Contemporary Art - The Times Of Central Asia

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TEDxMarvila

Love Takes Center Stage at TEDxMarvila in Lisbon

Pátio da Galé, one of Lisbon’s most iconic public spaces, became a gathering place for ideas, art, and cultural exchange on Saturday as TEDxMarvila held its latest edition under the theme “What is Love.” Held in the heart of the Portuguese capital, the event drew an international audience for a full day of talks exploring love as emotion, language, identity, and shared human experience. Anel Imanbay, who is originally from Kazakhstan, founded and organized the event. She has built TEDxMarvila as a Lisbon-based platform that brings together people of different nationalities and creative backgrounds. This year’s edition extended beyond the stage, featuring an art exhibition titled “Love at First Sight,” which brought together artists from around the world. Among the participating artists was acclaimed Kazakhstani artist Eduard Kazaryan, who exhibited three works as part of the program. Kazakhstan was also represented diplomatically at the event. Jean Galiev, Kazakhstan’s ambassador to Portugal, attended as an honorary guest, adding to the gathering’s international character and its connections with the Kazakhstani community abroad. The event created an atmosphere of openness and exchange. Guiomar de Oliveira, one of the attendees, said the event showed how differently people can express the same universal emotion. “It was interesting to hear how different people translated love as emotion with words,” she said. “I met people from all over the world. Love is international, and I loved meeting all those translators of emotions.” Behind the scenes, organizers said the event reflected the work of a committed international team. Co-organizer Henrique Tiago del Castro praised Imanbay’s leadership in developing the event. “Anel Imanbay is the kind of professional who brings clarity, dedication, and a strong sense of purpose to every project she is part of,” he said. “For TEDxMarvila, her contribution reflects both confidence and thoughtful engagement, helping shape the conversation with relevance and depth.” With its blend of talks, international art, and cross-cultural participation, TEDxMarvila highlighted love as both a personal emotion and a language of connection across communities and borders.

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...

TCA Interviews

Contemporary Theater in Kazakhstan: Between Tradition and Experiment

Contemporary theater in Kazakhstan is undergoing a period of active development, balancing the preservation of cultural heritage with the search for new forms of expression. The Times of Central Asia spoke with Abai Kazbayev, an actor at the Zhambyl Regional Russian Drama Theater who is currently studying acting and directing, about how the theater scene is evolving, the challenges faced by actors and directors, and why experimentation has become essential. TCA: Tell us about yourself. How did your journey into theater begin, and what influenced your decision to become an actor? Abai: I entered the profession through my love of cinema. At first, I took part in crowd scenes, and then I became fascinated with the filmmaking process itself. To deepen my involvement, I joined a private theater on the recommendation of friends. There, I had the opportunity to work with Saulius Varnas from Lithuania, as well as with professionals such as Marat Amirayev and Altynshash Shayakhmetova. Today, I'm studying acting and directing at university, while also working at the Zhambyl Regional Russian Drama Theater. TCA: How do you assess the current state of contemporary theater in Kazakhstan? Abai: If we distinguish contemporary theater from traditional formats, most such productions are concentrated in Almaty. In other cities, theater tends to follow a more academic style, although there are exceptions. Personally, I'm drawn to how contemporary theaters reinterpret and reimagine classical works. This approach attracts both new and more discerning audiences. TCA: What makes Kazakhstani theater distinctive compared to that of other countries? Abai: Its uniqueness lies in the combination of cultures. We have European forms, ballet and opera, alongside contemporary interpretations, including those inspired by Bulat Ayukhanov. On the one hand, there are traditional productions about khans and batyrs; on the other, there are stories such as that of a boxer in Almaty in the 1980s, a stage adaptation of Martin Scorsese’s Raging Bull. TCA: How can contemporary theater preserve national traditions while remaining engaging for younger audiences? Abai: Through experimentation. For example, last year in Taraz, a sound drama based on Alexander Grin’s novella Scarlet Sails was staged. It offered a new interpretation: some lines were delivered in Kazakh, and Captain Grey’s song was also performed in Kazakh. It was an attempt to reflect Kazakhstan’s multiculturalism. Interestingly, the production was staged by students from GITIS in Russia. I believe such experiments help attract younger audiences while preserving national traditions. TCA: How important are elements of national culture, language, music, and folklore in today’s productions? Abai: There's currently a broader trend across the arts of returning to cultural roots, and theater is no exception. Every culture seeks self-identification. In cinema, folklore characters are widely used, particularly in the horror genre. In the theater, however, folklore tends to remain within traditional productions and is often treated with a sense of reverence. At the same time, it is worth mentioning the ballet Aldar Köse at the Abai Kazakh National Theater of Opera and Ballet in Almaty. TCA: How do you view experimental...

