusalem. The ewer’s presence gives the sale its sharpest point of entry. It is rare, ambitious, and unusually personal. [caption id="attachment_47817" align="aligncenter" width="2447"] A pair of Seljuk gold bracelets, Persia, Khurasan, 12th century; image: Sotheby's[/caption] A 10th-century Nishapur calligraphic dish shifts the focus from metal to script, turning a simple object into a work shaped by the visual grace of the written word. Timurid horse trappings, Qur’an pages, Sogdian silks, golden Mongol cloths, an embroidered robe, and a Shakhrisabz suzani broaden the picture from courtly power to sacred text and textile brilliance, ending in a tradition still closely associated with Uzbekistan. The timing gives the auction added weight. Uzbekistan is building a major new stage for Islamic heritage. The Times of Central Asia reported in April 2026 that its Center of Islamic Civilization has entered the Guinness World Records as the world’s largest museum. TCA asked Frankie Keyworth, a Specialist in Islamic and Indian Art at Sotheby’s, why Central Asia’s artistic legacy is commanding fresh attention now. [caption id="attachment_47818" align="aligncenter" width="8984"] A turquoise-set silver and brass belt buckle, Bukhara, Central Asia, 19th century; image: Sotheby's[/caption] TCA: Why are the artifacts in this auction so important for understanding Central Asia as a center of artistic production, rather than just a corridor between other civilizations? Keyworth: They really reiterate the breadth of artistic production in Central Asia, which is incredibly rich in terms of medium, design and chronology. The works presented here range from the 8th to the 19th century, from textiles to ceramics, metalwork to manuscripts, and they reveal traditions that are distinct to Central Asia, and others that inform and are informed by artistic production in other regions. The impressive silver ewer is a good example of this. Its nielloed decoration on silver is typical of a distinct group of silver vessels produced in Central Asia, but its form would go on to inform examples in other materials, such as bronze or ceramics produced later in Persia. [caption id="attachment_47819" align="aligncenter" width="2560"] A Timurid or early Ottoman tinned copper goblet (mashrabe), Central Asia or Eastern Anatolia, late 15th century; image: Sotheby's[/caption] TCA: Which object best captures Central Asia’s wider historical importance, and what makes it so revealing? Keyworth: It’s hard to pinpoint such a vast artistic tradition to one object, but luxurious textile production is synonymous with the arts of Central Asia. In this sale, we can see one of the earliest...

Art and Culture

Life After the Water: Uzbekistan Brings the Aral Sea Story to Milan

Uzbekistan made its debut at Milan Design Week 2026 on April 20, with When Apricots Blossom, an immersive exhibition at Palazzo Citterio exploring how craft and design can respond to environmental crisis. Running through April 26, the project is organized by the Uzbekistan Art and Culture Development Foundation (ACDF), commissioned by its chairperson, Gayane Umerova, and curated by Kulapat Yantrasast, founder of WHY Architecture. It marks the country’s first major presentation at one of the world’s leading design platforms. At the center of the project is Karakalpakstan, a region in northwestern Uzbekistan that has experienced one of the world’s most severe environmental crises. Over the past six decades, the shrinking of the Aral Sea has transformed the area’s landscape, economy, and way of life. Once a vast inland body of water, the sea has largely disappeared, leaving behind desert, salt plains, and struggling communities. [caption id="attachment_47478" align="aligncenter" width="926"] The Garden Pavilion at Palazzo Citterio, indicative render: Lightweight latticed framework ‘deconstructed yurt’ by Kulapat Yantrasast. When Apricots Blossom, Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] When Apricots Blossom traces this transformation while also looking ahead. “The Aral Sea is both a cautionary tale and an opportunity to offer a blueprint for other regions facing extreme environmental change,” Umerova said ahead of the opening. She emphasized that design and craft are not separate from these challenges, but part of the response. “They begin with people and knowledge.” Inside Palazzo Citterio, the exhibition unfolds as a journey through the region’s past, present, and possible futures. The main gallery features an installation of reed-like structures that evoke the landscapes of Karakalpakstan. Within this setting, visitors encounter objects and ideas connecting everyday life with broader environmental questions. A key focus is on three traditional practices: bread-making, yurt-building, and textile crafts. These are presented not as relics of the past, but as systems of knowledge shaped by generations of adaptation. [caption id="attachment_47534" align="aligncenter" width="8192"] Bethan Laura Wood at Palazzo Citterio - When Apricots Blossom - commissioned by ACDF. Image courtesy of ACDF[/caption] Twelve international designers have worked with Uzbek and Karakalpak artisans to create new pieces inspired by these traditions. Among them are custom bread trays and stamps (chekich), reflecting the central role of bread in Uzbek culture. Made from materials such as wood, felt, ceramics, and reeds, the works reinterpret familiar forms while remaining rooted in local techniques. Alongside these contemporary designs are artifacts selected by participants of the Aral School, an international postgraduate program that treats the region as a site for creative and critical exploration. The exhibition also premieres Where the Water Ends, a new film by filmmaker Manuel Correa and architect Marina Otero Verzier, offering a closer look at landscapes and communities shaped by the Aral Sea’s decline. [caption id="attachment_47480" align="aligncenter" width="976"] The main gallery interior, indicative render: Reed-link forms by WHY Architecture. When Apricots Blossom - Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] Together, these elements form a broader narrative about how people adapt to...

