The fundamental difference of the third Pavilion is its participants: two young artists Zoya Falkova and Anvar Musrepov. Both were born and grew up in Kazakhstan and both have critically interpreted the situation in modern ideological and cultural field in terms of how independent Kazakhstan pictures and understands its identity. An interesting feature of the country is that different cultural groups have been offered different cultural narratives over the past 25 years; on centralized and economic poles people are offered to feel themselves living in a state with progressive liberal views. There is also a rhetoric of a return to the Tengrian roots and the nomadic "imaginaire" as well as the idea of moderate Islamization along with the proximity to Russia and China. A multicultural state such as Kazakhstan needs a multi-vector approach. Apparently, contradictory narratives have coexisted peacefully side by side, which makes the country quite a unique cultural field in the post-Soviet space. Both Falkova and Musrepov question the myth of the past, aware of its ideological implementation and the impossibility of objectifying the past, and work more with its visible remnants, which are still distinguishable.

We have offered the two artists with varying critical approaches and understanding of identity to propose their vision of the past and its ability to integrate into the future. The works of art will refer specifically to the younger generation of artists, not to the masters, as was the case in previous Pavilions and, therefore, the dialogue will be built around topics that are pertinent to the country right now: integration into the international community while preserving the national archetypes and, respectively, obstacles to such integration.

The young artists from Kazakhstan were born during a period of decline of the Soviet civilization; it was, on the other hand, a time of the search for a national identity. The collective idea of universal equality comes into contact with the local uniqueness of a particular nation. How to be unique in global context? How to preserve one's identity in the process of unification through multiculturalism? What should be determined as one's own, special and distinguishing, at a time when it is the difference and diversity that are put in the basis of violence by the ideologists in the modern world? These issues are topical for Kazakhstan and other countries involved in the process of globalization. And eventually, it is these issues that Zoya and Anvar are dealing with.

The Limited Liability Pavilion is, on one hand, a story about the limited responsibility of each individual making a decision on how to identify themselves, which history to associate with, which group to relate to. But on the other hand, it is an attempt to demonstrate the influence of an artistic gesture on history and the society in which this gesture exists. Artists, as contemporaries of ideological paradigm changes, capture them and are the first to comprehend the realities of modern Kazakhstan in the context of the world historical process. In addition to questions of self-identification, the two artists demonstrate two different ways of artistic transformation of reality. The works of Zoya are emphatically material, she seems to work with a tangible reality. She describes her field of artistic research as the "gray zone" left after the collapse of the Soviet Union and gaining of independence by its former member-countries. Zoya perceives the history reflected in the present as a given, she tries to comprehend it as something preset.

Anvar draws our attention to a virtual self-identity. He works with cultural identification in the space of the virtual world, which, in a broad sense, denies the idea of a common umbrella identity. The artist perceives history as a "virtual pliant environment", where everyone is able to create their own identity image. According to Anvar, everyone is able to reconstruct their self-perception based on a story which is, in fact, virtual.