TCA Interviews - The Times Of Central Asia

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AIRUN CEO Chingiz Arziev on Building Kyrgyzstan’s Sovereign AI

The Times of Central Asia was delighted to interview Chingiz Arziev, CEO of AIRUN a Kyrgyzstan-based company developing AI infrastructure for the Kyrgyz language. AIRUN’s technology includes a large language model, speech recognition, text-to-speech tools, AI translation, and digital avatars designed for use in government, education, media, business, and public services. Chingiz Arziev spoke to TCA about the challenge of building AI for a low-resource language, why digital sovereignty matters for Kyrgyzstan, and how the company hopes to take its experience to other countries facing similar language and technology challenges. TCA: To begin with, can you tell us a little about yourself: where you grew up, what you studied, and how you first became interested in technology? Chingiz Arziev: I was born and raised in Bishkek, Kyrgyzstan. My interest in technology started very early. Around the age of nine, I discovered design software: Photoshop, Illustrator, and CorelDRAW. I was not only learning how to use them, but also comparing their interfaces and trying to understand what made one product more intuitive than another. At around 14, I became interested in motion design, 3D graphics, and digital sculpting. I studied Adobe After Effects, Blender, and ZBrush. Whatever software I was learning, I was always interested in the same thing: user experience. Already by the age of 16, I had started learning HTML and CSS to begin building websites and landing pages. Looking back, the common thread has always been understanding how technology works and how it can solve real problems for people. TCA: Was there a particular moment when you realized that artificial intelligence could become a serious field for you personally? Chingiz Arziev: I have always been drawn to advanced engineering and emerging technologies. In 2015, I became deeply involved in the blockchain space. The architectures, protocols, and decentralized systems being developed at the time felt completely new and inspiring. But even that did not compare to what happened during the AI boom of 2022. I still remember the day I sent my first prompt to ChatGPT. For me, that was the moment everything changed. I immediately saw the direction technology would take over the next 20 years. After that, I spoke about artificial intelligence everywhere. I talked about how AI would transform industries, reshape professions, automate routine work, and fundamentally change the labor market. Many friends and colleagues thought I was exaggerating. But I had spent years following companies such as Boston Dynamics, Tesla, Unitree, and DJI. Because of that, I saw a broader picture. Artificial intelligence would not develop in isolation. It would advance alongside robotics, autonomous systems, and automation. After sending that first prompt to ChatGPT, I knew I wanted to dedicate my career to artificial intelligence. TCA: How did the idea for AIRUN first come about, and what problem were you trying to solve? Chingiz Arziev: For countries with low-resource languages, the need for sovereign AI has existed for a long time. The challenge was never the idea itself. The challenge was execution, expertise, infrastructure, and...

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Kazakhstani Filmmaker Zhanana Kurmasheva on Her Semipalatinsk Nuclear Test Site Documentary

Zhanana Kurmasheva is a Kazakhstani documentary filmmaker and graduate of the T. K. Zhurgenov Kazakh National Academy of Arts, where she studied film directing. Her debut feature documentary, We Live Here, turns to the human legacy of the Semipalatinsk nuclear test site through the lives of people still living with its consequences. The film became the first documentary from Kazakhstan selected for competition at CPH:DOX, one of the world’s leading documentary film festivals. Over the past year and a half, We Live Here has screened at international festivals and was nominated for Best Documentary Film at the 2025 Asia Pacific Screen Awards. In an interview with The Times of Central Asia, Kurmasheva discusses why the story of the Semipalatinsk test site resonates with audiences around the world, what it was like filming on contaminated land, the growing interest in tours to the area, and why her next film will focus on consumerism. TCA: Zhanana, We Live Here premiered at CPH:DOX in Copenhagen, one of the world’s leading documentary film festivals. What did that moment mean for you? Zhanana: In the world of documentary cinema, CPH:DOX is one of the most prestigious festivals. Every filmmaker wants to be there because it showcases more than 200 of the strongest documentaries from around the world each year. Our film also became the first Kazakh project ever invited to compete in the festival. There were only 12 films in our section, and getting in was extremely difficult because the competition was intense. Being included in a program of that caliber came as a huge surprise to us. TCA: Why was it such a surprise? Zhanana: Honestly, when we were making this film, we never expected this level of success or invitations to so many festivals. By documentary standards, our project was produced on a very modest budget provided by Kazakhstan’s national film fund. The film was made largely through enthusiasm and dedication, without major international resources or influential foreign co-producers. We did everything ourselves. That is why I’m grateful for the opportunity CPH:DOX gave us. Participation there immediately brought international visibility to the film. TCA: What role did producer Banu Ramazanova play in bringing the film to international audiences? Zhanana: The fact that this film happened at all is largely thanks to our producer, Banu Ramazanova. She single-handedly promoted the film using her own resources. She believed in the project so strongly that she proved documentary cinema is worth investing in and that it can achieve a very high level. It’s wonderful that we have producers like her in Kazakhstan who genuinely care about the future of our documentary industry. TCA: Why do you think the selection committees responded to the film? Zhanana: It’s difficult for me to judge because we weren’t the ones making the selections. But if I had to guess, several factors played a role. First, Central Asia is still largely absent from the global documentary landscape. People know very little about our region, so any appearance of material from here naturally...

