• KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850
  • KZT/USD = 0.00209
  • TJS/USD = 0.10820
  • UZS/USD = 0.00008
  • TMT/USD = 0.29850

Viewing results 1 - 6 of 99

Tajik Students Win Award in Los Angeles for Music Video Honoring Jalaluddin Rumi

The music video Nai Noumie by Jalaluddin Rumi, directed by Ilyas Daudi, won first place in the “Best Music Video” category at the Los Angeles Cinema Festival of Hollywood. The project was selected from among hundreds of international submissions. Creating the Project Tajik students Shahriyor Gulmakhmadzoda and Yosuman Ismailova, both studying at the Gerasimov Institute of Cinematography (VGIK) in Moscow, participated in the video. They recited poetry by the renowned Persian mystic Jalaluddin Rumi, set to music by Iranian composer Arash Faladvand. The composition is part of a trilogy by Daudi dedicated to Eastern philosophy and poetry. According to the director, the choice to involve Tajik students was intentional. “The involvement of students from Farhad Mahmudov’s Tajik workshop was guided by the linguistic and cultural proximity between Persian and Tajik traditions,” Daudi explained. He praised the voices of Yosuman and Shahriyor as perfect for the project. Faladvand’s symphonic piece was adapted into what Daudi described as a “concise rock version with an exquisite professional arrangement.” The project had an international scope from the outset. Iranian historians and linguists contributed to ensuring the poetic integrity of Rumi’s work was faithfully preserved. Daudi, an award-winning director and screenwriter, is also the author of the book In the Kunduz Circle. He has received accolades in Los Angeles, Austin, Berlin, Geneva, Madrid, and other cities. Shahriyor's Story Shahriyor Gulmakhmadzoda, 22, is from the Matchinsky district in Tajikistan's Sughd region. His parents, both farmers, currently work in Russia to support his studies. Passionate about the performing arts from a young age, he participated in school productions and later enrolled at the M. Tursunzade Tajik State Institute of Culture and Arts under the mentorship of Kurbon Sobir, a People’s Artist of Tajikistan. “My parents and my brother Shohrukh always supported my path. My teacher Kurbon Sobir gave me so much and showed great patience to shape me. He helped me enter VGIK through a presidential quota, and Maestro Farhad Makhmudov accepted us. For me, he’s someone I would give all my blood to,” Shahriyor said. Yosuman's Story Yosuman Ismailova, 21, was born in Dushanbe and is originally from Tajikistan's Gorno-Badakhshan region. Her mother worked as a dispatcher at Shabakai Avval (First Channel), and her father, a taxi driver, recently relocated to Moscow. From childhood, Yosuman aspired to perform on stage. She studied vocals and graduated from the A. Bokulov College of Arts. “I still remember my teacher, Irina Norayrovna Arutyunyan, with deep appreciation. She did so much for me, and I’m immensely grateful,” she shared. First Steps into Cinema This summer, both students began their studies in Farhad Makhmudov’s workshop at VGIK. Upon learning about the new Tajik students, Daudi invited them to join his project. “We gladly agreed, even though we had no prior experience. Everything was new, filming, recording vocals, working on set,” Yosuman recalled. Filming took place in VGIK’s training studio and on location in the Zavidovo nature reserve outside Moscow. For Shahriyor and Yosuman, this was their first professional cinematic experience and a...

