Art and Culture - The Times Of Central Asia

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Central Asian Art

Tajikistan Opens Its First Digital Art Gallery Highlighting Local Activists’ Work

The Khujand branch of the NGO Office of Civil Liberties has launched Tajikistan's first digital art gallery, which showcases the work of local activists. The digital gallery features art that addresses pressing social issues, such as domestic violence, discrimination, and environmental threats. It includes a diverse range of art forms, including digital works, photography, stories, and videos. [caption id="attachment_27723" align="aligncenter" width="1296"] Sad Dollar by Timur Shapirov; image: tut-gallery.tilda.ws[/caption] Prominent Artists and Initiatives The platform features contributions from prominent Tajik artists, including Zilola Imomova and Amina Ayyubi. It also includes works by winners and participants of art "hackathons" previously organized by the Office of Civil Liberties in Dushanbe and Khujand. Representatives of the organization explained the gallery’s purpose: “We aim not only to support art activists, but also to draw society's attention to pressing problems.” [caption id="attachment_27720" align="aligncenter" width="642"] Motherlandy by Muharram Buranova; image: tut-gallery.tilda.ws[/caption] Art with a Message Each work in the gallery is accompanied by a description explaining the idea behind it. Many of the featured pieces delve into topics such as gender inequality and social stereotypes, reflecting the personal stories and lived experiences of the artists. "Motherlandy" by Muharram Buranova, for example reimagines a powerful heroine as a positive, feminine counterpart to Homelander. Motherlandy radiates strength and courage as she shields a young girl from harassment, standing tall amidst a menacing crowd of zombie-like men, embodying the oppression and cruelty faced by girls in Tajikistan. With her steadfast presence, Motherlandy becomes a beacon of hope, inspiring belief that justice is not only needed but possible. Through this initiative, the digital gallery is seeking to amplify the voices of activists and provoke meaningful conversations about social issues in Tajikistan.

wildlife

Cat Houses Installed at Tashkent Airport

Tashkent International Airport has introduced a heartwarming initiative by installing cat houses in the green space between the departure hall and the main terminal. Designed by students from the Tashkent University of Architecture and Civil Engineering, the structures provide a safe and comfortable habitat for the airport's feline residents. According to the press service of Uzbekistan Airports, cats have long been part of the airport's ecosystem. “Cats are natural inhabitants of the urban environment and play a vital ecological role. Apart from their aesthetic charm, they are skilled hunters, helping control populations of mice and rats,” the service said. The idea to construct cat houses had been under consideration for years but was delayed due to ongoing construction at the airport. With the involvement of the Mushukkent project and university students, the houses were finally completed and installed in locations safe for both the animals and airport operations. Materials used in building the cat houses are durable, resistant to decay, non-combustible, and environmentally friendly. The houses are equipped with heating systems for winter and ventilation for summer, ensuring the cats' comfort year-round. [caption id="attachment_27583" align="aligncenter" width="1151"] Image: Uzbekistan Airports Telegram[/caption] “For Uzbekistan Airports, this is more than just an ecological project - it’s a social initiative that reflects the company’s commitment to animal welfare. It symbolizes Uzbekistan’s hospitality, beginning right at the airport, and highlights the city’s humane values,” the company added. The Mushukkent project, launched in 2019, is supported by various government agencies, the National Guard of Uzbekistan, and non-governmental organizations. Its goals include fostering kindness towards animals, establishing shelters, controlling the stray cat population, and increasing penalties for animal cruelty. This initiative is not unique to Uzbekistan. Two years ago, animal rights activists in Almaty, Kazakhstan, installed wooden shelters for street cats. These huts, raised above the ground, feature a roof, ladder, and feeder, providing a safe and comfortable place for up to nine cats to sleep, eat, and stay protected from the elements.