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“Don’t Try to Please the West” – Screenwriter Kazybek Orazbek on Kazakh Cinema

Kazybek Orazbek is one of the screenwriters behind a recent shift in Kazakh cinema, as locally produced horror and thriller films have begun to punch above their weight, both at the domestic box-office and internationally. His credits include Dästür, the Kazakh-language horror film that earned more than 1 billion tenge ($2.2 million) in its first week, and Auru, a 2025 drama-thriller released with a 21+ rating in Kazakhstan and screened internationally under the English title Sicko. In an interview with The Times of Central Asia, Orazbek explains why deeply local stories can resonate globally, why Kazakhstan’s film industry needs international markets, and what mistake local filmmakers most often make when trying to appeal to Western audiences. TCA: Sicko, for which you wrote the screenplay, is a genre film aimed at mass audiences, yet it ended up in the International Film Festival Rotterdam program. Was that your goal from the beginning? Orazbek: Honestly, when we made the film, we weren’t thinking about festivals at all. We never set ourselves the task of getting into an international competition. We simply made a film we ourselves would want to watch. But after Dastur (Tradition), we met the European producer Anna Katchko and showed her Sicko. She immediately said the film had strong festival potential and started promoting it. That’s how it ended up in Rotterdam. If we had thought about festivals earlier, perhaps we could have submitted it to larger festivals as well. We finished the film after most major deadlines had already passed. TCA: How did international audiences react to the film? Orazbek: It was an interesting experience. We were given a fairly large screening hall with 600–700 seats. At first, the audience consisted mainly of Kazakhs living in Rotterdam and nearby cities, so everything felt familiar. I wasn’t nervous because our whole team was there – director Aitore Zholdaskali, actor Ayan Utepbergen, and producers Kuanysh Beisek and Almas Zhali. But then more and more foreigners started arriving, Europeans in the broadest sense, people of different ages, backgrounds and appearances. And when you realize they came specifically to watch a story created in Kazakhstan for a Kazakh audience, it becomes overwhelming. TCA: Were you nervous? Orazbek: It was a strange feeling. I was both happy and extremely anxious. I sat there listening to the audience reactions. They reacted even more intensely than audiences back home. They laughed exactly where they were supposed to laugh, and they were genuinely frightened where we wanted them to be frightened. Every emotion we had built into the film, they understood perfectly. That surprised me because they are far removed from Kazakh reality, yet they still connected with the story exactly as intended. Maybe that distance made their reactions somehow “cleaner” and more direct. Whenever someone left the theater, I worried they hated the movie. In my head I kept saying, “Please come back.” Thankfully, people returned and stayed until the end. TCA: And what was the reaction during the Q&A afterward? Orazbek: The film was very...