Where Wings Grow: New Show at Aspan Gallery, Almaty

Let’s move Aspan Gallery from name to place, from reputation to reality. As one of the Kazakh galleries most visible on the fair circuit, known for its impeccable presentations and strong roster of Central Asian artists, visiting its headquarters in Almaty felt almost inevitable. It didn’t disappoint. Tucked into the underground floor of a shopping complex in a leafy area of Almaty, where you might catch a glimpse of a stylish passerby balancing a matcha cup before descending the stairs, the gallery unfolds as a quiet enclave. There, Where Wings Grow opens as a multifaceted meditation on the cycles of nature, and particularly on the steppe, explored by several Central Asian artists through ecological, historical, and mythic lenses. What emerges is not a nostalgic portrait of a nomadic past but a layered reflection on resilience and renewal. At the center of the curatorial vision is Alan Medoev, the archaeologist whose 1960s expeditions uncovered hundreds of sites across the Kazakh steppe. His discoveries challenged Soviet portrayals of the region as an empty expanse and instead presented it as a cradle of memory. The exhibition extends that lineage, tracing how the steppe continues to act as an archive where cultural, personal, and ecological time intersect. The installation is clean and deliberate: suspended collages, unframed paintings, and subtle shifts in light. Walking through, one feels the exhibition itself has been conceived as a kind of landscape. [caption id="attachment_37355" align="aligncenter" width="1920"] Where Wings Grow, installation view; image: Theo Frost[/caption] The Interplay Between Distance and Proximity This quality resonated strongly when encountering the works. At a distance, some pieces seemed almost naïve or casual in their painterly surfaces, but up close, their textures, materials, and embedded details revealed far more intricate worlds. This is true of Saule Suleimenova’s Plasticographies (two works titled Zhana Omir – New Life and Steppe Romanticism). From afar, they appear to be simple, even sentimental landscapes. Up close, however, they are revealed as collages of discarded plastic: fragments of packaging, commercial logos, counterfeit brands, and old ID cards. Suleimenova, who grew up in Almaty and trained as an architect before turning to socially engaged art, calls plastic “a treasure” and uses it to question both waste and memory. Within these luminous surfaces are startling details such as embryonic forms and small figures hidden in the texture. These unsettling images evoke new generations coming into a world shaped by waste, suggesting both renewal and ecological crisis. Steppe Romanticism distills the landscape into minimal horizons and contemplative silence. Yet knowing it is made of plastic prevents forgetting the contradiction, serenity marked by civilization’s residue. It recalls how landscapes themselves operate, inviting from afar but, up close, layered with scars, residues, and histories. [caption id="attachment_37353" align="aligncenter" width="2560"] Moldakul Narymbetov, "Untitled"; image: Aspan Gallery.[/caption] In a similar spirit, Moldakul Narymbetov’s paintings establish the exhibition’s tone. A founding member of the radical Kyzyl Tractor collective and one of the central figures in Kazakh contemporary art, Narymbetov (1948–2012) was known for fusing folklore, shamanic motifs, and gestural abstraction....

Almaty’s “Tselinny” Cultural Center Featured on Cover of Architectural Record

Kazakhstan’s architectural and cultural landscape has gained rare international recognition: Almaty’s Center for Contemporary Culture “Tselinny” has been featured on the cover of Architectural Record, the world’s oldest architectural magazine, published in the United States since 1891. International Recognition In its latest issue, journalist Andrew Ayers, who visited Almaty for Tselinny’s opening, described the project as “a new face for a former Soviet cinema” and “a gesture of reinterpreting Kazakhstan’s colonial past.” The article emphasized that the design team prioritized local context, with all work carried out by Kazakhstani contractors and interior contributions from young Almaty-based architects. [caption id="attachment_36890" align="aligncenter" width="351"] @Laurian Ghinițoiu[/caption] “Unlike many new museums, the architecture of the center sought to remain rooted in the local context,” the piece noted. Beyond its architectural merits, Architectural Record highlighted Tselinny’s institutional role, describing it as a platform for bolstering Kazakhstan’s still “fragile contemporary art scene.” The cover photograph was taken by Romanian photographer Laurian Ghinitoiu, renowned for his documentation of global architectural landmarks. History of the Building The center officially reopened in September 2025 following a seven-year reconstruction process that weathered both the COVID-19 pandemic and the legal troubles of its principal investor, businessman Kairat Boranbayev. Originally built in 1964 as the Tselinny cinema, the building underwent several renovations during the 1990s and early 2000s. A major overhaul in 2000 saw the main cinema hall divided, the foyer reconfigured, and a celebrated sgraffito mural by artist Yevgeny Sidorkin concealed behind plasterboard. [caption id="attachment_36892" align="aligncenter" width="353"] @Laurian Ghinițoiu[/caption] Boranbayev acquired the building in 2016. Four years later, a comprehensive reconstruction led by British architect Asif Khan began. The project restored the foyer’s original dimensions, revealed Sidorkin’s mural, though now in subdued tones, and transformed the cinema hall into a flexible space for exhibitions and screenings. Today, Tselinny includes a library, café, and workshop spaces. Notably, the reopening ceremony was led by Amantai Kusainbay, who has worked at the site since 1999 and continues to manage its daily operations.

