• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10399 -0.29%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%

Viewing results 1 - 6 of 19

Seventeenth-Century Gilded Vessel Joins Permanent Exhibition at Uzbekistan’s Islamic Civilization Center

A rare gilded decorative vessel dating to the seventeenth century has been added to the permanent exhibition of the Islamic Civilization Center in Uzbekistan, the Center announced. Acquired from the British auction house Christie’s at the initiative of the president, the artifact is being presented to the public for the first time in Tashkent. According to the Islamic Civilization Center, the vessel is notable for its refined form, gold-leaf ornamentation, and exceptional craftsmanship, offering insight into the aesthetic sensibilities of its time. Experts describe it as a rare luxury object intended for elite or courtly use, rather than for everyday function. Rustam Jabborov, Scientific Secretary of the Center, said the vessel is approximately 400 years old and features a carefully balanced design. “The object has a spherical body with cylindrical workmanship. The lower section is adorned with a braided floral ornamental band, while five blooming yellow lotus flowers are arranged above it in a circular pattern to create compositional unity,” Jabborov explained. He noted that the surface of the vessel was polished and gilded, with gold-leaf decorations that have retained their artistic appeal over centuries. “The gilding enhances both the sense of splendor and the impression of antiquity. The yellow lotus flower, used as the central decorative motif, adds both symbolic and aesthetic meaning to the overall composition,” he said. According to Jabborov, the manufacturing technique, ornamental style, and state of preservation all attest to the object’s historical significance. The Islamic Civilization Center stated that the inclusion of the vessel in its exhibition reinforces its status as a rare cultural artifact recognized at the international level. In February last year, the Center announced plans to host an international exhibition in Tashkent featuring Uzbek cultural masterpieces housed in Italian museums and private collections. The event is scheduled to coincide with the opening of the Center for Islamic Civilization. As part of those preparations, a delegation led by the Center’s director, Firdavs Abdukhalikov, visited Italy, where they held talks with museum representatives and private collectors who expressed support for the project. Elmira Gul, scientific coordinator of the Cultural Heritage of Uzbekistan in the Collections of the World project, noted that collections of Uzbek artifacts in Italian museums have already been documented in published volumes, reflecting the global reach of Uzbekistan’s cultural legacy.

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,...

The Unseen Animals of Central Asia: A Photography Exhibit by Bogna Wiltowska

For six months, Polish photographer Bogna Wiltowska documented animals in farms and slaughterhouses in Central Asia as a We Animals Fellow. On World Farmed Animals Day (Oct 2nd), a virtual exhibition of her work will open, allowing everyone to witness the untold stories of the animals Bogna encountered in Kyrgyzstan and Kazakhstan - countries experiencing the gradual industrialization of animal agriculture. Explaining her choice to focus on animals in this yet unexplored region, Bogna said, “Until now, the lives of farmed animals in Central Asia have remained largely undocumented. At the same time, I knew that an animal advocacy movement led by passionate grassroots activists was slowly beginning to emerge there. This was the perfect moment to take a closer look at what was happening and give animals a voice in countries where they aren’t often considered.” [caption id="attachment_36666" align="aligncenter" width="734"] Image: Bogna Wiltowska[/caption] Every year, We Animals awards a small number of Animal Photojournalism Fellowships, which support up-and-coming photojournalists to tell the stories of animals used for food. Fellows work remotely with We Animals’ founder, award-winning photojournalist Jo-Anne McArthur, for approximately six months. The Fellow receives funding to cover project costs and a stipend for the duration of the Fellowship, totalling $6,500 CAD ($4,670). Based in Poland, Bogna is the Director of Investigations at the non-profit Otwarte Klatki and has worked in several countries documenting industrial farming and rescuing animals. Despite witnessing enormous suffering, she remains committed to a better world for animals. [caption id="attachment_36667" align="aligncenter" width="732"] Image: Bogna Wiltowska[/caption] Bogna was awarded the fellowship in recognition of her experience, well-planned project, and desire to grow in the field of animal photojournalism. Her project illuminates underrepresented animals and provides advocates in Central Asia with strong visuals for their work. Reflecting on this project, Bogna said, “The Fellowship was one of the most important experiences in my work for animals. After over a decade of working for animals and managing a large organization with an investigations team, I felt deeply tired and overwhelmed. The Fellowship placed me in a completely new role. This time, I was the one receiving support (instead of giving it), and I had the chance to learn from the best in areas where I had previously been self-taught.” [caption id="attachment_36668" align="aligncenter" width="1163"] Image: weanimals.org[/caption] The virtual exhibition will run from October 2nd to 31st, 2025. The free event is entirely virtual and available in English. It contains some graphic imagery.

