top of page

Qonaqtar

An Exhibition from the Collection of the Almaty Museum of Arts

Малшылар тойы. 1965. Кенеп, майлы бояу. 110х88 Той чабанов. 1965. Холст, масло

Exhibition

2025

Qonaqtar marks the first major presentation of the Almaty Museum of Arts’ collection, tracing the thirty-year journey of collecting by the museum’s founder, Nurlan Smagulov.

Alongside the works from the museum’s collection, additional works by artists from the region, as well as new commissions, will be featured. Imagined as an exhibition on the move itself, works will be changed throughout a one-and-a-half-year period, also challenging the idea of the permanence of a museum collection.

Untitled-13.jpg
Subscribe to our newsletter

Delving into themes of hospitality and migration unfolding across Kazakhstan and Central Asia, the exhibition was initially inspired by two paintings: Aisha Galymbayeva’s Shepherd’s Feast (1965) and Salikhitdin Aitbayev’s On the Virgin Lands. Lunchtime (1960s). Galymbayeva captures the joyful spirit of nomadic life, while Aitbayev references the Virgin Lands campaign – the Soviet plan to expand agriculture throughout the steppe, bringing in volunteers and displacing thousands to Northern Kazakhstan.

On Virgin Soil. Lunchtime, 1960s Oil on wood 109,3x197,7x4 cm.JPG

Salikhitdin Aytbayev

On Virgin Soil. Lunchtime, 1960s

The title Qonaqtar (Қонақтар), meaning ‘guests’ in Kazakh, stems from the Turkic root qon- (‘to stop for a night’). It embodies the deep-rooted tradition of welcoming guests with warmth and respect but also evokes the act of travelling long distances to find shelter in someone else’s yurt – a necessity in vast, often harsh landscapes. Communal living, sharing meals, stories and music formed an important part of that. Guests, of course, can come in many guises, and hospitality is not always voluntary. From granting Kazakh pasture lands to the settlers from the European parts of the Russian empire – from the 19th century onwards – to the mass deportation of Koreans in the 1930s and the exile of Soviet dissidents to Karaganda and Akmola, these histories have left lasting marks on the region’s society and art. While many people arrived in Kazakhstan as outsiders, generations have since made it their home.

Сахи Романов. Қонаққа бару. 1967. Қағаз, қарындаш. 49,5х75,5 Сахи Романов. В гости. 1967.

Sakhi Romanov

On a Visit. 1967 

Киіз үй II. 1964. Картон, майлы бояу. 35х50 Юрта II. 1964. Картон, масло. 35х50 Yurt II. 1

Sakhi Romanov

Yurt II. 1964

The exhibition includes work by contemporary artists and reaches back to the 1940s, but is shaped most significantly by the 1960s. This period saw artists crafting a national artistic language that defined modern Kazakh identity, drawing from local folklore, nomadic culture, daily rituals and celebrations while remaining open to global modernist influences, navigating both the pressures of Soviet restrictions and the rich artistic heritage of Central Asia.

Artists

Shyngys Aidarov

Erbossyn Meldibekov

Yelena and Viktor Vorobyev

Almagul Menlibayeva
Said Atabekov

Curators

Inga Lāce is CMAP Central and Eastern Europe Fellow at MoMA. She has been a curator at the Latvian Centre for Contemporary Art since 2012 and was curator of the Latvian Pavilion of the Venice Biennale 2019 with the artist Daiga Grantina (co-curated with Valentinas Klimašauskas).

Partners
 
Untitled.png
Rectangle 118
Untitled-14.jpg
Untitled-15.jpg
Untitled-16.jpg

See also

Related events

Explore the collection with a guide

Tours

Every Sunday, free

Untitled-12.jpg
Audio tour

Tours

Every Sunday, free

Untitled-13.jpg
bottom of page