Naima Morelli

Central Asia is increasingly visible on the contemporary art map, and few events carry more symbolic weight than the Venice Biennale, often described as the Olympics of the art world.

In recent years, Kazakhstan’s privately funded art scene and Uzbekistan’s state-backed art scene have often led the region’s international push. This year, Kyrgyzstan is is determined not to lag behind.

The country’s pavilion at the 61st Venice Biennale marks its second dedicated national participation. Kyrgyzstan first appeared in this format in 2022 with Gates of Turan, a state-commissioned installation by Firouz FarmanFarmaian on the Venetian island of Giudecca that drew on nomadic heritage and local craft traditions.

At the center of the 2026 pavilion is Alexey Morosov, a Bishkek-born artist who has lived and worked in Italy for years. He chose the former church of Santa Caterina at Convitto Foscarini, in Venice’s Cannaregio district, as the setting for BELEK, the Kyrgyz word for “gift.”

Curated by art historian Geraldine Leardi, the exhibition reflects on water and Kyrgyzstan’s tradition of generosity. The works are in close dialogue with the space that hosts them.

I wrote the article for Times of Central Asia.

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