Art and Culture

In Doha, Central Asian Artists Dismantle Orientalism

Completely covered by a huge textile patchwork piece, softly moved by the wind, the façade of the Mathaf Museum in Doha promises visitors something fascinating and alluring. Coming closer, attendees could read a series of statements in various languages on the fabric. The effect of familiarity and estrangement at once was the purpose of Azerbaijani artist Babi Badalov, who realized the piece. By layering phrases in Arabic, Cyrillic, and Latin with calligraffiti and employing disjointed grammar and syntax, the artist meant to visually disrupt “linguistic imperialism” and show how Europe’s modern civilization owes much to Arab civilization. [caption id="attachment_27513" align="aligncenter" width="2560"] The Mathaf Museum in Doha; image: TCA, Naima Morelli[/caption] This specially commissioned work, called Text Still (2024), is nothing but an appetizer for the show Seeing is Believing: The Art and Influence of Gérôme. Organized by the forthcoming Lusail Museum — an institution under development in northern Doha that will house the largest collection of the so-called Orientalist art — the exhibition features loans from institutions such as the Metropolitan Museum of Art in New York and the Islamic Arts Museum in Malaysia. The main part of the show is dedicated to French artist Jean-Léon Gérôme, who lived and worked in the 19th century and was profoundly influential in his depictions of the Middle East, North Africa, and South Asia. His works shaped Western perceptions of these regions during an era when colonialism and “Oriental Studies” were cementing global power dynamics. The show included a historical and biographical exploration of Gérôme’s life, timed to celebrate the 200th anniversary of his birth, as well as a photographic section curated by Giles Hudson dedicated to visions of the Orient from Gérôme’s time to today. But it is in the third section, centered on contemporary art and called “I Swear I saw That”, that Central Asian artist really enter into a close dialogue with Gérôme’s Orientalism, turning it on its head. Sara Raza, curator of this section, takes Badalov’s textile work as a case in point: “Badalov inverts Edward Said’s mission of examining Western perceptions of the Orient, focusing instead on Eastern perceptions of the Occident, and vice versa,” she told The Times of Central Asia. Edward Said’s concept of Orientalism, as detailed in his groundbreaking 1978 work of the same name, is an institutionalized program of Western knowledge, based mostly on projections, mystification, and imagination - and includes works of art as well as the academy - which is directed to justify a supposed Western superiority and imperialism over Eastern populations. “I Swear I Saw That” interrogates Jean-Leon Gerome’s way of seeing, which Sara Raza recognizes as a “fantastical and highly mythologized vision of the East,” and looks at how artists from both the Middle East, the Arab world and Central Asia fought back. A Central Asia and Caucasus expert who works extensively in the Middle East, Raza has examined the process of the exoticization of Eastern populations for a long time. She coined the term “Punk Orientalism,” which also became the...

Art and Culture

Art Against All Odds: The State Museum of Karakalpakstan’s Tale of Survival and Defiance

Once a flourishing hub of agriculture, Karakalpakstan has been transformed into one of the most perilous environments on Earth. Rampant health crises, including respiratory diseases, typhoid, tuberculosis, and cancer, plague its population. Birth defects and infant mortality rates are alarmingly high. The root of this devastation lies in the deliberate collapse of the Aral Sea, drained for irrigation, which has triggered toxic dust storms blanketing a 1.5 million square kilometer area. Carrying carcinogens and nitrates, these storms, once rare, now strike ten times per year, spreading sickness and despair. [caption id="attachment_27445" align="aligncenter" width="2560"] The State Museum of Karakalpakstan; image: TCA, Stephen M. Bland[/caption] Amid this harsh and desolate landscape lies a surprising beacon of cultural preservation — the State Art Museum of the Republic of Karakalpakstan, located in its capital, Nukus. Its existence is extraordinary, not least because of how it came to be and how it has endured. Protected by the remoteness of the region, this museum safeguards one of the most remarkable collections of banned avant-garde art, amassed through the daring vision of Igor Savitsky. The Ukrainian-born painter, archaeologist, and art collector defied the Soviet regime, risking being labeled an enemy of the state, to rescue thousands of prohibited works. These pieces, forged by a forgotten generation of artists, now provide an extraordinary glimpse into a turbulent period of history. [caption id="attachment_27446" align="aligncenter" width="972"] Aleksandr Volkov, Chaikhana with a Portrait of Lenin; image: TCA, Stephen M.. Bland[/caption] Among the luminaries memorialized in the museum is Aleksandr Volkov, whose vibrant oil paintings brim with the energy and colors of Central Asian life. Born in Ferghana, his Cubo-Futurist style clashed sharply with Stalin’s Soviet ideals, leading to his ostracism as a bourgeois reactionary. Dismissed from his roles and expelled from Russian galleries, Volkov lived out his final years in isolation, banned from contact with the artistic community. Though he escaped the gulags, he was silenced until his death in 1957 under orders from Moscow. Volkov’s work, a symphony of geometric brilliance, survive today as a testament to his resilience. [caption id="attachment_27447" align="aligncenter" width="500"] Lev Galperin, On His Knees; image: TCA, Stephen M. Bland[/caption] Painted defiance is also seen in Lev Galperin's surviving piece, On His Knees. A unique fusion of Dada and Cubism, it represents his bold challenge to Soviet authority. Galperin, a well-traveled artist from Odessa, returned to the Soviet Union in 1921 only to be ensnared. Arrested on Christmas Day in 1934 for his so-called counter-revolutionary art, his trial marked him as an outspoken critic of the regime. Sentenced to execution, his sole piece saved from oblivion speaks of his courage and the high cost of dissent. [caption id="attachment_27448" align="aligncenter" width="1170"] Nadezhda Borovaya, Sawing Firewood; image: nukus.open-museum.net[/caption] The gallery also hosts haunting sketches by Nadezhda Borovaya, which vividly document life in the Soviet gulags. Borovaya’s tragedy began in 1938 when her husband was executed, after which she was exiled to the Temnikov camp. There, she clandestinely captured the harrowing realities of camp life. Savitsky acquired these pieces by...

