Kazakhstan unveils national pavilion at 61st Venice Biennale

The country is presenting the exhibition project “Qoñyr: Archive of Silence,” which explores themes of memory, silence, cultural continuity, and the inner resonance of history through the language of contemporary art.

The opening ceremony was attended by Vice Minister of Culture and Information Aibek Sydykov, Kazakhstan’s Ambassador to Italy, Malta, and San Marino Yerbolat Sembayev, President of the Venice Biennale Pietrangelo Buttafuoco, as well as representatives of the artistic communities of Kazakhstan and Italy.

In his remarks, Sydykov emphasized that the Venice Biennale is one of the world’s most important cultural platforms, fostering dialogue between cultures.

For Kazakhstan, participation in the Biennale is an opportunity to contribute its voice to the multivocal dialogue of cultures. Contemporary Kazakh art develops at the intersection of tradition and innovation, where historical heritage and the codes of steppe culture gain new expression through modern artistic practices. We believe the Kazakhstan Pavilion will become a space for meaningful dialogue and inspiration, and will resonates with every visitor, he said.

The exhibition, housed in five interconnected halls of the Museo Storico Navale, is designed as an immersive journey through sound, space, and visual imagery.

Curated by Syrlybek Bekbota, the “Qoñyr: Archive of Silence” project draws inspiration from the traditional Kazakh kui Qoñyr by composer Abiken Khasenov. The concept aligns with the Biennale’s central theme In Minor Keys, interpreting Qoñyr as a metaphor for memory, inner resonance, and cultural experience.

The installation Steppe Architectonics, created by Smail Bayaliyev, Akmaral Mergen, Gulmaral Tatibay, and Natalia Ligai, transforms the exhibition space into a tactile landscape through monumental horse figures, the sound of hooves, and steppe grass.

Works by Mansur Smagambetov, Oralbek Kaboke, and Nurbol Nurakhmet continue to explore lived memory, using sound, objects, and installations to show how memory is preserved and transmitted in everyday life.

Another highlight is Matrix of a New Subject by Anar Aubakir, which reinterprets the inner layer of an old camel wool blanket as an artistic object and a silent archive of generational memory. The exhibition concludes with the digital work Qoñyr Äulie: Immersion into the Quiet Depths by Ardak Mukanova, offering a meditative journey into a sacred space where light and myth are experienced rather than narrated.

Buttafuoco noted that Kazakh art, much like the country itself, looks to the future while remaining rooted in its history and cultural identity. He highlighted the theme of memory as particularly compelling, describing art as a form of archive that preserves unique artistic expression through spiritual exploration, as well as poetry and music.

This year’s pavilion also marks a new stage in its development, as Kazakhstan for the first time selected its curator and participating artists through an open competition process, which included expert evaluations and online interviews with finalists.

The Kazakhstan Pavilion will be open to visitors at the Museo Storico Navale from May 9 to November 22, 2026.

Previously, Qazinform reported the film shot in Almaty is set to premiere at the Cannes Film Festival.