• KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%
  • KGS/USD = 0.01151 0%
  • KZT/USD = 0.00193 0%
  • TJS/USD = 0.09390 0.75%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28575 -0.14%

Viewing results 1 - 6 of 3

Photograph of a Kazakh Female Harvester Preserved in a U.S. Library

In the 1940s, British researchers William and Zelda Coates traveled to Kazakhstan and later published a book titled Soviets in Central Asia. The book included a previously unpublished photograph of a Kazakh female combine operator. The English caption identified her as "A typical Kazakh collective farm woman – Kudyash Avnimasova, of the 'Red Kombine' farm." The book also offers detailed insights into Kazakhstan’s agriculture and industry during the Soviet era. The authors highlight the significant progress made in food production over the previous decade, noting the establishment of numerous factories in southern Kazakhstan. They report that the country had five sugar factories, four distilleries, ten canneries, and three starch factories. Additionally, they emphasize the impact of large-scale industrialization, pointing out that Kazakhstan’s industrial workforce grew dramatically from just 20,000 in 1920 to nearly one million by early 1945. The Coates focus not only on economic and industrial developments but also on the aspirations, perspectives, and reform-driven mindset of smaller nations. The inclusion of the Kazakh female combine operator’s photograph is intentional; it complements the broader discussion on production and labor in the region. The authors present data showing that in 1938, Kazakhstan had 191 state farms, 363 machine and tractor stations, 25,646 tractors, and 9,522 combines. By 1947, those numbers had grown to 254 state farms and 670 collective farms, with 12,000 combines and tens of thousands of tractors operating in the fields. There is a common saying: 'History is a mirror.' Indeed, recorded history does not fade; rather, its significance deepens over time. The image of this female combine operator, preserved in the British scholars’ book housed in the Gelman Library at George Washington University, serves as a powerful representation of the resilience, determination, and vitality of Kazakh women in the 20th century.

Grounding the Stars: Andrew McConnell’s Lens on Space and the Steppe

Award-winning photographer and filmmaker Andrew McConnell has dedicated his career to illuminating the world’s overlooked regions and underreported stories. He has a distinctive ability to examine major global issues and events from fresh, often unexpected perspectives. Ordinary people in extraordinary circumstances are the focus of McConnell’s lens. From conflict zones in the Democratic Republic of the Congo to the hidden lives of the Sahrawi people in Western Sahara, his work frequently highlights human endurance in challenging environments. His new book, Some Worlds Have Two Suns, takes a different direction. It explores the vast, remote Kazakh Steppe, where the sparse local population coexists with the high-tech world of space travel. The project began in 2014 after he filmed his documentary Gaza. While decompressing at home in Ireland, he watched a BBC documentary about a Soyuz spacecraft landing in the Kazakh Steppe. The stark contrast between destruction and human achievement struck him. “I turned to my parents and said, ‘I’m gonna go and see that.’” That moment sparked an eight-year journey documenting the Russian ground crews recovering astronauts and the communities living beneath these celestial homecomings. TCA: You visited the Kazakh Steppe multiple times to document the Soyuz landings. How many trips did you make and what were the challenges of reaching such a remote location? Andrew: I probably made a dozen. I would join the ground crew in Karaganda, which is not far from Astana, and from there they head out to the Steppe, and depending on whether it's winter or summer they have different vehicles for either one. In summer, the Steppe is fine to drive on, so they have four by fours and we head out and set up camp the day before the Soyuz arrives. They know the exact time the Soyuz will land, right down to the second, and it always goes to the same location, which is a group of tombs. You can see those in the book, the two horsemen beside these tombs. These are old nomadic burial tombs, maybe 300 years old, so that, initially, was very interesting to me… you know, what are these? The Steppe is this unending boundless void of nothingness, just flat grassland. At first, as a photographer, it was quite underwhelming because visually, how do you make that interesting? But here were these tombs in the middle of nowhere and it was instantly fascinating. That was always the base camp. I don’t know if that’s where Rocosmos aimed Soyuz, but that’s where it came into the atmosphere every time I saw it. It would enter the atmosphere above these tombs. The parachute deploys and then it depends on the wind because they can drift for 20 kilometers. A couple of times it was a windless day, and the Soyuz dropped within sight of these tombs. I had a fantasy that it would drop in the middle of it. [caption id="attachment_28250" align="aligncenter" width="2000"] Nomadic burial tombs, Soyuz landing zone, Kazakhstan, 2018; image: Andrew McConnell[/caption] TCA: What shifted your focus from the...

“Photography in Kazakhstan is Characterized by Local Flavor”: Interview with Photographer Veronika Lerner

Veronika Lerner is a successful, self-taught Fine Art photographer from Kazakhstan whose work has received international recognition. Early in her career, an image of her grandmother sitting near-naked in her kitchen, was selected for inclusion in the portrait collection of the prestigious 5th Exposure Award exhibition at the Louvre, Paris. Deemed controversial when it appeared online, it embodied Lerner’s interest and talent in conceptual photography. Her portraits have been placed in the international  ‘Shoot The Face’ competition as well as ‘My Amazing Kazakhstan’, and in 2016 and 2022, her series "Strangers" was featured in exhibitions in St. Petersburg. One of Kazakhstan’s finest contemporary photographers, Veronika continues to make a significant contribution to the development of Kazakh photography.   TCA: What inspired you to take up photography? I turned to photography in 2007, when studying to be an artist-designer at college. I had no formal art school training and though keen to develop my own style in drawing, was disillusioned when criticized for my use of shading. Photography allowed me more freedom and with no one editing what I was doing, I was able to express myself fully. TCA: How has your career evolved and what changes have you noticed in the field along the way? After college, I continued taking photos and a post with a print publication led to a second job in which I was required to photograph just about everything. Parallel to my job, I worked independently on creative shoots and by developing my practice, my career in photography was soon in full swing. During that period, my style became much lighter and more cheerful. I moved away from black and white contrast shots towards color and my images became airier and more dynamic.   TCA: Where do you find inspiration for your work? Are there any photographers in particular whose work you admire? I find inspiration in everyday life, new experiences, and the beauty of the world around me.  Henri Cartier-Bresson (1908-2004), is a brilliant photographer. Working as a photo-journalist for Magnum, he pioneered street photography and was the first Western photographer to work ‘freely’ in the former Soviet Union. Capturing seemingly unimportant moments of ordinary life, there is something elusive and eternal about his work.  I greatly admire photographers whose work resonates with the contemporary culture.  Irina Dmitrovskaya was a journalist prior to attaining a degree from Docdocdoc, St Petersburg School of Modern Photography. Focusing on identity and societal constructs, and issues concerning the LGBT+ community, her work raises questions about the Kazakh perception of beauty and femininity and last year, was lauded in the exhibition ‘Bodily Autonomies’ at the Queer Festival, Heidelberg. https://queer-festival.de/bodily-autonomies/ I am also inspired by black and white images in which by Moscow-based Anisiya Kuznina, https://anisiakuzmina.com  explores the concept of individuality; by Evgeny Mokhorev https://heyboymag.com/evgeny-mokhorev-life-through-the-lens-of-emotion-controversy/ for his raw, black and white evocative studies of St Petersburg’s marginalized youth, and by Didar Kushamanov https://t.me/s/kushamanov for his use of camera obscura. In addition to work by other photographers, my approach to subject matter...