A retrospective of Bill Viola (1951–2024) has opened at the Almaty Museum of Modern Art (ALMA), a significant event because the works of this video art pioneer have not previously been exhibited in Central Asia. The closest event to the region was his solo exhibition at the Pushkin Museum of Fine Arts in Moscow in 2021, which was the first of its kind in Russia.
For decades, the exhibition activities of one of the most influential video artists of the late 20th and early 21st centuries spanned leading global art institutions. These included MoMA in New York (USA), the National Gallery and Tate Modern in London (UK), the Guggenheim Museum in Bilbao (Spain), and the Grand Palais in Paris (France).
Kazakhstan managed to include its venue in the list of Almaty Museum of Arts, which began operations in September of the previous year. Initially, Almaty residents and city visitors were able to see Viola's original installation 'Stations' (1994), acquired by the museum founders, Nurlan and Madina Smagulov, for one of the four 'Artist Halls'. Nine months later, the ALMA team presented the public with the first international exhibition project—the retrospective 'Space of Time', dedicated to the memory of Bill Viola, who passed away in 2024.
Nurlan Smagulov, one of the museum's founders, noted that the main goal was to host an international exhibition of high level in Almaty, emphasizing that Bill Viola is a global figure. He shared that the idea of needing to encounter world video art in Almaty arose after visiting his exhibition in Liège (Belgium) in 2017. Smagulov expressed hope for guests from China, Azerbaijan, Russia, and Uzbekistan to personally see Viola's works. He also stressed that the opportunity to connect with the artist's work reflects the museum's core concept—integrating Kazakhstan into the global artistic context, which is important for inspiring local and Central Asian artists.
The exhibition was organized by the Almaty museum with financial support from Halyk Bank and in partnership with Bill Viola Studio, curated by Kira Perov, the artist's wife and collaborator. The exhibition includes 18 works, ranging from large immersive to more intimate video installations created by the master between 1977 and 2013. These pieces are displayed in the 'Uly Dala' hall, which features high ceilings of 12 meters.
The joint technical team of ALMA and Bill Viola Studio set up a mystical labyrinth of corridors and 'installation rooms' on an area exceeding 1000 square meters over 40 days, these spaces are termed liminal or transitional. Exhibition coordinator Dayana Vafina explained that such zones are necessary so that visitors can slow down and contemplate what they see in their journey through time. Vafina added that interacting with each piece requires concentration and openness, as the exhibition develops sequentially through this 'space of time.'
The installation process proved complex, requiring the use of various equipment for video playback, including LCD screens, CRT monitors, and projection panels. Specialists from the 235 media laboratory in Germany manufactured and installed parts of sculptural objects, such as 'Heaven and Earth' (1992) and 'Incrementation' (1996). The technical diversity demonstrates the evolution of media technologies over nearly forty years, showing how Viola's video installations became increasingly grandiose, and the screen transformed from a flat surface into a voluminous, sometimes frightening space.
Sound design plays a key role: many installations contain their own sound elements—the noise of water, whispers, or nature sounds. This sonic palette becomes part of the exhibition's architecture, lending it an atmosphere reminiscent of a dream world. A distinctive feature of Viola's exhibitions is the deliberate absence of explanatory captions, which aligns with the position of the artist and his studio. Viola, who deeply studied religions and spiritual practices, believed that description limits understanding, and for him, conveying experience at the level of sensation was more important.
In the artist's view, experience is a form of knowledge, and he offers the viewer the opportunity to make their own discoveries. The main themes addressed by Viola include life and death, self-awareness, rebirth, the nature of time, and human emotions. The artist insisted on the authenticity of the transmitted material, asserting that it does not replace true experience with spectacular spectacle. For instance, to create the installation 'Fire Woman' (2005), a pool was built in the hangar into which a woman fell, surrounded by a real wall of fire.
In his early works, Viola often depicted members of his family. The installation 'Incrementation' (1996) is considered a kind of self-portrait: a black-and-white image of the artist is displayed on the wall, next to a red counter tracking each of his breaths. By the time of the exhibition's opening, the counter had exceeded 4 million, comparable to the approximate number of breaths a person takes in 85 years of life. Although Viola died at 73, his digital version continues to 'breathe'. In his search for meaning, Viola referred to art history, seeing in it a continuation of classical painting traditions, which he called the 'great hidden tradition'. In an interview with curator John J. Hanhardt, he noted that the movement of consciousness is the true subject of old masters' paintings, and painting could resemble Zen.
The audiovisual installation 'The Greeting' (1995) is a striking example of adherence to Mannerist traditions, particularly the painting by Jacopo Pontormo. Using slow-motion technique, Viola makes the moment tangible and eternal. Water also plays an important role in his works, helping to visualize the space behind the screen. For Viola, water is not just a technique but a primary element, symbolizing purification, birth, and transition. This exhibition can be experienced at the Almaty Museum of Arts until January 17, 2027.
American actress Raven-Symoné was spotted in Cape Town during the filming of the highly anticipated movie 'The Cheetah Girls: Next Gen' in South Africa. The actress, singer, and producer was relaxing at a local restaurant with Nigerian-American documentary award winner, television producer, and activist Nneka Onuor.
Nneka Onuor shared a video on Instagram featuring both of them enjoying the winter sun, with Symoné drinking a smoothie and observing the relaxed atmosphere. Onuor captioned the post, noting: 'I love spending time with my person from the beginning in South Africa @ravensymone… some friends feel like home.'
