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UAE Embracing the Silk Road Narrative: Central Asia at Art Abu Dhabi 2024

More than at any other time in recent history, the entire art world is this year tackling geopolitical identity issues. And while we usually delegate Biennales and non-commercial art events to take the pulse of our contemporary reality, this time an art fair took up this task: Art Abu Dhabi. This year the fair was bigger than ever and had a hugely relevant Central Asian and Caucasus section, curated by Elvira Eevr Djaltchinova-Malec, which was aptly called “Drifting identities.” Founder of the Warsaw Institute for Modern and Contemporary Asian Art (WIMCAA) Foundation - based on the spreading of Asian and global art – Djaltchinova-Malec was invited by the fair's artistic director, Dyala Nusseibeh, to curate a section that presented different aspects of the rich cultural tapestry of the region without shying away from the political concerns and instability which often characterize this part of the world. [caption id="attachment_26543" align="aligncenter" width="928"] From left to right, Abdelmonem Alserkal - prominent art patron based in Dubai, founder of the Alserkal Avenue, Alserkal Foundation, Elvira Eevr Djaltchinova-Malec, Almagul Menlibayeva, and Danagul Tolepbay image: Elvira Eevr Djaltchinova-Malec[/caption] Djaltchinova-Malec has been working on this concept of the Silk Road in different shows – namely Silk Road 2.0 - Artists re-loaded conference in Warsaw, Silk Road 2.0 - New Opportunities panel for art for 021 Art fair in Shanghai - adapting it to the changing geopolitical landscape of the region. "Our foundation was established in 2016, and already, eight years ago, we started to explore the topic of the Silk Road,” Djaltchinova-Malec told TCA. “We wanted to understand the desire of China and countries who joined Chinese projects for the New Silk Road, and we invited artists and art professionals from Vietnam, the United Kingdom, Central Asia, Kazakhstan, Germany, Tibet, France, and Ukraine for the foundation’s first conference.” The Belt and Road Initiative, sometimes referred to as the New Silk Road, is a global infrastructure development strategy adopted by the Chinese government in 2013 to invest in more than 150 countries and international organizations. [caption id="attachment_26545" align="aligncenter" width="2560"] Tapestry by Almagul Menlibayeva; image: Elvira Eevr Djaltchinova-Malec[/caption] It’s the first time that the curator is presenting these artistic geographies in the context of the Gulf. On one hand, this is opening up Central Asian narratives to an Arab public that might be curious to learn more about art in this region. On the other hand, it is helping to open markets and create access to a different pool of new collectors. Thanks to an individual outreach which started well before the fair, the experiment proved successful. "Fortunately, many collectors from the Gulf already know artists from Central Asia, as there are a few art galleries in the UAE which represent them, as well as institutions like the Sharjah Foundation,” Djaltchinova-Malec stated. In addition, many collectors and artists from Russia who are knowledgeable about Central Asian narratives and sensitive to colonization issues, are now based in the UAE. “We tried to involve as many collectors from other circles as...

Culture UNESCO Cultural Heritage Art and Culture national traditions Central Asian Art

Kazakh Rituals Included in UNESCO’s Intangible Cultural Heritage List

The Kazakh wedding ritual of Betashar has been officially recognized by UNESCO as part of the Representative List of the Intangible Cultural Heritage of Humanity. This inclusion highlights the enduring beauty and cultural significance of Kazakhstan's ancient traditions. In this article, we explore the Betashar ritual, other celebrated customs, and the challenges posed by certain archaic practices in modern times. Betashar: Revealing the Bride's Face During the UNESCO Committee for the Safeguarding of the Intangible Cultural Heritage meeting in Asunción, Paraguay, Betashar was officially added to the list of intangible cultural heritage. State Counselor Yerlan Karin announced the decision, which underscores Kazakhstan's commitment to preserving its rich cultural legacy. Kazakhstan ratified UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage in 2011, pledging to protect and promote cultural traditions. Today, 13 Kazakh practices are on UNESCO’s list, including kiiz үi (yurt), kүi (instrumental music), aitys (improvised poetry duels), Nauryz (spring festival), kүres (wrestling), and togyzkymalak (a traditional board game). Betashar—literally "revealing the face"—is a wedding rite introducing the bride to her husband's family. Historically, the bride spent three days secluded with the women of her community before being ceremonially presented to her new family. Her face, hidden under a large cloth, was uncovered in front of the gathered relatives while a zhirshy (singer-improviser) performed the betashar zhyry, a song introducing the family members. In return, they pledged gifts to the couple. The ritual concluded with the bride serving tea to her in-laws. While modern weddings often simplify Betashar, its symbolic meaning remains deeply cherished. Preserving Other Traditions Another ritual presented to UNESCO is Salburyn, an ancient hunting custom. Hunters once gathered on horseback for multi-day expeditions, accompanied by falcons and hounds. These hunts began with feasts and competitions, emphasizing camaraderie and skill. Today, while hunting is less necessary, Salburyn is celebrated as part of cultural events, such as during the Nauryz festivities in Kyzylorda region. The custom of Tusau Kesu—cutting a child’s “fetters”—is a joyous milestone in Kazakh culture. When a child begins to walk, their legs are symbolically tied with a colorful string, which is then cut by a respected relative. The ceremony includes laying out a symbolic “white path” (ak zhol), representing a prosperous future. Items such as money, a whip, a dombra, or a book are placed along the path to hint at the child’s potential destiny. Addressing Harmful Practices Not all traditions are compatible with contemporary values or legal norms. Bride kidnapping, an archaic practice still occurring in some regions, has drawn criticism and calls for stricter legal measures. Mazhilis deputy Murat Abenov recently urged tougher penalties for bride abduction, highlighting gaps in the Criminal Code that leave many cases unresolved. “Many victims are coerced into claiming they went voluntarily,” Abenov explained, citing examples where cultural products like songs and videos romanticize the practice. Despite its criminalization after the October Revolution, the issue persists. In 2023, there were 13 officially recorded cases of bride abduction, though Abenov believes the real figure is higher due to...

