As a multidisciplinary artist, my practice transcends conventional boundaries of storytelling, visual arts, and cultural inquiry. "PATH" as the nexus of my vision, intertwines Eastern mythos and Western narrative forms as it traces an odyssey from the rugged heights of Kyrgyzstan’s Tian Shan Range to the canals of Venice.

This film transcends the traditional confines of documentary; it serves as a profound meditation on the power of artistic will—a personal chronicle of the tumultuous yet transcendent journey to establish Kyrgyzstan’s inaugural national pavilion at the 59th Venice Biennale. "PATH" probes the intricacies of cultural stewardship and the preservation of nomadic heritage, reflecting both the beauty and complexities inherent in this endeavor.

The title of the film, drawn from the ancient Turkic term "Jol," encapsulates the duality of both physical and metaphysical paths of creation. To me, the path is not merely a route but an essential force—an energy that has propelled my mission to celebrate Kyrgyzstan’s rich heritage through the lens of international art diplomacy. This journey commenced with a singular fax to the Kyrgyz Ministry of Culture, a catalyst that ignited a collaboration steeped in shared ambition and cultural resonance.

A pivotal moment unfolds as I stand atop a windswept plateau, enveloped in a silence so profound it borders on the sacred. This experience is a spiritual awakening, distilling the film's broader theme: humanity's quest for significance through an intimate relationship with nature and tradition.

However, "PATH" eschews romanticization. It lays bare the logistical labyrinths—funding deficiencies, bureaucratic entanglements, and political tensions—that threatened to undermine the pavilion. Local artists questioned my outsider status, while geopolitical currents, notably the specter of the Ukraine war, further complicated our mission. At the heart of "PATH" lies a dialogue between Persian and Kyrgyz narratives, articulated by my cousin and narrator, Amir Ali FarmanFarma. Together, we delve into our shared legacy, rooted in the epic "Manas," a millennia-old oral tradition that fortifies tribal existence against external incursions.

Yet, this cultural patronage is not without its costs. In one haunting tableau, I negotiate with mining moguls in Dubai, a stark juxtaposition to my contemplative moments creating music in Andalusian studios. These contradictions illuminate my dual existence—an artist navigating disparate worlds, yet maintaining my independence.

Ultimately, "PATH" constitutes a clarion call to dreamers and artists. I posit this film as a challenge to a generation steeped in digital screens to reclaim the nuanced, empirical struggles of art. By interweaving Kyrgyzstan’s mythic past with the contemporary art discourse, I invite audiences to perceive cultural preservation not as a mere act of nostalgia but as a dynamic, living practice that evolves in tandem with our collective consciousness