Art and Culture

A Breakout Year for Contemporary Art in Kazakhstan

The year 2025 marked not only a busy period for contemporary art in Kazakhstan but also a decisive acceleration. Art moved beyond professional circles, claimed urban spaces, entered international agendas, and ceased to be a conversation “for insiders only.” The Kazakhstani art scene spoke with growing confidence both at home and abroad. New institutions, landmark exhibitions, festivals, and global collaborations signaled a pivotal shift: contemporary art has become a visible and integral component of the country’s cultural fabric. New Museums and Art Spaces in Kazakhstan Geographically, Almaty emerged as the epicenter of contemporary art activity in 2025. The city saw the opening of key institutions that became new focal points for artists, curators, and audiences. Opening of the Almaty Museum of Arts (ALMA) On September 12, 2025, the Almaty Museum of Arts (ALMA) opened its doors in Almaty, becoming one of the largest contemporary art museums in Central Asia. From the outset, ALMA signaled serious institutional ambitions, with a mission to support and study contemporary art processes and situate them within a global cultural context. The museum’s collection includes around 700 works, more than 70% of which are by notable Kazakhstani artists of the 20th century, such as Zhanatai Shardenov, Tokbolat Togyzbayev, Makym Kisameddinov, and Shaimardan Sariyev. Contemporary artists like Rustem Khalfin, Saule Suleimenova, and Said Atabekov are also prominently featured. Designed by the British architectural bureau Chapman Taylor, the 10,000-square-meter museum includes expansive exhibition halls (“The Great Steppe,” “Saryarka”), an Art Street atrium, storage and restoration facilities, and a creative workshop, setting a new standard for museum infrastructure in the region. [caption id="attachment_42431" align="aligncenter" width="1200"] Installation view of "I Understand Everything" – Almagul Menlibayeva (12 September 2025 - May 2026), Almaty Museum of Arts; image: Alexey Naroditsky[/caption] Tselinny Center of Contemporary Culture: Reclaiming a Building and Its Meaning Just days earlier, on September 5, 2025, the Tselinny Center of Contemporary Culture was inaugurated in Almaty. Housed in a restored 1964 Soviet-era cinema, the building underwent nearly seven years of renovation led by British architect Asif Khan. Notably, the facade’s unique sgraffito by artist Evgeny Sidorkin was preserved. The transformed space now features an exhibition hall, library, cafe, and workshop areas. Its opening was marked by the performance BARSAKELMES, with initial public access free of charge. Tselinny now operates three days a week and serves as a vital platform for exhibitions, education, and creative dialogue. [caption id="attachment_42433" align="aligncenter" width="2400"] The Tselinny Center of Contemporary Culture; image: SAPARLAS/Zhanarbek Amankulov[/caption] A. Kasteev State Museum of Arts: A New Status and Contemporary Focus Kazakhstan’s primary national art institution also redefined its role in 2025. Celebrating its 90th anniversary, the A. Kasteev State Museum of Arts was granted National Museum status. In conjunction with this milestone, a new gallery dedicated to contemporary Kazakhstani art from the independence period was unveiled. The exhibition Memory. Space. Progress brought together works from leading artists, charting the development of artistic practice from the 1990s to the present. Contributors included members of the Shymkent-based Red Tractor group, Almaty conceptualists,...

Architecture

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.

Art and Culture

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,...