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Uzbekistan’s New Visual Language: How OZBE Reimagines Culture Through Streetwear

Uzbekistani fashion is increasingly moving beyond traditional interpretations of national motifs. A new generation of local brands is engaging with cultural heritage through streetwear, using the visual language of youth culture and contemporary identity to resonate in Uzbekistan and internationally. The Times of Central Asia spoke with Raupjon Eshtemirov, a representative of the Uzbekistani streetwear brand OZBE, about how Uzbek ornaments, symbols, and cultural references are being transformed into modern fashion, why young people are rediscovering their cultural roots, and whether Uzbekistan’s fashion scene can gain greater international visibility. TCA: Please tell us a little about the OZBE brand. How did it begin, and what idea did it grow from? Raupjon: OZBE emerged as a local streetwear brand based on the idea of expressing the modern perspective of a new generation through clothing. We started with small drops, and gradually a community formed around the brand. TCA: How would you describe the philosophy of OZBE? Is it more about fashion, culture, self-expression, or a new interpretation of Uzbek identity? Raupjon: For us, OZBE is a combination of all these things. We use fashion as a tool for self-expression and for a contemporary reinterpretation of local culture and identity. TCA: OZBE is often seen as a brand that speaks to young people in a modern visual language. How do you see your audience? Raupjon: Our audience consists mainly of teenagers and young people for whom self-expression through style, visual culture, and clothing is important. At the same time, our audience also includes tourists and people who want to represent modern Uzbekistan through a local brand and its aesthetic. [caption id="attachment_49659" align="aligncenter" width="1200"] @OZBE[/caption] TCA: Why did you choose streetwear as the main form for working with culture and local identity? Raupjon: Streetwear is a modern form of fashion that remains timeless and extremely popular among young people and tourists. It is one of the easiest ways to combine style, culture, and a contemporary view of Uzbekistan. TCA: Uzbekistan has a strong visual tradition, including ornaments, architecture, crafts, and patterns. How do you work with this heritage in your collections? Raupjon: We draw inspiration from local aesthetics, but we try to adapt them to a modern visual context through forms, graphics, details, and presentation. TCA: For you, it is important not simply to use national motifs, but to reinterpret them. What does that process involve? Raupjon: Traditional patterns, ornaments, and cultural elements always remain recognizable and popular. For us, it is important not just to copy them, but to adapt them to modern styles and make them relevant for a new generation and for global streetwear culture. TCA: How can Uzbek patterns, symbols, and cultural references be made to look modern and organic for younger audiences? Raupjon: Through reworked design, modern presentation, and the use of bright, memorable phrases that attract the attention of young people and bring cultural elements closer to contemporary streetwear aesthetics. TCA: Which aspects of Uzbek culture inspire you most: ornaments, language, urban life, music, history, or everyday...

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Interview: Kazakhstan Pushes Middle Corridor as Global Trade Routes Shift

