Since 2021, I have been part of DAVRA, a research-based artistic community founded by the Uzbekistan-born artist Saodat Ismailova. DAVRA’s main aim is to (re)think Central Asia through art.

In 2024, I joined the editorial committee of Marges, revue d’art contemporain at the invitation of its founder and editor-in-chief, Jérôme Glicenstein. Marges, revue d’art contemporain is published by the Presses Universitaires de Vincennes. In the same year, I also joined the Kazakhstani section of AICA (Association internationale des critiques d’art).

Since 2025, I have been involved in:

• The cultural council at the Pitt Rivers Museum, University of Oxford, supporting the institution’s efforts to decolonize by engaging representatives of source communities from which objects in its collection, acquired during colonization, originate;

• The research project MAJIC (Mémoires, arts, et justice sociale en Asie centrale), led by the French sociologist Lucia Direnberger, which explores the links between art, memory, and social justice through interdisciplinary projects in Central Asia;

• The academic seminar Building the Field of Modern Art History in Central Asia, a joint initiative of New York University and the Almaty Museum of Arts, which aims to foster knowledge production on regional art history by bringing together Central Asian scholars and artists from different generations.

Finally, since 2026, I have been part of Yordem, an association that brings together and supports emerging francophone scholars researching Central Asia across disciplines. In the same year, I was invited to serve as rapporteur for the AWARE 2026 Prize. I nominated Saodat Ismailova for the Prix Nouveau Regard category and Soun-Gui Kim for the Prix d’Honneur category, which the French-Korean artist was ultimately awarded.