The Rites of Eternal Wind brings together eleven works across diverse media and genres, united by an expanded understanding of sonic arts: practices of sounding and listening. While rooted in forms traditionally associated with sound exhibitions — such as multichannel installations by Almaty-based artist Rustem Myrzakhmetov and leading sound artist Cevdet Erek from Istanbul — the exhibition gradually extends into visual art and mixed media. These include Azadbek Bekchanov’s large-scale cotton print, which functions as a graphic musical score for his performance, and Ziliä Qansurá’s installation composed of “a thousand” stems of quray — an endemic plant and a key symbol of the Republic of Bashqortostan, from which a traditional flute is made. The curators do not shy away from difficult questions. Bengali artist Budhaditya Chattopadhyay’s participatory sound installation, for instance, invites viewers to “feed” clay pots so that they stop crying—an allusion to the Bengal Famine of 1943 and to similar tragedies in Central and North Asia that claimed millions of lives. Another work in similar direction is an installation by internationally renowned audio researcher and artist Lawrence Abu Hamdan, reflecting on life in the occupied Golan Heights, where wind energy infrastructure is gradually displacing the region’s Indigenous population. The exhibition also features several notable video installations that explore identity through listening and voice: a diptych by Kazakh–Turkish experimental vocalist Saadet Türköz; a film about quray players by Bashqortostan-based director Tañsulpan Buraqayeva; and an experimental work by Korean artist Sojung Jun exploring the history of the Koryo-saram diaspora in Almaty. A key artwork for understanding the Triennial’s central concept — listening and collective music-making as a shared practice — is Mieko Shiomi’s collective sonic sculpture, whose form recalls the jylanbas or asatayaq. The influential Japanese conceptual artist invited all Triennial participants to contribute: each was asked to bring or send “a bell or any other sounding object” and suspend it in a designated location. The work is accompanied (both playfully and respectfully) by a triptych of photorealistic paintings by Kazakhstani artist Lyazzat Khanym, who, drawing on one of Shiomi’s canonical works, offers her own interpretation of how sound and wind might be rendered visually. Most of the works presented in the exhibition were commissioned specifically for The Rites of Eternal Wind.