Kazakhstan’s Cultural Reawakening: Almaty Opens Its New Museum of Arts

First, a young Kazakh schoolgirl in a black dress with a starched collar, her hair tousled by the wind of the Aral Sea, clutches a large Russian book tightly to her chest as she stands before a lonely school building in the middle of nowhere. Then, a camel speaks: “Give me back the sea!” “No!” cries a woman, her face hidden beneath a military hat. She stands before an abandoned edifice, her head wrapped in fur, her body strangely adorned with eggs. [caption id="attachment_36257" align="aligncenter" width="900"] Image: Almagul Menlibayeva[/caption] This series of surreal images is from the video Transoxiana Dream, by one of Central Asia’s pioneering contemporary artists, Almagul Menlibayeva. The Times of Central Asia attended her major solo show, I Understand Everything, curated by Thai curator Gritiya Gaweewong, a powerful exploration of memory, trauma, and identity, which provides the “treble clef” for the opening of the Almaty Museum of Arts. The show brings together works spanning decades, from Menlibayeva’s early paintings and collages in the 1980s, to her recent internationally recognized video and photography works. Through a variety of mediums, she charts the collapse of the Soviet Union, the ecological devastation of Kazakhstan, and suppressed cultural memory. [caption id="attachment_36258" align="aligncenter" width="2560"] Almagul Menlibayeva, People Talking against a Blue Background, 1988; image: Almaty Museum of Arts[/caption] As always in her practice, the feminine and feminist narratives are at the forefront. Menlibayeva’s women are at times bound with nature or with military rule, alternately merciful or merciless. Her works tackle ecological concerns, tying them directly to the destruction of patriarchy. “For us, opening our program with Menlibayeva’s show was highly significant,” says Meruyert Kaliyeva, the museum’s artistic director. “She is a pioneering Central Asian artist who is known internationally but at the same time has always dealt with topics and themes that are important locally.” A New Museum in Almaty The inauguration of the Almaty Museum of Arts represents a decisive step in shaping Kazakhstan’s creative future. As the country’s first large-scale contemporary art museum, it houses over 700 works collected across three decades, offering a panoramic view of modern Kazakh art while opening pathways to Central Asian and international dialogues. [caption id="attachment_36265" align="aligncenter" width="2560"] Almaty Museum of Arts; image: Alexey Poptsov[/caption] Its mission extends beyond exhibitions: the institution positions itself as a center for education, research, and collaboration, aiming to nurture local artists and connect them to global networks. For Kazakhstan, long without a dedicated contemporary art museum, this moment signals a new era, one in which cultural identity is asserted with confidence, and the arts are recognized as a vital force for national memory as well as international visibility. Kaliyeva emphasizes how essential it is that Kazakh artists now have a platform where voices once peripheral to national culture can take center stage. She also stresses the urgency of the moment: in a world reshaped by geopolitical fractures, climate crises, and cultural decolonization, this opening is necessary: “It’s a moment for Kazakhstan to assert its own narratives, to host...

Uzbekistan’s Garden Blossoms at the Osaka Expo

At Osaka Expo 2025, Uzbekistan is stepping onto the global stage with a pavilion that embodies the country’s theme: culture as the foundation of future societies. Created by the Uzbekistan Art and Culture Development Foundation (ACDF), the space celebrates heritage as both a legacy and a launchpad to connect communities, bridge generations, and spark global conversations. ACDF is no stranger to ambitious cultural projects. In Tashkent, it has staged the World Conference on Creative Economy, created the first Aral Culture Summit in Nukus, and is behind the renovation of the Centre for Contemporary Art. The Foundation is also working with star architect Tadao Ando on the design of a new National Museum and restoring the storied Palace of the Grand Duke of Romanov. Its research project, Tashkent Modernism XX/XXI, has already caught international attention with publications from Rizzoli New York and Lars Müller Publishers. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/09/IMG_6020-online-video-cutter.com_.mp4"][/video] Recently, ACDF has been igniting fresh cultural currents. In Bukhara, the UNESCO-listed jewel of the Silk Road, the debut of the first-ever Biennial, Recipes for Broken Hearts, has transformed the ancient city into a vibrant stage for contemporary creativity. As we approached the pavilion, the queue was already packed and closed off to latecomers still straggling in. Before entry, a guide explained in Japanese the concepts in motion. Designed by internationally acclaimed ATELIER BRUCKNER, the installation unfolds under the theme Garden of Knowledge: A Laboratory for a Future Society, inspired by Uzbekistan’s fertile soil and fragrant gardens where wisdom and originality take root. Built with materials sourced in Japan, the structure features 10,000 hand-glazed bricks crafted by a master artisan from Uzbekistan. Its design has already earned international acclaim, winning the prestigious Red Dot: Best of the Best, and taking home gold at the German Design Award. Inspired by Khiva and the Khorezm region’s rich architectural and intellectual legacy, it’s a two-storey 750 square meter space that blends the ancient with forward-thinking design, mirroring the life cycle of a garden. Khiva, a UNESCO World Heritage city, has long been a crossroads of learning where scholars, artisans, and merchants exchanged ideas within its madrasahs and courtyards. It reimagines this heritage as a contemporary space for gathering and exchange. [caption id="attachment_36099" align="aligncenter" width="2560"] Exhibit: transport of the future; image: TCA, Stephen M. Bland[/caption] Brick and clay symbolize earth and ancestry, while cypress wood cultivated near Osaka underscores environmental responsibility. The triangular plot draws from the tumar, a traditional Central Asian amulet of protection, while a floor-level garden evokes Uzbekistan’s landscapes. Visitors follow a symbolic journey from planting seeds of knowledge to harvesting ideas, exploring zones aligned with UNESCO’s goals, including quality education, clean energy, resilient infrastructure, and innovation. [caption id="attachment_36097" align="aligncenter" width="2560"] Exhibit blending the ancient and the modern; image: TCA, Stephen M. Bland[/caption] The experience begins in the soil, a ground-floor gallery that highlights Uzbekistan’s shift toward a green economy through renewable energy, eco-friendly transport, and energy-efficient housing, along with landmark projects such as the revitalization of the Aral Sea Basin. From there,...

