“Through objects in circulation, the past imposes itself on the future.”
(Navaro-Yashin, 2009; Ahmed, 2010; Hornborg, 2012)

In a world defined by climate change, political conflicts, and displacement, Ancient Futures invites us to reconsider the role of heritage—not as a static archive, but as a dynamic influence that informs our present and future actions. This exhibition explores the cyclical nature of time—memory, decay, and regeneration—and positions cultural heritage as an evolving process, where past knowledge and contemporary innovation collaborate for ecological renewal. As Rodney Harrison, Staffan Appelgren, and Anna Bohlin highlight in their work Belonging and Belongings: On Migrant and Nomadic Heritages in and for the Anthropocene, objects in motion carry memories and histories that shape both past and future.

Ancient Futures explores and seeks to find its place in the broad discussion of how the sustainable practices of local cultures offer valuable insights that remain relevant today. Pre-modernist knowledge, rooted in a deep connection to ecosystems, emphasizes the thoughtful use of renewable resources, waste minimization, and respect for nature. Many indigenous cultures view nature as a living entity, fostering a spiritual connection to the land, water, and wildlife, which supports a balanced approach to resource use. The philosophy of nomadism, essential in the vast steppes of Eurasia, reflects a harmonious relationship with nature, combining movement and regeneration. Nomadic societies have long practiced sustainable living through seasonal migration, adapting to natural cycles and maintaining ecological balance.

At the heart of the exhibition is an exploration of materiality as a medium of memory and transformation. Through collaborations with scientists, biodesigners and local artists, Ancient Futures brings together modern technology with traditional ecological materials and practices to address pressing ecological challenges. From the Loops project by Hana Cvelbar and Asel Yeszhanova, which critiques political decisions influencing climatic devastation, merging the ancient craft of felting with microbial pigments to create healing textiles, to Chingiz Aitzhanov and the Ancient Futures collective’s development of 3D-printed ceramic panels designed for cultivating algae to filter water from the shrinking Aral Sea, the exhibition demonstrates the potential for integrative knowledge to inform new solutions. Dilyara Kaipova's reinterpretation of ikat, a traditional textile dyeing technique, offers a new way to combat urban heat islands, while works from Dana Molzhigit and bioMATTERS studio showcase the potential of mycelium as a regenerative material in both ecological and urban contexts. These innovative uses of mycelium not only highlight future craft techniques but also aim to regenerate biodiversity and support bee populations. Kazakhstani artist Saule Suleymenova highlights the role of bioplastics as a sustainable alternative to conventional plastic, while the Kurt project—a collaboration of researchers Altyn Mustafina and Aliya Bolatkhan with artists Madina Joldybek and Sheker Shakir—presents a speculative vision of how preserving traditional food practices, such as kurt making, could offer resilience in the face of climate challenges and food insecurity.

From bacterial pigments, mycelium, and traditional materials like clay and wool to advanced biotechnologies, industrial mycelium, and robotic fabrication, Ancient Futures challenges and rethinks conventional notions of living environments. Working with a diverse group of artists, researchers, and scientists from Kazakhstan, Uzbekistan, the United Kingdom, Spain, Germany, and Slovenia, the exhibition bridges ancestral knowledge with innovative biotechnologies, offering new perspectives on the future of our environments.

Opening in Almaty in spring 2025, Ancient Futures will travel to Uzbekistan in the following May, expanding its reach and perspectives as it continues across countries. With each step, the exhibition invites participants to view the natural world and the past as essential entities in repairing the damage done by human activity and creating sustainable, regenerative systems for the future.

We are infinitely thankful for the generous support, expertise and trust of the British Council Kazakhstan, their team in Uzbekistan, and Gala Koretskaya personally for believing in Ancient Futures and its potential to present alternative vision for how humans can coexist with ecosystems. In the world shaken by challenges, cynicism, crisis and instability there are people and organizations that still believe in the power of positive change, good deeds and impactful solutions. Thank you for giving us this chance.

We thank InDrive and Kanat Nogoibayev for supporting the fabrication of an innovative project by Dana Molzhigit that helps city bees feel more welcomed in our heavily urbanized environments. An experimental idea is now tangible, thanks to one of the most socially responsible private companies in the country.

We thank the Embassy of Spain in Kazakhstan for supporting the realization of important conceptual artist Miguel Sbastida’s public art project in the Botanic Garden of Almaty and making this important contribution to our exhibition real. Such support serves as a reminder that “no man is an island” and that global climate change can only be solved through global means and mutual solidarity.

We thank Goethe Institute Kazakhstan for helping us with tickets for the key member of our team Ayse Esin Durmaz without whom it would have been impossible to rethink yurt for the Yurt project.