Daria Ozerskaya in Conversation with the founder of Ainalaiyn Space Indira Dyussebayeva-Ziyabek

Over the past few years, it has become clear that contemporary art from Central Asia, with its new and unprecedented vigour, is increasing its presence confidently in the global art world.

The emergence of the first national Pavilions at the Venice Biennale in 2022 (as seen by the participation of Uzbekistan and Kazakhstan); the involvement of the DAVRA collective – a group dedicated to researching and preserving Central Asian culture – at Documenta fifteen; the landmark exhibition of contemporary art from the region, Clouds, Power, and Ornament – Roving Central Asia, on view earlier this year at CHAT in Hong Kong, are just a few of the many of the powerful manifestations demonstrating how contemporary art from Central Asia is invigorating today within the international context. And there are many still to look forward to, such as the 9th edition of Asia NOW in Paris, with Slavs and Tatars as guest curators and their exhibition bringing together works by fourteen artists of Central Asian backgrounds.

With that said, is this growing scene as international as it seems? Looking at the UK, one wonders what initiatives are focused on presenting contemporary art from Central Asia here. The most exciting of those in the UK comes in the form of a beautiful project based in London called Ainalaiyn Space.

Established in 2022 by the independent curator and co-founder of the International Art Development Association (IADA) Indira Dyussebayeva-Ziyabek, Ainalaiyn Space is inspired by the nomadic concept and derives its name from the eponymous Kazakh word, which has no analogues in other languages and is used to express love and adoration for a whole being of a cherished one. Over the last two years, the organisation has collaborated with various institutions in the UK and globally, curating exhibitions and organising artist residencies, and is now presenting the show La Makan. Cosmic Corporeality by two artists, Gulnur Mukazhanova and Aigana Gali, on view at Three Highgate Gallery from September 19th to October 15th, 2023.

MADE IN BED invited Indira for an exclusive conversation through which we learn more about her project and discuss the development of Central Asian contemporary art in the British art scene and internationally.

Indira Dyussebayeva-Ziyabek, 2022. Photo by Thierry Bal. Courtesy of Ainalaiyn Space.

Daria Ozerskaya: Hi Indira! Thank you very much for taking the time to speak with me and share your insights and experiences with MADE IN BED magazine. Let me begin by asking how you became interested in art and then decided to pursue a career in the art sector.

Indira Dyussebayeva-Ziyabek (IDZ): Hi Daria! Thank you for inviting me to this interview. My first university degree was in finance, and I worked in the financial sector until 2010. Honestly, I cannot say that I was particularly passionate about finance.

After working at Deloitte & Touche, I came to London to get my Master’s degree and graduated from Cass Business School in 2008. If you remember, that was the year of the financial crisis, when Lehman Brothers went bankrupt, and thousands of people lost their jobs in the financial sector. It was a challenging period to find a job. I remember doing an internship in the financial industry, but simultaneously, I realised this was an opportunity to explore. I went on to do short-term classes in marketing and fashion, and I also tried taking several courses in art at Sotheby’s Institute. That was when I realised that art is an essential part of our lives, and I want to enjoy it every day.

To work in the art industry, I had to pursue another degree, so I went to UCL and got my degree in History of Art. This was back in 2012, and since then, I have been working in the art field. Initially, I thought I could still use my knowledge in finance and work in advisory and investments; I got to practice in the auction houses, both Sotheby’s and Christie’s, but after some time, I realised that this was not exactly what I was looking for. I had my non-profit organisation, the International Art Development Association (IADA), where I worked with artists and curated projects. That was something that made my eyes glow! Over time, I understood that I was interested in curating. Still, my knowledge and experience were not enough, so I did another Master’s in Art History, again at UCL, and am now thinking about doing a PhD in the future. I feel fortunate that I found Art as my passion, as Art is my air!

DO: Ainalaiyn Space was founded in January 2022 as a space for creative minds looking into the possibility of realising their ideas in the contemporary art field through collaborative learning, research, and experimentation. Can you share the story of how the idea of establishing such an organisation was conceived and how long it took you to bring it to life?

IDZ: I like the word ‘conceived’ you have used, as Ainalaiyn Space is indeed like my baby, the project that grew in me over the last ten years. It was forming slowly, as I have the IADA project where I have two more partners, but I wanted a project that I could build and curate independently. I love my partners in IADA, though; do not get me wrong!

I had ten years to understand how the art world functions and experience both the commercial and academic sides of it. There were disappointments and discoveries for myself. I understood that learning and research is my passion, and when I started my project, I knew those two pillars would be its two most important aspects. Also, while working on artist residency projects at IADA, I really enjoyed the experience of being with artists.