Contemporary Art Center Tselinny Opens in Almaty

Summer in Almaty was rich with music festivals, concerts, and public projects, and this cultural momentum appears set to continue into fall. The grand opening of the Tselinny Center for Contemporary Culture last Friday marked the start of September with a major cultural milestone for the city. A Historic Space Reimagined At a recent press conference, organizers spotlighted the significance of this new cultural landmark within the evolving discourse of Central Asian contemporary art. Director Jamilya Nurkalieva led a short tour ahead of the official opening, sharing insights into the restoration and rethinking of the historic Tselinny cinema. Reinterpreting Almaty’s first panoramic cinema, an iconic piece of Soviet-era modernist architecture, was, in her words, about creating “an architectural pearl.” She described the new space as embodying “inclusivity and acceptance, the ultimate state of tranquility, almost like a hug.” [caption id="attachment_35968" align="aligncenter" width="960"] Image: TCA[/caption] [caption id="attachment_35950" align="aligncenter" width="8605"] Image: Atelier Cauchemar[/caption] The transformation was a deeply local effort. Nurkalieva emphasized the importance of working with Kazakhstani architects, builders, and craftsmen to ensure authenticity throughout the reconstruction process. Among the most unexpected discoveries during renovation were original works by renowned Soviet graphic artist Yevgeniy Sidorkin, long believed lost. His preserved sgraffito now welcomes visitors at the entrance. “Conceptually, we didn’t want the space to become a monument to Sidorkin alone, this is a place for new artists,” said Nurkalieva. “In some areas, craftsmen recreated panels from his sketches. We chose neutral tones so the sgraffito wouldn’t dominate the space.” [caption id="attachment_35983" align="aligncenter" width="782"] Image: tselinny.org[/caption] In just its first three days, Tselinny welcomed more than 12,000 visitors. The public experienced debut exhibitions, the interdisciplinary performance BARSAKELMES, and the launch of an educational program. The former Soviet cinema, now reimagined by British architect Asif Khan, has been reborn as a cultural hub for Almaty and the wider region. Tselinny will gradually extend its hours and programming over the coming months, with full operations set to begin in January 2026. [caption id="attachment_35966" align="aligncenter" width="1280"] Image: TCA[/caption] Asif Khan’s architectural vision reflects a concept of spatial unity rooted in the Kazakh cosmological balance of Tengri (sky) and Umai (earth), representing power and growth. Drawing inspiration from the steppe landscape, Khan has preserved the spirit of the original building while opening a new horizon for each visitor. Launching a New Dialogue Three exhibition projects opened in parallel with the center itself. These include installations by Gulnur Mukazhanova and Daria Temirkhan as part of BARSAKELMES; the architectural showcase From Sky to Earth: “Tselinny” by Asif Khan (curated by Markus Lahtinenmäki); and the archival project Documentation: Imagining Central Asia on the Map of Contemporary Art (curated by Asel Rashidova). These inaugural exhibitions are intended to initiate long-term dialogue between artists, institutions, and the broader public. A full program is available on Tselinny’s official website. The Return of Tselinny Once the largest cinema in Soviet Central Asia, Tselinny has now been transformed into a multifunctional art center. The revamped complex includes exhibition spaces, workshops, a library, a bookstore,...