Bold Pavilions, Big Statements: Central Asia at Osaka Expo 2025

On a sweltering August day, The Times of Central Asia arrived at the Osaka Expo 2025. The theme, "Designing Future Society for Our Lives," set the stage for a carnival of new ideas and technology. Pavilions buzzed with invention, each one a world of its own. Central Asia turned heads - with all five countries represented - with vibrant stalls, bustling booths, and grand castle-like showpieces that drew crowds from every corner. [caption id="attachment_35420" align="aligncenter" width="2560"] Kazakhstan Pavilion; image: TCA, Stephen M. Bland[/caption] Kazakhstan’s pavilion presents the theme “Born Bold” in the “Connecting Lives” zone, alongside South Korea, Germany, Luxembourg, Nepal, Azerbaijan, Iran, Monaco, and Türkiye. At its heart rises the shanyrak, the sacred crown of the yurt, once a symbol of roots and now a beacon of unity, mirroring the Expo’s spirit of innovation and shared horizons. The story begins with the essence of the Kazakh people. Generations, history, culture, and traditions unfold from the Kazakh Khanate and the vast steppe to Abai’s poetry and the nation’s sporting heroes. It is a narrative of memory and strength, where the past is not closed, but carried forward as a living value. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/08/KZ1-REMOVE-AUDIO-Videobolt.net_.mp4"][/video] From history, the focus shifts to unity. Every guest becomes part of the experience as their face is woven into a digital mosaic, a vivid symbol of belonging. Interactive technologies present Kazakhstan as a country where diversity does not divide but connects. From past to present, the spotlight then falls on a Kazakhstan that is inventive and future-ready. Visitors explore the country’s energy transition, green initiatives, digitalization, and work in artificial intelligence, alongside its rise as an investment hub. [caption id="attachment_35413" align="aligncenter" width="2560"] Prolonging life - ALEM at the EXPO; image: TCA, Stephen M. Bland[/caption] The final chapter places pride and place on the groundbreaking ALEM (Astana Life Ex-situ Machine) developed by Kazakh scientists. Created by the Heart Center Foundation, it is already redefining the possibilities of transplantation. The window for organ transplants is short, from just a few hours for a heart or lungs to more than a day for a kidney. ALEM changes the game. By replicating the body’s internal conditions, it can keep a donor heart alive for 24 hours, opening new possibilities. Only a few models currently exist, including the one on display in the pavilion. [caption id="attachment_35414" align="aligncenter" width="2560"] The Turkmenistan Pavilion; image: TCA, Stephen M. Bland[/caption] The Turkmenistan Pavilion dazzles with three lavish floors beneath an iconic, rounded-triangular ceiling that symbolizes circulation, sustainability, and the flow of life. On the ground level, an epic immersive video left the Japanese audience gasping as it honored Turkmenistan’s great men, legendary horses, and loyal dogs, while women appeared only in fleeting roles. [video width="1280" height="720" mp4="https://timesca.com/wp-content/uploads/2025/08/TK1.mp4"][/video] The second-floor shifts to the present, celebrating modern achievements, from the smart city of Arkadag to advances in industry, finance, and science. The space unfolds as an eclectic mix of books, jewelry, rugs, and even everyday objects like bottles of oil. At its center, a glowing...