Culture Movie Movie Production Art and Culture Central Asian Art

XVII Eurasia International Film Festival Kicks Off in Kazakhstan

On November 24, Almaty hosted the opening ceremony of the XVII Eurasia International Film Festival, which will run until November 30. The event brings together representatives from more than 15 countries, highlighting its global significance. As part of the competition, audiences will enjoy 12 films from around the world, including entries from Bangladesh, South Korea, Austria, and Qatar. Participants from Europe, Asia, and the Middle East will showcase their works, delving into universal themes through a regional lens. Kazakhstan's President, Kassym-Jomart Tokayev, addressed festival participants in a congratulatory letter. “This year's event coincides with two significant anniversaries: the 110th birthday of Shaken Aimanov, a pioneer of Kazakhstani cinema, and the 90th anniversary of the Kazakh film studio. This is symbolic, as cinematography unites society, fosters creativity, and strengthens intercultural ties,” the letter stated. Tokayev emphasized the growing recognition of Kazakhstani cinema on the international stage. “I am confident that the Eurasia Festival will provide a platform for outstanding projects that will resonate deeply with audiences and inspire reflection on important topics,” Tokayev concluded. The Eurasia International Film Festival is Central Asia's largest film forum and holds accreditation from the International Federation of Film Producers Associations (FIAPF). Established in 1998 with support from the Government of Kazakhstan, the festival was initially hosted in Almaty before moving to Astana in 2018. This year, the festival returns to Almaty, providing a rich program designed to serve as a cultural bridge between East and West. It also includes retrospectives of works by celebrated directors.

Culture Central Asian Art Art and Culture

Asia Now Creating a Market for Central Asian Art in Paris

When we think about spreading knowledge of Central Asian art in Europe, we might think of exhibitions, of festivals, of panels and talks, not necessarily of an art fair. However, in the contemporary art world, it is today the market, more than art critics, which dictates the emergence of certain art scenes as a whole. For the historically underrepresented Central Asian art market, smaller fairs represent today an important alley, more than the big fairs such as Art Basel – which just had its second Paris iteration this October. Smaller “boutique fairs,” as they are called, often present curated programming which allow a wide public – not just collectors and buyers – to enjoy the art as it was an exhibition. A selling one, of course. In Paris, the most relevant fair which has historically presented Central Asian artists to the European public is called Asia Now, and it took place in Paris from October 17 to 20. Entirely dedicated to Asian art, the fair has historically tried to fill the gap for Central Asian art in the European market in the past ten years of its existence. The fair has selected more than 70 leading and emerging contemporary art galleries from all over the world, presenting more than 220 artists coming from 26 territories from all over Asia and its diaspora, stretching from Central Asia to the Asia-Pacific, including West, South, South-East, and East Asia. Their commitment to expanding knowledge of Central Asian art in Europe culminated last year in a show which was indeed focused on Central Asia, and curated by the artist group Slav and Tatars. While seminal Central Asian galleries such as the Aspan Gallery from Almaty and Pygmalion Gallery from Astana didn’t return to Asia Now this year, the fair still presented a number of Central Asian artists and practices, interspersed between the main show, and the booths. Central Asian Artists in the Radicant’s Main Show The main exhibition of Asia Now was curated by Radicants, a collective founded by art critic Nicolas Bourriaud, and it was centered on sacred ceremonies seen as a powerful tool for re-examining societal structures and reconnecting with ancestral roots. Called “Ceremony,” the main show was co-curated by Nicolas Bourriaud and Alexander Burenkov, a curator of Russian origins who has been working for a long time with Central Asian narratives, which are also featured prominently in the show. [caption id="attachment_25510" align="aligncenter" width="2560"] Image: TCA, Naima Morelli[/caption] The idea of ceremony ties to the tenth anniversary of the art fair, but at the same time the curators opted to explore the nuances of ritual as both a "celebration of ancestral wisdom" and a "critical tool for interrogating and redefining established traditions and power dynamics." As Burenkov noted, the decision to use the theme of ceremony emerged after conversations with Asia Now director Alexandra Fain. “The choice fell on ‘ceremony’ in all its variability and polysemy [was used] to explore the non-obvious meanings of ritual through the eyes of contemporary artists...