Recipes for Broken Hearts: Bukhara Hosts Its First Contemporary Art Biennale

The heat of Bukhara’s old city does little to deter the crowds. Tourists squeeze through narrow lanes, pausing in the shade of centuries-old madrasas or beneath towering minarets. This September, the heart of the UNESCO Creative City of Crafts and Folk Art is hosting something new: the inaugural Bukhara Biennale of contemporary art. Running from September 5 to November 20, the biennale is already being hailed as one of Central Asia’s largest and most diverse art initiatives. Its title, Recipes for Broken Hearts, reflects both its ambition and tone, blending art, history, and community in a city long known for its spiritual and cultural heritage.   A Global Effort Rooted in Bukhara The Bukhara Biennale is commissioned by Gayane Umerova, Chairperson of the Uzbekistan Art and Culture Development Foundation, which has played a pivotal role in preserving and promoting the country’s cultural legacy. Artistic director Diana Campbell sees the biennale as a continuation of Bukhara’s historic role as a center of learning and exchange. [caption id="attachment_35919" align="aligncenter" width="900"] Isiriq (wild rue) is a traditional herbal medicine also widely used in purification rituals among Uzbeks. It is often burned or hung in homes to ward off misfortune and evil. In the installation, bunches of isiriq hanging from the roof appear to reflect this age-old custom; image: TCA, Sadokat Jalolova[/caption] “The heart’s creative power comes into view when we look to tenth-century Bukhara, a time and place that offer many ways of mending heartbreaks,” said Campbell. She referenced Bukhara’s legacy as the home of polymath Ibn Sina and a crossroads on the Silk Roads. “For more than a millennium, Bukhara has been a place where people gathered to seek knowledge, healing, and hope. We believe the city holds many extraordinary recipes in its heart.” The biennale unfolds in the newly developed Bukhara Cultural District, where restored monuments are paired with modern design, featuring contributions from architects Wael Al Awar and landscape designer Günther Vogt. From Jeddah to Bukhara: Palm Waste Becomes Structure A highlight of the biennale is the AlMusalla Prize-winning installation, a reimagined musalla, or prayer space, constructed entirely from palm tree waste. Originally built in Jeddah, the structure has been transported to Bukhara as a symbol of sustainability and reuse. [caption id="attachment_35922" align="aligncenter" width="1600"] AlMusalla Prize winning installation; image: TCA, Sadokat Jalolova[/caption] Christopher Blust, engineer at AKT II, explained the origins of the project: “We were inspired by the idea of courtyards as places of gathering. Even the Prophet Muhammad’s house in Medina began with a courtyard for prayer and community.” Equally important, he said, was the material itself. “Palm fronds are discarded and often burned. We asked: Why not return to how these were used centuries ago? We shredded them, pressed them into boards, and created structural timber. This is the world’s first project to use palm waste in this way.” Architect Nicolas Fayad of East Architecture Studio noted that their design was informed by Jeddah’s traditional materials, timber, mud, and stone, reinterpreted through modern technology. “Everything visible in...

Kazakh Entrepreneur in Paris Launches Perfume Inspired by the “Kiz-Jibek” Epic

An ethnic Kazakh living in Paris has launched a perfume called Kiz-Jibek on the French market. Its founder, Nurzhan Tolegen, was born in China’s Ili Kazakh region and grew up in Kulja before eventually settling in the French capital. “I am the grandson of a nomadic people. My grandparents left their homeland during the civil war, carrying with them the soul of Kazakhstan etched into their stories, their songs, and their memories. Yet I had never set foot on those vast steppes whose grandeur my mother, a professor of literature, so often evoked,” he shares on his personal website. [caption id="attachment_35686" align="aligncenter" width="466"] Nurzhan Tolegen; image: www.tolegenparis.com[/caption] In 2021, Nurzhan traveled to Kazakhstan for the first time, spending a month reconnecting with his ancestral homeland. Those four weeks felt like a rebirth for him and marked a turning point in his life. Returning to France, he established a luxury perfume house, Tolegen Paris: a tribute to both his surname and to a heroic figure celebrated in a 16th-century Kazakh epic. In May 2025 he introduced Kiz-Jibek, describing it as “a fragrance honoring eternal love” and “a scent laced with wormwood.” The Kiz-Jibek epic, a cornerstone of Kazakh cultural heritage, reflects the values of traditional society. It emphasizes unity and loyalty to the homeland while exploring universal themes of love, virtue, honesty, and beauty. Through the character of Kiz-Jibek, one encounters the timeless image of the Kazakh woman—gentle yet resilient, modest yet dignified. [caption id="attachment_35688" align="aligncenter" width="624"] The epic characters Kiz-Jibek and Tolegen[/caption] For over five centuries, Kazakhs have sung the tale of Kiz-Jibek. Its central figures—Bazarbai, Tolegen, Kiz-Jibek, and Sansyzbai—are believed to have lived in history, with the story unfolding along the Ural River among the Jagalbaily tribe. In both the epic and the famous film, Tolegen is treacherously slain by Bekezhan, after which Kiz-Jibek, devastated by grief, throws herself into the river.