I admire the creative process and wanted Ainalaiyn Space to be like an alchemical laboratory where magic happens, where one could find the source of knowledge, science, philosophy, architecture, and psychoanalysis. Ainalaiyn Space is a multidisciplinary project. And I have so many ideas!

Installation view of Öliara: The Dark Moon, curated by Indira Dyussebayeva-Ziyabek, on view from 18 March to 30 April 2022, at Mimosa House (London). Photo by Thierry Bal. Courtesy of Ainalaiyn Space.

DO: Can you talk more about the concept of 'nomadic' and how it imbues Ainalaiyn Space?

IDZ: The project's philosophy is that it is not bound to one place. I am not saying that there will not be a permanent space, perhaps there will be one if we need it in the future. As for now, the nomadic concept helps us to pursue our research projects according to their geographical locations. Artist residencies are a huge part of Ainalaiyn Space, too. The next locations on the list are Mexico and Africa.

I also have a nomadic heritage. I am originally from Kazakhstan, Central Asia. The symbol, the name, and the nomadic concept of the organisation reflect this strongly.

From the beginning, I was trying to find a model that would balance out both academic and commercial sides. Research, learning, and experimentation are at the heart of the project, but the project needs to be sustainable. We have sponsors for residencies, while other projects need to be funded by Ainalaiyn Space. The project would have to be purely commercial if we had to cover rental expenses. And here, in London, there is no other way.

In terms of the spaces, we collaborate with institutions and galleries, and so far, our ideas and initiatives have been supported.

DO: Ainalaiyn Space’s debut project was Öliara: The Dark Moon – a site-specific installation created for Mimosa House (London) by the Kazakhstan-born Berlin-based artist Gulnur Mukazhanova. As a starting point, how did that work out for your organisation?

IDZ: Collaboration with institutions is vital to Ainalaiyn Space as this reflects the academic spirit of the project. The fact that the first collaboration was an institutional project, therefore, was an incredible starting point.

The chance to work on an installation is also something that the artist could usually get within an institutional show, which was an excellent opportunity for Gulnur Mukazhanova, as she loves working on that scale. I am really grateful to Mimosa House, Exposed Arts Projects, The Hellenic Centre, The National Geological History Museum in Greece and Three Highgate Gallery, with whom we collaborated during the last year.

Installation view of Öliara: The Dark Moon, curated by Indira Dyussebayeva-Ziyabek, on view from 18 March to 30 April 2022, at Mimosa House (London). Photo by Thierry Bal. Courtesy of Ainalaiyn Space.

DO: Since its establishment, Ainalaiyn Space has been actively collaborating with female artists originally coming from Central Asia – Gulnur Mukazhanova, Aziza Shadenova, and Aigana Gali. Is there a focus on women artists in your project?

IDZ: At Ainalaiyn Space, we work with international artists without a particular focus on gender or other criteria. We try to provide equal opportunity to everyone; the only focus might be regions with a minor presence in the UK and Europe. Gulnur Mukazhanova, Aziza Shadenova, Aigana Gali, and other women artists we work with were chosen because they are incredible, strong artists.

Nevertheless, we cannot ignore world statistics. I recently spoke to my friend artist, Annya Sand, who is running the Women Artists’ Art Week World (WAAW) Initiative, and she told me that, according to research done by Kate McMillan at Culture, Media and Creative Industries at King's College (London, UK), the world would need 102 years to equalise the number of women represented in galleries as well as the prices paid for works by female artists in comparison to men. I found this shocking!

However, we strive to emphasise the important issues in our learning programme. Last year, the theme of the lecture series we ran was Women Artists: Identity and Subjectivity, Trauma and Memory, Rendering and Repairing.

DO: Ainalaiyn Space’s work is not limited to collaborating with artists and curators sharing common Central Asian backgrounds, and the organisation is providing equal opportunities to all art practitioners from across the world. How do you usually come to select those to collaborate with? Is there anything particular about their work or practice that influences this choice?

IDZ: We know a lot of artists and curators who often recommend other artists or curators according to the theme we are working on. So far, we invited artists and scholars to collaborate, but we are considering open calls for artist residencies soon. I meet a lot of artists at art events, do studio visits, and visit artist residencies and graduate shows, so there is always an opportunity for artists to share their practice. However, I can say that multidisciplinary, research-based practice is most attractive for us.

DO: Ainalaiyn Space is also developing its artist-in-residence programme with institutions located in the UK and elsewhere globally. As for the last year, two residencies were organised in London and Meteora (Greece), resulting in exhibitions. How often do you plan to launch residences, and how could artists secure their place there?

