Rites
of Eternal Wind
Il Korkut Sonic Arts Triennale
Dedicated to sound and listening, the Triennale creates a space for a wide range of sonic practices without restricting them by institutional boundaries. Over the course of two months, Rites of Eternal Wind will host sound installations and live events, listening sessions and soundwalks, hybrid lectures, discussions and workshops, somatic performances and explorations of sonic rituals and environments where sound is absent or even impossible.
Tselinny Center of Contemporary Culture
Ziliä Qansurá

Ziliä Qansurá is a Bashqort multidisciplinary artist and researcher based in Vienna, exploring how Indigenous agency manifests itself as an autonomous force — in contrast to how neoliberal institutions often frame it exclusively as a response to various types of oppression.

Practicing across visual art, installation, performance, contemporary theater, and more, she often works with felt, native plants, textiles, electronic waste, etc., putting their physicality and animacy into a historical context. Ziliä juxtaposes this context with how these materials are presented today, and how they relate to the artist’s own body — or any other body that holds traces of racialization, marginalization, etc. Growing up in Bashqortostan, where she developed an attention to how space, movement, and storytelling shape experience, Ziliä uses these traces as a somatic map, and a tool for healing — a form of knowledge that brings together past and present and can inform a different, sovereign future.

Ziliä studied at the Academy of Fine Arts Vienna, as well as at the Russian Institute of Theatre Arts (GITIS) and Ufa College of Arts. Her works have been presented in various venues and contexts, including Berliner Festspiele, Asia Triennial Manchester, Vleeshal Center for Contemporary Arts, Kunstquartier Bethanien, and more.

1000 Qurays
Installation, quray plants (2026)

Arguably the most important symbol of Bashqortostan, the quray is an open, end-blown flute made from an endemic plant of the same name — a sacred instrument believed to ward off evil spirits and bring order to the universe. The commissioned two-piece installation by Ziliä Qansurá and Tañsulpan Buraqayeva builds on their previous collaborative work of the same name, presented at Zaman Museum (Ufa) in 2024, and is realized as a special collaboration between Zaman and Tselinny.  

Dedicated to all quraysı — masters and teachers of the quray who have preserved and passed on knowledge of the instrument — the installation also embodies wind, both figuratively and literally. While Tañsulpan’s video tells a story of how the instrument is made, Ziliä’s installation is a whirlwind composed of a “thousand” quray plants, collected in Bashqortostan and brought to Almaty. Her work highlights the instrument’s fundamental principle: a strong airflow that makes the plant resonate and sing its beautiful song.

1000 Qurays is also a personal dedication to Äźehäm Isqujin, a legendary quraysı, singer, and teacher who, since the 1960s, trained dozens of quray performers. According to one story, a relative once brought him a bundle of quray plants — thousands of them — which moved Äźehäm to tears. He said he would turn them into instruments and give them to a thousand children across the republic, a promise he partially fulfilled.

After the Triennale, the 1000 Qurays installation will be disassembled, so anyone interested will be able to come to Tselinny, take one for themselves, and, hopefully, learn to play it.

The Seeker says:

“Plants are not concerned with borders or their politics. They grow on both sides, swaying in the wind, and then dry out so that it may scatter their seeds.”

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Tselinny Center of Contemporary Culture