As war, sanctions, and disruption reshape trade between Europe and Asia, Kazakhstan is trying to turn the Middle Corridor from an alternative route into a more predictable logistics system. The route, formally known as the Trans-Caspian International Transport Route, links China and Central Asia with the Caspian Sea, the South Caucasus, Turkey, and Europe, bypassing Russia. For Kazakhstan, the project is both economic and geopolitical. It promises faster access to foreign markets, new transit revenue, and a stronger role for the country as a logistics hub between China and Europe. However, the corridor still faces practical constraints, including port capacity on the Caspian Sea, uneven digital systems, border procedures, tariffs, and coordination between several states and operators. The Times of Central Asia spoke with Alua Korpebayeva, Head of the Project Office for Transport and Logistics under the Presidential Administration of Kazakhstan, about what still needs to change and how Kazakhstan views the corridor’s long-term role. TCA: Why has the Middle Corridor become more urgent for Kazakhstan and Central Asia, and how much have the war in Ukraine and tensions around Iran and the Persian Gulf changed the calculation? Alua Korpebayeva: The government of Kazakhstan has assigned the national railway company, Kazakhstan Temir Zholy, a strategic objective of increasing total transit volumes to 55 million tons by 2026, representing a 65% increase compared to last year. This target reflects the scale of the country’s ongoing transport transformation. Achieving this goal is closely tied to the development of the Middle Corridor. The route is especially important because it is becoming a foundation for stable and predictable supply chains in global trade. The Middle Corridor provides Central Asian countries with an opportunity to strengthen connectivity with both Europe and China while increasing the region’s role as an independent transport and logistics hub. Geopolitical factors have undoubtedly increased business interest in alternative routes. For Kazakhstan, however, development of the Middle Corridor is primarily part of a broader effort to expand transport capacity and improve logistical resilience. That is precisely why deeper regional cooperation is so important. Unlocking the corridor’s full potential requires close coordination among all participants, from infrastructure modernization and tariff harmonization to end-to-end digitalization and simplified customs procedures. The World Bank has noted that a fully functioning Middle Corridor could strengthen supply-chain resilience and, if accompanied by investment and efficiency measures, could triple freight volumes and cut transportation times in half by 2030. TCA: Are Kazakhstan and its partners moving toward unified transit rules and tariffs along the corridor? What has already been agreed, and where do gaps remain? Alua Korpebayeva: Work on creating unified transit rules and coordinated tariff policies is ongoing. The current focus is shifting from fragmented national tariffs toward a unified through-route pricing system across the corridor. Within the framework of the Action Plan for Eliminating Bottlenecks along the Trans-Caspian International Transport Route, signed by the railway administrations of Kazakhstan, Azerbaijan and Georgia, the parties agreed to establish a single long-term tariff for the route. In practical terms,...

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From a Student Initiative to a Youth Movement: How Volunteering Is Developing in Kyrgyzstan

In 2023, Kyrgyzstan adopted a law establishing the legal basis for volunteer activity, while the Ministry of Culture, Information and Youth Policy has been named Kyrgyzstan’s focal point for the International Year of Volunteers 2026. UN Volunteers has also reported that nearly 100 youth and volunteer organizations are active across the country, with major public events expected to rely heavily on trained volunteers. The Times of Central Asia spoke with Aruuke Karmyshakova, executive director of Active Volunteers, about why more young people in Kyrgyzstan are entering volunteer work, how the organization cooperates with state bodies, international partners, and educational institutions, and why sustainable funding remains a central challenge for the sector. TCA: What gap did Active Volunteers set out to fill when it was founded, and how did the organization develop from there? Aruuke: Active Volunteers was founded in 2017 through the initiative of Bekbolot Stalbekov. Bekbolot wanted to create a platform where students could develop not only academically, but also beyond the classroom, to try themselves in real projects, gain practical experience, and show initiative. At first, it was a small student group of like-minded people. But it very quickly became clear that there were many active and versatile young people like this. With each new project, the number of participants grew, the team expanded, and the initiatives became increasingly large-scale. That is how, from a small student idea, we gradually grew into a full-fledged youth foundation with many different areas of work. TCA: How has the organization’s mission evolved as its work has expanded into different areas? Aruuke: Today, we define our mission as the comprehensive, multi-sphere development of young people and society as a whole. It is not one single direction, but a complex approach: we are involved in charitable assistance, educational projects, cultural initiatives, and support for civic activity. We help young people develop in science, art, media, leadership, ecology, and many other fields. The main idea is that every participant should be able to unlock their potential while also bringing real benefit to the country. Members of our team, Malika Baibolotova, Nurzhigit Kazygulov, Sofya Khurshudova, and Elaman Zhusupov, are already participating in international projects such as the “Strong Youth - Strong Country” program from the Civic Participation Foundation, funded by the European Union and UNICEF. They are undergoing regular training, which will continue until 2027-2028, and they will then be ready to establish and implement their own initiatives and projects. TCA: Has the profile of volunteers in Kyrgyzstan changed in recent years? Aruuke: Previously, most volunteers were university and college students, but since 2023 the picture has changed noticeably. Today, the age range has become much wider: school students starting from the age of 13-14, university students, young specialists, and also middle-aged people come to us. Everyone finds their own niche, some help in education, some in cultural events, and others in social projects. But what unites everyone is one thing: a sincere desire to contribute to the development of Kyrgyzstan. [caption id="attachment_49262" align="aligncenter" width="2560"] @Active...