Recently concluded alongside the Venice Biennale Arte 2024, Jerūiyq: Journey Beyond the Horizon, Kazakhstan’s National Pavilion, offered a profound exploration of “foreignness” through the lens of decolonial futurism and cultural reimagining. Curated by Danagul Tolepbay and Anvar Musrepov, the pavilion revisited ancient legends and spiritual traditions to challenge and expand conventional notions of identity, belonging, and otherness. The exhibition reflected Kazakhstan’s journey to reclaim its place in global artistic dialogue, merging ancestral wisdom with futuristic visions. By shedding the constraints of its Soviet legacy, the pavilion presented a nation redefining itself through artistic innovation and cultural reclamation. Through its inclusive narrative, the pavilion invited audiences to envision a future where ancient myths and modern realities coexist in harmony, embodying a world rooted in tradition yet open to infinite possibilities.
At its heart was
Yerbolat Tolepbay, a pivotal figure whose art and vision defined the pavilion’s narrative. Known for his internationally celebrated works, which deeply connect to Kazakh heritage and earned him France's Chevalier Order in Arts and Literature, Tolepbay’s art is profoundly shaped by spirituality. This spiritual depth is likely influenced by his mother, a healer dedicated to helping others, which instilled in him a worldview centered on harmony and divine order. His pieces reflect God’s creation through rounded, balanced forms that evoke peace and contemplation. In contrast to the destructive energy he perceives in much of contemporary art, Tolepbay strives to offer a sense of divine balance, inviting all viewers to discover personal meaning in his work.
Tolepbay sees his participation as a chance to present Kazakh art within a global context. "I have always viewed my work as part of the global art movement," he shares "The Biennale is an unparalleled platform for our country to engage in the international dialogue of cultural exchange. Our nation, with its deep heritage, deserves to be seen and recognized."
Exploring Layers of Meaning in Art
Tolepbay’s artistic vision is profoundly influenced by his early experiences and Kazakhstan's turbulent history. His iconic work The End of the World (1985) captures the dread and anticipation of a generation shadowed by nuclear threats, juxtaposing the apocalyptic with the glimmer of hope for renewal. He explains, “It symbolizes the terror of civilization’s collapse but also hints at new life emerging from destruction.” His more recent piece, New Child. Rebirth, reflects the ongoing global conflicts and humanity’s struggle for harmony, set within a tension-filled, elliptical composition that embodies his unique interpretation of cosmic and spiritual balance.
Art as a Bridge Between Cultures
Tolepbay’s art also serves as a bridge between Kazakh cultural symbols and universal themes. Although his newer works may not overtly display traditional Kazakh motifs, they resonate with the deeper essence of his heritage. “The dome-like shapes in my paintings echo the yurt’s structure, representing a cosmic universe model,” he notes, emphasizing how Kazakh symbols can be reimagined to contribute to a broader, global cultural narrative. This philosophy speaks to the Biennale’s overarching theme, Foreigners Everywhere, which the Pavilion interprets as a call to transcend boundaries and foster cross-cultural understanding.
Kazakhstan’s participation in the Venice Biennale 2024 is a milestone, marking only the country’s second appearance at this prestigious international event. For artist Yerbolat Tolepbay, this moment holds immense significance. “International audiences are just beginning to discover Kazakhstan,” he explains, emphasizing that the nation’s cultural and artistic journey is still in its early stages on the global scene. Since gaining independence, Kazakhstan has rapidly established itself as one of the strongest economies in the region, and now the focus is shifting. “It’s time to invest more deeply in cultural and artistic development,” Tolepbay adds, highlighting how projects like this Pavilion serve as benchmarks for future generations of artists.
Despite being geographically distant from major cultural centers, Tolepbay believes this kind of exposure is crucial for Kazakhstan’s growth. He likens the national interest in the Biennale to the enthusiasm surrounding the Olympics, noting, “Our Minister of Culture, our Commissioner that supported us, even made an official visit to the event for the first time ” For Tolepbay, the hope is that Kazakhstan’s presence at the Biennale will become a tradition, contributing to a richer, more diverse global art scene.
Reflecting on the concept of Kazakh art, Tolepbay challenges traditional categorizations. “In our context, the division between contemporary and academic art doesn’t really hold,” he explains. Kazakh art draws from a nomadic heritage, where instead of oil portraits or classical sculptures, the cultural expression lies in intricate, symbolic textiles designed to travel. He emphasizes that European artistic practices only arrived in Kazakhstan in the 20th century, so “all Kazakh art is contemporary” in its essence. He hopes visitors will shed Eurocentric lenses and appreciate the richness of a culture that defies conventional labels.
Tolepbay’s commitment to his craft is lifelong and profound. “Painting is not just a profession or a passion; it’s a way to connect with the world,” he shares. His aspiration is clear: to create works that resonate across generations. His dream is to see Kazakh art gain the recognition it deserves while inspiring young artists to push creative boundaries.
The artist’s work also carries a deep ecological awareness, often depicting the beauty of pre-industrial Kazakhstan. His scenes evoke a world where nature was revered, imbuing the land with spiritual energy. “Rivers, trees, and the land were respected as ancestors,” Tolepbay reflects. He believes this mindset could inspire modern society to treat the planet with greater care. “If we could adopt even a fraction of that consciousness,” he suggests, “we might avoid the harsh exploitation that has become so commonplace.” Through his art, Tolepbay not only captures the spirit of his homeland but also urges a more respectful, interconnected relationship with the natural world.
A Unique Approach to Artistic Creation
Tolepbay’s process is one of constant evolution, marked by a deep sense of responsibility. His art defies replication, with each piece emerging from years of contemplation and continuous revision. “Sometimes I leave works unfinished intentionally, inviting viewers to complete the image in their imagination,” he explains. This approach fosters a connection where the audience becomes co-creators, carrying the artwork’s essence long after they leave the exhibition. “Art, in its truest form, should evoke reflection and unlock the creative potential within every person.”
As Kazakhstan reclaims its voice in the global art scene, Tolepbay’s work stands as a profound symbol of cultural renewal and artistic exploration, offering a glimpse into a world where past, present, and future merge in a harmonious vision.