IDZ: We plan to run artist residencies on a yearly basis, at least once a year. Right now, we are considering several options: open calls, by invitation of Ainalaiyn Space, and by the mutual choice of Artist & Curator residency. The last one is a new project, and information will be announced soon on our website and Instagram.

Installation view of Aziza Shadenova: My Cocoon Tightens – Colours Tease –, curated by Indira Dyussebayeva-Ziyabek, on view from 8 June to 8 July 2022, at Exposed Arts Projects (London). Courtesy of Ainalaiyn Space.

DO: I wanted to delve into history and speak with you about your curatorial work before establishing Ainalaiyn Space. In 2013, you co-founded IADA (International Art Development Association) – a not-for-profit art organisation dedicated to promoting contemporary art from Kazakhstan and the Central Asian region on the international art scene. As part of your work at IADA, you helped realise several innovative projects, bridging the local contemporary art to the global art world. What was your most memorable experience at IADA, and how it influenced you?

IDZ: I think the most memorable project was the first one, the private pavilion of Kazakhstan, during the Venice Biennale in 2013. That was a grandiose starting point. Our show had a private palazzo, bringing together installations by Galim Madanov and Zauresh Terekbai, Said Atabekov and Gaisha Madanova. There was considerable interest from the public, but shockingly, almost no one knew our artists, or hardly any other artists from Kazakhstan or Central Asia. Some could not even tell where Kazakhstan was located. That was the moment when I and my partners Dina Baitassova and Laurent Lehmann realised that there is a crucial need in support of Central Asian contemporary art and a lot to be done.

Since then, we have participated in many art fairs (like Art Dubai Marker curated by Slavs and Tatars, Vienna Art Fair, Art 15 in London, etc.) and in a not-for-profit section. And, of course, there was a significant focus on artist residencies in Venice, Paris, Pelion (Greece), etc.

In 2015, when there was no representation of Central Asia at the Venice Biennale at all, we ran an artist residency for Askhat Akhmedyarov, Aziza Shadenova, Asel Kadyrkhanova, Ada Yu, Syrlybek Bekbotayev, Kamilla Gabdullina, Sholpan Sharbakova. Paul Ardenne, who was also a curator of the Luxembourg Pavilion, curated this initiative. The artists were performing during the opening of the Biennale, interacting with the visitors.

The plan was also to attract the attention of our government to start supporting contemporary artists. And I have to say that the art scene in Kazakhstan during the last decade developed a lot. There are many more private initiatives now, like the Tselinny Center of Contemporary Culture, which runs a wonderful programme in Almaty, Kazakhstan. It would have been better, though, if more support was coming from the government.

Said Atabekov, Genghis Khan’s Clothes, installation for the private Pavilion of Kazakhstan during the 55th Venice Biennale, 2013. Courtesy of the artist and IADA.

DO: Another project that has to be mentioned is the landmark exhibition Focus Kazakhstan: Post-nomadic Mind that you co-curated with Aliya de Tiesenhausen in 2018, shown at Wapping Hydraulic Power Station (London). Looking back at this project five years later, how important do you think it came to be in terms of increasing the visibility of the art from Kazakhstan abroad?

IDZ: Actually, this was one of the initiatives that the government supported. The idea for the project came from a great specialist, Roza Abenova, who back then was the head of the contemporary art department at The National Museum of Kazakhstan. We would only be able to realise this project on such a high level with her help. 

There were four exhibitions and one artist residency in London, Berlin (exhibition and ArtRes), Jersey City, and Suwon. There were different curators for each city. I was honoured when Roza invited me and Aliya to curate the show in London. The space of the Hydraulic Power Station is incredible – we had almost 1,000 sq meters for the exhibition!

The idea was to show how the art scene [in Kazakhstan] developed, changed, and evolved from the 1930s to now. We wanted to see the timeline that, through art, would reflect history, the situation within the country for each period, and the political and social situation. We also asked each contemporary artist to choose one of the modern masters they would want to be in dialogue with, finding the work from the National Museum of Kazakhstan collection. There were several site-specific installations and more than 30 participating artists.    

Focus Kazakhstan: Post-nomadic Mind was one of the major exhibitions of artists from Kazakhstan presented in London. There were many people who saw art from Kazakhstan for the first time. Many curators from different institutions came to see the show, including curators from Tate and Ralph Rugoff, the director of Hayward Gallery, who was also the curator of the Venice Biennale in 2019, visited our show as well.  

Installation view of Focus Kazakhstan: Post-nomadic Mind, co-curated by Indira Dyussebayeva-Ziyabek and Aliya de Tiesenhausen, on view from 19 September to 16 October 2018, at Wapping Hydraulic Power Station (London). Photo by Thierry Bal. Courtesy of Ainalaiyn Space.

