Threading a New Canon: Interview with Batima Zaurbekova

How does an artist born in a remote village in Kazakhstan become one of the country’s most recognized artists? “I realised that if I put in the work, I can achieve everything,” says Batima Zaurbekova, a pioneer of Kazakh tapestry, as she walks through Threads of Heritage at the Abylkhan Kasteyev National Museum of Arts in Almaty. The exhibition runs from September 25 to November 8, 2026. An energetic lady with a strong personality and a playful attitude, Zaurbekova is the subject of a retrospective marking her 80th birthday and consecrating a lifetime of artistic production, at a time when Kazakhstan, event after event, is gaining ever greater international cultural recognition. Video: TCA. Narration: Naima Morelli. It is indeed a momentous time to be in the art world in Kazakhstan. At the forefront of the discourses on de-coloniality in the arts, and among those contributing to a new canon of contemporary art, Kazakh artists like Zaurbekova embody what is truest to their culture and local specificity, letting it flow in the global discourse. [caption id="attachment_58628" align="alignnone" width="936"] Detail of Batima Zaurbekova’s The Bride’s Farewell (2003). Credit: Naima Morelli.[/caption] The passion with which Zaurbekova describes even the smallest technical details reveals her deep love for weaving. That devotion is also a political stance in the face of the Western canon of art history. The reclamation of an art canon which would belong to Central Asia started in the second half of the 20th century, when artists worldwide challenged the relegation of textiles to the category of craft. Starting from the very local arts of felt and weaving, and against the canon of Soviet painting, a generation of artists recovered something that was truly theirs and called it by its name: not simply craft, but art in its own right, with Zaurbekova at the heart of that movement. [caption id="attachment_58629" align="alignnone" width="2560"] Entrance display for Threads of Heritage at the Abylkhan Kasteyev National Museum of Arts in Almaty. Credit: Kirill Fedorov.[/caption] A matriarchal line While today biennales and fair around the world look for those artists whose cultural background is legible in their art, it wasn’t always like that. When Zaurbekova began weaving in the late 1960s, her teachers strongly discouraged her from devoting herself to weaving. Her teachers, many of whom had trained in Leningrad and Moscow, saw her as a painter, at a time when textiles were still considered a “lower” type of art, and far too slow and demanding. “I’d spend fifteen hours every day for days on end working on just one tapestry, and my teachers would tell me: ‘It’s so slow! In the same amount of time you could have painted three paintings already!” she tells me, laughing. They used to scold her with a Kazakh saying for it: “You’re digging a huge well with a small needle.” Zaurbekova was born in 1946 in Furmanovka, in the Moiynkum district of the Jambyl region, and grew up in Merke, where her family moved when she was in fifth...