TCA Interviews

From From Global Streaming to International Productions: Kazakhstan Filmmakers Go International

Makpal Kursabayeva is a sound engineer whose work has increasingly extended beyond Kazakhstan’s local film industry. Over the years, she has contributed to projects with international teams, from working alongside The Matrix cinematographer Bill Pope to taking part in series produced for global streaming platforms. Her career highlights the expanding role of Kazakhstani professionals in international production and shows that local crews can compete with their Western counterparts. Her work includes on-set recording, post-production, and sound capture in environments ranging from military airbases and nighttime steppes to urban locations. In an interview with The Times of Central Asia, she discusses how the industry works and why crews from Kazakhstan are competitive in international productions. TCA: You are a highly experienced sound engineer, but most of your work has been on local projects. Do you think Kazakhstani specialists are competitive in the global market? Makpal: I have no doubt about it, however confident that may sound. Recently, we worked on an international series filmed in Kazakhstan by Turkish filmmakers. Many department heads were Turkish, but I led the sound department. We worked and communicated seamlessly; there were no barriers at all. And that’s always the case. I also worked on a commercial project for Chevron, where the cinematographer was Bill Pope, who shot the legendary film The Matrix, the Ant-Man films, Shang-Chi, and more. TCA: Was the entire crew international as well? Makpal: The second director was American. Playback equipment was brought from Moscow. It was a mix, bringing together the best. The Russian team even said that such sound equipment isn’t available in Moscow. Technically, we are not lagging behind at all. We also have plenty of talented and highly skilled professionals. TCA: Were they at all arrogant? Makpal: Not at all. Bill Pope was great to work with. He’s like a rock star, very open, loves music. We talked about ethnic music; I let him listen to the band Turan. He even asked me to play the dombra. I was a bit nervous because the executive producer was very strict, and I thought she might say I was disrupting the workflow. But he went to her himself and asked, and then she was the one chasing me to make it happen, so the question isn’t whether we can work at a Western level; we already do. TCA: You’ve also worked with German teams on Emir Baigazin’s films, and with French teams on projects by Yermek Shinarbayev and Akan Satayev’s epic Myn Bala: Warriors of the Steppe? Makpal: Yes. There was an interesting experience with one Western specialist, I won’t say from which country. I thought they had a different school and that I could learn from him. But while he was good on set, he wasn’t very strong in post-production. It even got to the point where I was teaching him, explaining how to properly edit sound and the technology behind it. Sometimes I would suggest something, and the next day those ideas would be presented as his own....