TCA Interviews - The Times Of Central Asia

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TCA Interviews

Emre Erdur Interview: Central Asia’s Visual Language

For Emre Erdur, Central Asia’s visual language begins with the vast horizons of the steppe, the horse, the yurt, felt patterns – symbols that have carried memory across generations. The Istanbul-born artist, designer, and author spoke with The Times of Central Asia about Kazakhstan, cultural codes, and why artists need to understand the meanings behind the images they use. The Language of Visual Storytelling TCA: How would you introduce yourself to readers who are encountering your work for the first time? Emre Erdur: I was born in Istanbul, and since childhood, I have had a strong interest in drawing, visual design, and storytelling. Over time, this interest evolved beyond simply creating illustrations and developed into a multidisciplinary practice that combines visual communication, illustration, concept design, and narrative development. Throughout my career, I have worked on a wide range of projects across different fields of visual design and communication. From illustration and architectural projects to product and game design, comic books, documentaries, and film productions. I have been involved in many areas where ideas require a strong visual language to be understood and communicated effectively. TCA: You are an artist, designer, and author working with visual storytelling. How would you define the main focus of your practice today? Emre Erdur: Today, I can no longer define myself simply as an illustrator or a designer. In reality, such definitions are often shaped less by the artist’s own description and more by the body of work they create and the way they work. At the center of my work is visual storytelling. Whether through comics, film development, or cultural projects, my main objective is to make ideas related to history, culture, and collective memory visible through contemporary forms of expression. For me, design is not an end in itself; it is a powerful tool for conveying stories, ideas, and emotions. In recent years, I have focused particularly on cultural memory, identity, historical narratives, and the shared cultural heritage of the Eurasian region. The challenge is not only to interpret the past. It is also about building a new language for the future by understanding the memories and experiences that come from the past. Kazakhstan as a Living Archive TCA: In our previous conversation, we discussed your work, The Legend of Ergenekon, and the influence Kazakhstan has had on your creative practice. How has your understanding of this subject evolved since then? Emre Erdur: Perhaps my core idea has not changed, but it has certainly deepened. At first, I viewed Kazakhstan’s influence primarily as a historical and visual source of inspiration. Over time, I came to realize that it represents something much deeper: a matter of cultural memory and, to some extent, a shared perspective on the future. Anatolia is an extraordinarily rich and multi-layered cultural geography. For centuries, it has been home to different civilizations, empires, and cultures, creating a landscape where many historical layers coexist. This richness also shapes the way we view the past; it can sometimes lead us to romanticize certain...

TCA Interviews

From Bishkek to Yakutsk: What Unites Eurasia’s Emerging Cinema

Stepan Burnashev is a Sakha filmmaker from Yakutia who has helped bring Yakut cinema to audiences far beyond the republic. His films have screened at international festivals, appeared on Amazon, and helped turn Yakut cinema into one of the most distinctive regional film movements in Eurasia. In Bishkek, where Burnashev served on the jury of the national KyrgyzBox section, The Times of Central Asia spoke with him about the phenomenon of Yakut cinema, international ambitions, and what connects Yakutsk, Bishkek, and other emerging cinemas of Eurasia. TCA: Stepan, this is not your first time attending the Bishkek International Film Festival. What attracts you to it? Stepan Burnashev: I love Bishkek very much. There is good cinema here, wonderful people, and Kyrgyz culture feels very close to me in many ways. I have attended three of the four festivals held so far. Still, I have never shown my own films here. The first time I came to Bishkek was at the invitation of Erke Jumakmatova, the head of the festival’s industry program. We met back in Busan, and she invited me to participate in a pitching session. Back then, I flew in with a team of Yakut filmmakers: Apollinaria Degtyareva, Alexey Egorov, and me. Apollinaria and I both participated in the pitching, and this year she entered the main competition of the Bishkek Film Festival with that project. The second time, I came on my own initiative because I had really fallen in love with the festival. It has a special warmth and atmosphere. This time I was invited as a jury member for the national KyrgyzBox program. TCA: How do you assess the KyrgyzBox program? Do you see any common ground between Kyrgyz and Yakut cinema? Stepan Burnashev: The program is interesting, though, as everywhere, there are weaker films and stronger ones. From what I understand, mainstream cinema, such as comedies, is more popular here, while in Yakutia, auteur films are also audience-driven. It is interesting, but I noticed that music is used much more actively in Kyrgyz films. In our films, music usually does not dictate anything to the viewer or tell them what to feel. Here I saw films with a different approach. It is curious. TCA: What kind of cinema interests you more today, auteur or mainstream? Stepan Burnashev: In fact, I do not divide cinema into auteur and mainstream. I divide films into good and not-so-good. I even try not to use the word “bad.” It seems unfair to the people who create films. Any director starts working on a film convinced they will make a great one. And I sincerely believe that no one sets out to make a terrible movie. Of course, there are cases where the result does not meet expectations, but behind every project there is the labor of many people. That deserves respect. TCA: What do you think about contemporary Kazakh cinema? Do you know it well? Stepan Burnashev: To say that I know Kazakh cinema very well would be an...

