Dedicated to sound and listening, the Triennale creates a space for a wide range of sonic practices without restricting them to 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 environments where sound is absent or even impossible.

The project centers on the various relationships between sound and wind. The curatorial trio — Änuar Düisenbinov, Madina Sadybekova, and Stas Shärifulla — propose a tripartite approach to wind: as an acoustic phenomenon, as an uncontrollable force, and as a storytelling apparatus.

The Triennale’s live performance program consists of ten episodes, each named after a different wind. The opening on May 7 includes two concerts. The first episode, Samal, features a performance by Palestinian artist Bint Mbareh, who works with rain-summoning songs, and the world premiere of Rite of Wind and Shadow — a new piece by the legendary Japanese composer Mieko Shiomi, commissioned by the Triennale. The second episode, Qaraboran, takes place the same evening and is dedicated to radical vocal practices. The stage will feature Karina Utomo with a performance rooted in Javanese rituals, followed by a solo improvisation from the iconic Tuvan throat singer Sainkho Namtchylak.

The second day’s program, Dauyl (May 8), explores the force of gravity through performances by Azadbek Bekchanov, a second performance of Shiomi’s piece by Tañsulpan Buraqayeva and Nazira Omar, and a sound performance by Cevdet Erek, presented within the special guest program of the CTM Festival (Berlin). On May 9, the episode titled Harmattan introduces an alternative listening format without a conventional stage, where the forum-like arrangement allows performers and audience to engage in a shared space of mutual presence. The program features the final performance of Shiomi’s commissioned piece, another collaboration presented within the framework of CTM — Şüräle, Karina Utomo and Bilawa Ade Respati — and a collective performance by The Whispering Choir. The first weekend concludes on May 10 with the episode Kerimsel — a solo performance by Jazgul Madazimova, centered on somatic sound, drawing attention to breath and movement.

The following program features:

– Qūralai (May 16) — an interdisciplinary performance by Lovozero, Zhanna Tulendy, and Nurbäk Batulla, conceived at the intersection of sound, technology, and choreography;

– Doetbaram (May 29) — an audiovisual work by Sojung Jun dedicated to the history of the Koryo-saram;

– Kaar Sillie (June 19) — a concert by Aisha Orazbayeva and Aldana Duoraan exploring the boundaries between academic and traditional music;

– Khazri (June 27) — a musical dialogue between kobyz player Raushan Orazbay and electronic musician Cinna Peyghamy;

– The final episode, Monsoon (June 28) — the second Rite of Qūralai performance.