DO: As an experienced curator, what do you find important in your practice as a whole and in curating contemporary art from Central Asia in particular?

IDZ: Artists are among those who can speak openly on the most challenging themes, which most of the time are ignored and stay in limbo. As a curator, I believe it is crucial to help artists realise their ideas, creating the narrative and bringing those ideas to life. It is beautiful to see the impact that art creates, allowing people to see and understand those critical issues and bringing them together.

DO: How would you describe today’s positioning of contemporary Central Asian art in the UK art market, and do you feel that has changed since you started as a curator? Are works by Central Asian artists getting more interest from international collectors today?

IDZ: I cannot say that the presence of Central Asian art is particularly strong in the UK, but I can definitely say that the last several years have been booming for Central Asia worldwide, also in terms of artists’ presence at important art events, such as the Venice Biennale and Documenta. There is an extensive collection of Central Asian art that has recently been acquired by the Stedelijk Museum in Amsterdam for their permanent collection. The Museum for Contemporary Art in Antwerp, Belgium, which already had one of the best collections of Central Asian contemporary art, acquired a series of Askhat Akhmediyarov’s works, too.  

Installation by Gulnur Mukazhanova, at Focus Kazakhstan: Post-nomadic Mind, co-curated by Indira Dyussebayeva-Ziyabek and Aliya de Tiesenhausen, on view from 19 September to 16 October 2018, at Wapping Hydraulic Power Station (London). Photo by Thierry Bal. Courtesy of Ainalaiyn Space.

DO: Can you share some insights into the exhibition La Makan Cosmic Corporeality featuring artists Aigana Gali and Gulnur Mukazhanova? What can visitors expect from this show?

IDZ: The initial conversation between the artists started as a dialogue about the emotional spaces. They both spoke about the transformation process. Creation and destruction, the birth, and the death, as well as ancestral knowledge. Imagining the transformation process as a line, one could see that both artists might speak about the same process, but they are at different points on the line.

Mukazhanova is at the process of mourning, reflecting on the fragility of life and body. This is the moment of acceptance, shacking the dead, scarred carcass off. Through her creative process, Mukazhanova is healing herself through the ancestral connection that she found in the medium of felt. Mukazhanova’s “I”, her soul and mind, is traveling through the space of La Makan, she gets into this state during her creative process or while dreaming. The artist enters the portals into spaces that she creates with the haptic mediums. The animal hair, an uncanny medium, is her main medium in the alchemical process.

Aigana Gali, Star Seed (oil on canvas), for La Makan. Cosmic Corporeality, curated by Indira Dyussebayeva-Ziyabek, on view from 19 September to 15 October 2023, at Three Highgate Gallery (London). Courtesy of Ainalaiyn Space.

Looking at the works of Gali, one could read the universal language; the mysticism of invisible forces and life creation is felt immediately. Gali’s location on the transformation line is at the moment of life creation, the birth. The works are full of light, which reminds us of a theory of the beginning of the universe, the single point that then expanded and stretched as we experience it now. The black sphere, the point that is present in almost all of Gali’s works, is the entry point, the portal: ‘We all came from this point, and we will all go back into it’, says the artist.

There is a universal order in the works of Gali that gives the feeling of a unified whole, which is expressed through the symmetry of the geometrical forms and the immersing light that comes from each layer.

DO: Any reading recommendations for those interested in learning more about contemporary art from Kazakhstan and, more broadly, from Central Asia?

IDZ: Recently, there was a series of publications on art, architecture, and other interesting themes by Tselinny Center, worth checking their website or social media. Many artists from the region are working with the theme of identity, their Soviet past, and decolonisation. I know that Tselinny recently published a book by Madina Tlostanova discussing these themes.

There is also a series of articles about the contemporary art scene and its development in the journal section of the IADA website, as well as projects and the journal of Ainalaiyn Space.

Another great book of essays is Stalinism in Kazakhstan: History, Memory, and Representation, edited by Zh. Abylkhozhin, M. Akulov, A. Tsay.

La Makan. Cosmic Corporeality is on view at Three Highgate Gallery (3 Highgate High St, London N6 5JR) until October 15th, 2023. Please visit Ainalaiyn Space’s website for more information.

MADE IN BED would like to thank Indira Dyussebayeva-Ziyabek for taking the time to have the conversation and providing the reader with valuable insights into Ainalaiyn Space and the current positioning of contemporary art from Central Asia within the global context.

Daria Ozerskaya

Contributing Writer, MADE IN BED