In the heart of Almaty in Kazakhstan, a Soviet-era cinema once stood as a testament to a different time. Now, after years of meticulous transformation, the Tselinny Center of Contemporary Culture is poised to reopen in April 2025, bridging the legacy of its past with a bold vision for the future. Designed by British architect Asif Khan, the new space bridges Kazakhstan’s rich history and ambitious future, providing a dynamic platform for local and regional artists.

Since its inception in 2018, the centre has operated as a nomadic institution, hosting exhibitions and discussions across Kazakhstan as well as internationally. The opening of its permanent home marks a significant step forward, offering a dedicated space for artistic and intellectual engagement. Director of the centre, Jamila Nurkalieva, emphasised the importance of fostering critical debate in an official statement, "For me, Tselinny is not an infrastructure; it is more an opportunity to create. Since we experiment with formats, we always find ourselves in a place of vulnerability, closely watched by our audience: artists, researchers and activists. We are committed to long-term projects with scholars and artists, offering sustainable development and support."

The centre’s mission extends beyond art to address broader social and ecological issues. Named after the Soviet 'Virgin Lands Campaign', the term ‘tselina’ references ‘целина/tselina’, a Russian term for landscapes identified as underutilised yet highly fertile. This concept evokes a complex history of industrialisation and environmental exploitation. This campaign, launched in the 1950s and 1960s to transform the Kazakh steppe into farmland, framed the region as a ‘barren space' ripe for cultivation, industrialisation and resettlement to address the Soviet agricultural crisis. However, the Kazakh people viewed the steppe—the largest of its kind on earth—as sacred, central to their identity. By revisiting these histories, this renovation architecture project seeks to foster critical reflection and sustainable practices. Its programming emphasises indigenous knowledge, nomadic cosmologies and philosophies of coexistence with nature, aligning with global conversations on climate change and cultural resilience.

The campaign fundamentally altered the relationship between Kazakhs and their environment, severing traditions deeply tied to the land. The shift from coexistence with nature to exploitative land use left a legacy of soil degradation, population displacement and widespread pollution which still informs the way the country grapples with its past.

Originally constructed in 1964, the Tselinny cinema epitomised Soviet modernist architecture—a minimalist concrete structure with a striking glass façade. The expansive foyer, designed as a welcoming public space, features a monumental sgraffito by the Russian-born artist Evgeny Sidorkin (1930 – 1982) that pays homage to the region's heritage. Over the years, the building became a cultural landmark, embodying the collective memory of Soviet Alma-Ata, now Almaty. However, decades of neglect and seismic safety issues necessitated a comprehensive renovation. Khan’s work has preserved the building’s historical essence and reimagined it as a hub for contemporary creativity.

"Over seven years of work, I've reflected on how we confront the legacy of past ideologies that shaped our cities," Khan explained. "My goal isn’t to simply renovate Soviet remnants but to uncover a Tselinny that never was, enabling a future defined by the next generation of artists and audiences." His design incorporates both restoration and innovation. The original concrete frame and mural have been preserved, while the building’s structural weaknesses were addressed through seismic strengthening. A new façade of fibre-reinforced concrete panels features abstract petroglyph designs drawn from local traditions. Inspired by nomadic cosmology, the architect introduces a sense of harmony between ‘Tengri’ (sky) and ‘Umai’ (earth), evoking timeless connections that meld the archaic with the futuristic.

The updated building houses an expansive auditorium with an 18-metre ceiling, a ‘Capsule’ gallery, a library, a learning atelier and an office building. A rooftop terrace and restaurant provide panoramic views of Almaty’s urban and natural landscapes. The revitalised foyer now connects directly to the surrounding Nikolsky Park through glass-wrapped windows and entrances, inviting sunlight and visitors alike. Khan’s architectural choices reflect his connection to the project, rooted in his family’s ties to Kazakhstan. “As a person with a Kazakh wife, who has been part of the project from the beginning, this endeavour is deeply personal at the heart of what my family stands for,” he shared. 

Addressing seismic safety challenges, the original auditorium structure was strengthened, retaining its external appearance while introducing modern safety measures. Sidorkin’s work, once thought lost, was rediscovered and restored to serve as a muted backdrop for new artistic expressions. The foyer and wings required complete rebuilding, enabling the integration of modern design elements. The glass façade was rebuilt to include a porous, cloud-like structure of steel fins, adding a soft, luminous layer that gently envelops visitors as they enter the building.

The centre’s inaugural program, titled Barsakelmes, running from April 25 – June 8, 2025, will feature a multidisciplinary line-up of exhibitions, performances, and discussions. The title, meaning ‘place of no return’, references a former island in the Aral Sea, drawing parallels between the region’s ecological history and its cultural revival. Berlin-based Visual artist Gulnur Mukazhanova will present a commissioned work centred on the concept of portals, inspired by Central Asian beliefs about ancestral spirits. Dariya Temirkhan’s video installation, Who Guards Your Dreams, explores themes of transformation through myths of dragons and water spirits projected onto Sidorkin’s restored mural.

The program also highlights the rich musical heritage of Kazakhstan. Performances by Qazaq Indie, a collective of experimental artists, including Dudeontheguitar and Balkhash Dreaming, will reinterpret traditional forms like the kyui, a Central Asian musical composition. These events reflect the cultural centre’s mission to connect the past and future, providing a platform for collaborative exploration. Alongside these, the opening program will feature From Sky to Earth: Tselinny by Asif Khan, an architectural installation by architectural historian and curator Markus Lähteenmäki. Additionally, Documentation: Imagination of Central Asia on the Map of Contemporary Art, an archival exhibition curated by Asel Rashidova, will explore the Tselinny documentation project, a digital data set that collects archives of Central Asia from 1985.

Beyond this, the centre’s 2025 calendar is packed with initiatives to foster dialogue and innovation. The second edition of the Korkut Sonic Arts Triennale, scheduled for September 6 – November 1, 2025, will bring together artists from Central Asia, the Middle East and Southeast Asia to explore sound art and experimental music. Other highlights include the Histories of Tselinny film program and site-specific works by artists like Taus Makhacheva.

Founder Kairat Boranbayev envisions the centre as an evolving institution. “Tselinny is an experimental institution, whose flexibility allows the exploration of different, multidisciplinary directions and which provides programs both for the public and a professional audience,” he noted in the press release. “We are building a common space for interaction and collective effort that will positively change our cultural landscape, making Almaty attractive for tourists and locals.”

As the Tselinny Center prepares to open its doors, it becomes a platform for innovation and collaboration. By intertwining Kazakhstan’s historical narratives with contemporary practices, it aims to evolve the role of cultural institutions in Central Asia whilst imagining a future where art, community and ecology converge.