TCA Interviews

Designer Madina Tompiyeva: Kazakhstan’s Fashion Is Becoming a Language of Identity

Kazakhstani fashion is increasingly moving beyond style alone, with designers using clothing to explore heritage and contemporary identity. Anima, an Almaty-based brand, describes itself as an ethno-urban concept made in Kazakhstan. Its collections combine urban fashion with local aesthetics and motifs drawn from nomadic culture. The Times of Central Asia spoke with Anima founder Madina Tompiyeva about clothing as a language for the soul and freedom. She also discussed how Kazakhstani culture appears in contemporary silhouettes and why younger consumers are turning to fashion with stronger local references. TCA: Please tell us a little about yourself. How did you come to create the Anima brand, and what has this project become for you today? Madina: Since childhood, I dreamed of creating clothes and having my own fashion house. But the path to this was not straightforward. I studied economics, lived in different countries, worked in international companies, and spent a long time looking for answers to questions about what truly makes a person happy. At some point, my path led me to yoga, psychology, retreats, and a deeper acquaintance with myself. That is when the idea of Anima appeared. At first, I simply wanted to create clothes for myself comfortable, free, and honest. But very quickly I realized that through clothing, one can convey not only aesthetics, but also a state of being. Today, Anima is much more than a clothing brand for me. It is a way to speak about freedom, identity, beauty, and a person’s connection with their inner nature. TCA: What idea did you want to put into Anima from the very beginning? Madina: The word Anima itself translates as “soul.” From the very beginning, I wanted to create pieces that help a person feel like themselves, rather than play a role or conform to expectations. The foundation of the brand has always been the idea of returning to one’s essence: through comfort, natural fabrics, freedom of movement, and pieces that do not shout about themselves, but allow the person to come through. TCA: How do you define the brand’s visual language? Madina: I would describe it as a combination of cultural codes from around the world, natural forms, and a contemporary urban silhouette. We are inspired by the traditions of different peoples, but we do not reproduce them literally. We are more interested in reinterpreting cultural heritage through a contemporary form. That is why in our collections, you can see minimalism, ethnic motifs, Asian silhouettes, and modern functionality at the same time. TCA: The description of Anima includes the phrase “ethno-urban concept made in Kazakhstan.” What does this mean for you in practice? Madina: For us, it means a dialogue between tradition and modernity. We live in a global world, but at the same time, every nation has its own memory, culture, and meanings. Anima explores how these cultural roots can exist in a contemporary urban environment. Our pieces should look equally organic in Almaty, Berlin, and Tokyo, while still preserving their unique identity. TCA: How important is it...

Kazakhstan-Canada Relations

Beyond Resources: Ambassador Kussainov on Kazakhstan and Canada’s Partnership in AI, Education, and Innovation

For decades, Kazakhstan and Canada built their partnership around natural resources. Today, that relationship is expanding into new territory. From artificial intelligence and innovation to education and workforce development, both countries are increasingly looking beyond traditional sectors to shape the next phase of cooperation. This trend is already reflected in economic indicators. More than 160 Canadian-linked enterprises operate in Kazakhstan, Canadian investment has exceeded U$ 6 billion since 1994, and bilateral trade reached approximately U$ 458 million in 2025. At the same time, sectors that will shape the competitiveness of both economies in the coming decades are gaining greater importance. “I believe Kazakhstan-Canada relations are entering a new and dynamic phase,” said Dauletbek Kussainov, Kazakhstan’s Ambassador to Canada, in an interview with The Times of Central Asia. According to him, changes in the global economy are creating new opportunities for cooperation between the two countries. “Canada brings world-class expertise, technology and investment, while Kazakhstan offers significant resource potential, industrial capacity, and a strategic position connecting major markets,” the ambassador said. Although mining and energy remain central to bilateral cooperation, the scope of engagement is expanding into areas linked to technology, innovation and workforce development. This shift is also visible in the practical agenda of bilateral relations. In June, Astana hosted several major events involving Canadian business representatives. The Astana Mining & Metallurgy Congress brought together representatives of around 70 companies from 15 countries, including Canada, while the seventh meeting of the Kazakhstan-Canada Business Council brought together more than 100 participants, including senior representatives of Kazakhstani government agencies, the business communities of Kazakhstan and Canada, experts and academics. “This year also marks the 30th anniversary of the Inkai joint venture, a lasting example of successful cooperation between Canadian and Kazakh partners,” Kussainov noted. Three decades after the creation of one of the most successful joint projects in the uranium sector, bilateral cooperation is gradually moving beyond the traditional resource-based partnership and expanding into new areas, from education and technology to innovation and workforce development. From Extraction to Value Creation Critical minerals remain one of the key areas of cooperation between the two countries. As Western economies seek to diversify supplies of strategic raw materials, Kazakhstan is attracting growing attention because of its mineral resources. Canada, in turn, has one of the world’s strongest areas of expertise in geological exploration, mining engineering and sustainable resource development. According to Kussainov, the greatest potential lies in three areas: geological exploration, mineral processing, and human capital development and knowledge transfer. Processing is becoming especially important. “Today, the key challenge for many resource-rich countries is not simply extracting minerals, but creating more value from them domestically,” the ambassador said. This point reflects a broader shift in Kazakhstan’s economic strategy. In recent years, the country has been placing greater emphasis on developing processing industries and localizing technological processes. In this context, Canadian expertise in engineering, metallurgy, processing technologies and industrial project management is particularly relevant. The discussion is not limited to traditional industrial competencies. “The same applies...

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...

TCA Interviews

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...