Art and Culture

Exploring Uzbekistan’s Cultural Tapestry – Trio Fadolín’s From Near and Far in NYC

Earlier this month, the Library for the Performing Arts at Manhattan’s Lincoln Center resonated with the vibrant sounds of From Near and Far, a new musical project by the New York-based ensemble Trio Fadolín. The performance, part of the New York Public Library’s cultural programming, captivated audiences with its rich exploration of Uzbek musical traditions and beyond. Suspense, melancholy, and drama were interwoven with personal stories shared by Ljova (Lev Zhurbin), a member of the ensemble and virtuoso of the fadolín — a one-of-a-kind string instrument custom-made for him — blending the tonal depth of the violin, viola, and cello. The program featured compositions by Ljova, Uzbek composer Dmitry Yanov-Yanovsky, and Ljova’s father, the renowned Soviet-era composer Alexander Zhurbin. Adding a poignant layer to the evening, Alexander Zhurbin attended the concert in person, providing a tangible connection to the ensemble’s exploration of cultural and familial roots. [embed]https://www.youtube.com/watch?v=guMv_IRHstg[/embed] Alexander Zhurbin, 1985 Much of Ljova’s career has been dedicated to uncovering and performing music from underrepresented regions, introducing audiences to sounds often unfamiliar in the West. Born in Moscow, he immigrated to New York in 1990 with his parents, quickly immersing himself in the city’s multicultural and musical landscape. As a composer, arranger, and bandleader for his ensemble, Ljova and the Kontraband, he has collaborated with globally acclaimed groups including the Yo-Yo Ma-founded Silkroad Ensemble (now called Silkroad). Ljova’s work defies boundaries, blending Eastern and Western influences to honor and innovate musical traditions. The trio's members — Ljova, violinist Sabina Torosjan (born in Estonia), and cellist Valeriya Sholokhova (born in Ukraine) — found a shared connection to Uzbekistan through their personal histories, which became the foundation for From Near and Far. TCA spoke with the trio about their musical and familial ties to Uzbekistan. TCA: Can you share how your personal histories connect you to Uzbekistan? Ljova: My father, Alexander Zhurbin, wrote the Soviet Union's first rock opera, Orpheus and Eurydice, in 1975. It played in stadiums and was in the Guinness Book of Records as the longest-running musical in Russia. He was born in Tashkent and lived there until his mid-20s when he moved to Leningrad — now St. Petersburg — to study, and then to Moscow to work as a composer in film, TV, musicals, and the concert stage. Sabina: Just like many people from the former Soviet Union, I have a mixed background. I grew up in Estonia. My mother’s side of the family was Ukrainian Jews and my father’s side was Armenian. The interesting connection to Uzbekistan is that it is where my father was born. His father was sent to work there as a veterinarian at the time, in Biruni, Uzbekistan. But shortly after my father was born, his family returned to Yerevan. Valeriya: My grandfather’s family sought refuge there during World War II and survived those difficult years in Uzbekistan. However, they returned to Ukraine as soon as they were able. There are pictures of my grandfather as a child wearing an Uzbek tyubeteyka, and...

Art and Culture

Belgian Rapper Performs Song Inspired by Turkmen Poet Makhtumkuli Fraghi

Belgian rap artist Tony has unveiled a new musical composition inspired by the poem Love Your People by the Turkmen poet Makhtumkuli Fraghi. The pop-rap song, performed in English, emphasizes themes of love and respect for one’s people, the protection of honor and dignity, and the preservation of traditions and moral values. The project was supported by the Embassy of Turkmenistan in Belgium, marking a continuation of Tony’s collaboration with the Turkmen diplomatic mission. Previously the artist released the track Turkmenistan Dreams, which celebrated the richness and beauty of Turkmen culture. The song's video, filmed at the Embassy of Turkmenistan in Brussels, received a warm reception. The lyrics for Turkmenistan Dreams were penned by diplomat Maral Rakhimova and highlighted the enduring spiritual legacy of Makhtumkuli Fraghi for the Turkmen people.