Symoné looked just as relaxed in the Mother City, and fans were happy to see the Disney star enjoying her time in Mzansi. The actress recently confirmed via Instagram that production on 'The Cheetah Girls: Next Gen' has officially begun. Sharing a behind-the-scenes shot, she wrote: 'POV: heading to the set of The Cheetah Girls: Next Gen.' She then added another exciting message: 'This is happening, and it is CHEETAHLISHIOUS.'
The upcoming Disney film introduces viewers to four new friends whose unbreakable sisterly bond and shared passion for music form the basis of the plot. Raven-Symoné will return in her beloved role of Galleria and will also serve as an executive producer on the project.
Fans of the franchise can also expect the return of several familiar actors. Adrienne Bailon will reprise her role as Chanel and join the production as a co-producer, while Sabrina Bryan will appear in a special role as Dorinda. Bailon and Bryan participated in all three original 'Cheetah Girls' films, including 'The Cheetah Girls: One World.' Lynn Whitfield will also return as Galleria's mother, Dorothea, and Lori Alter will once again play Chanel's mother, Juanita. Since filming is taking place in South Africa and many actors from the original cast are returning, 'The Cheetah Girls: Next Gen' is already generating excitement among Disney fans awaiting the next chapter of their favorite franchise.
After a sixteen-year absence, passenger trains have once again run on the Garden Route, offering hundreds of passengers the opportunity to take one of the most scenic railway journeys in the Western Cape and sparking new discussions about the future of rail transport in the province.
The Minister of Mobility for the Western Cape, Isaac Cele, joined passengers on the historic train on Sunday, July 12, during a trip between George and Great Brak River. This historic service, operated by Ceres Rail Company, covered approximately 35 kilometers and was the first passenger train to use this route since regular services ceased more than ten years ago.
The return proved very popular: all four scheduled trips over the weekend were sold out. Approximately 350 passengers traveled on each trip, indicating high public interest in the renewed experience of rail travel in the region.
While the historic trains allowed passengers to recall part of South Africa's railway history, the event also highlighted a broader discussion about restoring passenger rail services nationwide. Reliable rail services have long been seen as an important way to connect communities, reduce road congestion, and provide more affordable transport options. In tourism-focused regions like the Garden Route, passenger trains can create new opportunities for visitors and support local businesses.
Minister Cele noted that the enthusiastic reaction from residents demonstrates the value that railways can bring to both communities and the local economy. He added that growing public support strengthens the arguments for expanding passenger rail services in the future. According to Ceres Rail Company Managing Director, Rick Botha, the return of passenger trains to the route was not an immediate achievement. The project required years of planning, obtaining permits, and close cooperation with Transnet Freight Rail and Transnet Rail Infrastructure Manager.
Botha characterized the successful trips as another positive step in the ongoing efforts to revitalize rail transport in South Africa, adding that the company hopes to offer residents of the Western Cape more opportunities to experience passenger trains.
Despite the conclusion of the historic trips, the high interest has renewed optimism regarding the future of passenger transport in the province. The Western Cape provincial government stated that it will continue to work with rail transport partners and stakeholders to promote the revival of passenger services, recognizing their role in improving mobility, stimulating tourism, and strengthening regional economic growth. For many passengers, these weekend trips were not just a scenic ride on a train, but a reminder of how the railway once connected communities across the region, and a hint of what could return with increased investment and public support.
The film 'Alpha' marks the first female-led episode in the Yash Raj Films spy universe. The plot revolves around Sita, played by Alia Bhatt—a genetically enhanced operative with exceptional abilities who subsequently turns against her creators.
As RAW's head (Research and Analytical Wing), Vikrant Kaul, portrayed by Anil Kapoor, attempts to stop Sita, the mission uncovers hidden connections concerning Durga, Sita's sister, and Lieutenant Colonel Fateh Singh Lakhawat, her adoptive father.
As long-buried secrets are revealed, the story transforms into a tense confrontation touching upon themes of loyalty, self-identity, and survival.
'Alpha's' main strength is its cast. Bhatt and Sharvari demonstrate a warm and believable chemistry, making their partnership feel natural throughout the film. Alia Bhatt convincingly balances emotional moments with realistic action sequences, while Sharvari matches her with confidence and charisma. Together, they form a compelling pair and carry a significant portion of the film's emotional weight.
Anil Kapoor once again proves his reliability among Bollywood actors, bringing authority, charm, and gravitas to every scene he is in. Another standout actor is Bobby Deol, who gives the antagonist a quiet yet intimidating presence. His restrained performance heightens the narrative tension.
The most memorable moment attracting a wide audience involves the cameo by Kritika Roshan. Although brief, it was explosive, instantly raising the level of excitement and reminding viewers why his character remains a pillar of the YRF Spy Universe. His effortless presence on screen makes a strong impression and opens intriguing prospects for future films.
Technically, 'Alpha' impresses with its polished visuals, stylish action sequences, and high production quality. However, in the second half, the film loses momentum due to familiar clichés of the spy thriller genre. Furthermore, the emotional moments do not reach the intended level of impact, preventing the movie from matching the standard of the franchise's best works.
Overall, 'Alpha' is an entertaining film worth watching once, elevated by its talented cast and flawless presentation.
