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Art and Culture

Interview With Sara Raza – Director of the Tashkent Centre for Contemporary Art

Sara Raza is a litmus test for the spirit of the times in the shape of an art curator. In simple terms, art crowds can count on her direction for the Tashkent Centre for Contemporary Art (CCA) to bring the most pressing issues in contemporary art to the foreground. Indeed, the author of the book Punk Orientalism - and the namesake curatorial studio - has been just appointed as Artistic Director and Chief Curatorial Director of the CCA Tashkent, set to open in September 2025. It’s a strategic move for the Centre, which has aspirations of becoming a global arts and culture hub and is aiming at international artistic and creative exchanges, which include residencies, exhibitions, workshops, and educational programmes, and contributing to Uzbekistan’s cultural ecosystem. Transversal in her curatorial approach, London-born, New-York-based Raza is coming from a mixed Central Asian/Middle Eastern background, but she is also steeped in the heart of the Western art system, in institutions such as the Guggenheim – having taken care of a project called UBS MAP Global Art Initiative, curating the Middle East and North Africa section. Over the years, the curator has worked with artists from Asia, the Caucasus, the Middle East, Europe, and North America, and has curated shows at the Mathaf: Arab Museum of Modern Art in Doha and the Rubin Museum of Art in New York, but it is truly her book, Punk Orientalism: The Art of Rebellion, which brought a fresh approach to the sometimes highly academic field of art criticism. For Raza, artists from the former-Soviet countries and beyond hold a strong punk DIY ethos, by which they counter the Orientalist gaze they have always been subjected to by both the West and Russia. Their art is often a form of bricolage, an unexpected connection of disparate ideas used to create something entirely new. Will she bring this original approach to the direction of the museum, too? TCA spoke with Raza to find out about how she’s planning to foster cultural and educational partnerships and to support local, regional, and international artists while engaging with Uzbekistan’s rich cultural heritage. [caption id="attachment_29451" align="aligncenter" width="2560"] Centre for Contemporary Art Tashkent Artist Residencies; image: Namuna[/caption] TCA: The Centre for Contemporary Art in Tashkent is poised to become a major hub for artistic discourse in Central Asia. As its first Artistic Director and Chief Curator, how do you envision defining the institution’s identity from the ground up? My vision for CCA is less of a ground up approach, but rather one that builds on an historical and visual cultural foundation established in the 20th century that included a robust relationship with artists, intellectuals and others from the Global Majority World [a collective term for people of African, Asian, indigenous, Latin American, or mixed-heritage backgrounds, who constitute approximately 85% of the global population]. This included relationships between Harlem Renaissance figures [The Harlem Renaissance was an African American cultural movement that flourished in the 1920s and had Harlem in New York City as its symbolic...

Cultural Heritage

Simurgh Self-Help: Slavs and Tatars’ New Show Rethinks National Symbolism

“It’s interesting that in Western symbolism you never see a delicate female eagle,” notes Payam, one-half of the artist collective Slavs and Tatars, from his studio in Berlin. “But the central-Asian Simurgh is gender-fluid, metaphysical. It doesn’t belong to this world.” The mythological figure of the Simurgh is the focus of Slavs and Tatars’ latest show at the gallery The Third Line in Dubai called “Simurgh Self-Help”. The show speaks of the importance of reclaiming and reframing cultural memories in a fractured world, and an invitation to think beyond the artificial, top-down confines of nationalism, to find cultural unity. [caption id="attachment_28951" align="aligncenter" width="2560"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The exhibition extends a lineage of conceptual inquiry, drawing upon the mystical bird Simurgh, ever-present in Persian and Central Asia mythologies, as a counterpoint to the ubiquitous, secularized eagle of Western heraldry. A constant companion of Zeus in Greek mythology, the eagle is a recurring symbol in the Western world: “Everywhere you look in the West, you find eagles,” notes Payam. “It’s on the German flag, on American football teams, on the Albanian flag. It’s a tired, secularized symbol, heavy with the weight of imperial history.” In contrast, the Simurgh exists on a different plane, one that rejects hierarchies in favor of collective transformation. [caption id="attachment_28952" align="aligncenter" width="1874"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] Today the Simurgh is going through a similar secularization to the Western eagle, with Turkish SIM cards and Azerbaijani soccer teams called Simurgh. "It's easy, in some sense, for as an artist to take something which is very high and important, let's say spiritual or religious, and make it make fun of it, bring it down in a caricatural way,” says Payam. “What's very hard as an artist is to take something which has been debased and make it high again." In the show, we see works that go in either direction, presenting an alternative mythology, one that shows that cultures are fluid and interconnected. “Simurgh Self-Help,” which had previous iterations in Warsaw, Athens, and Baden-Baden, was originally started two years ago as a conceptual echo of Marcel Broodthaers’ Musée d'Art Moderne: Département des Aigles. This was a conceptual museum/artistic project created by the Belgian artist in 1968, full of artworks referenced by Slavs and Tatars in their show. [caption id="attachment_28953" align="aligncenter" width="2500"] Slavs and Tatars, Soft Power_2023, Woolen Yarn; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The Simurgh, Payam explains, traverses territories from Kazakhstan to Ukraine, yet remains absent in Poland. “It’s a question of defining a region not through imposed political structures but through the myths that bubble from the ground up,” remarks Payam. The Simurgh becomes a cipher for alternative cartographies, a challenge to the top-down imposition of nationhood. If the eagle stands for conquest and dominance, the Simurgh stands for the dissolution of categories and unity...

Photography

Grounding the Stars: Andrew McConnell’s Lens on Space and the Steppe

Award-winning photographer and filmmaker Andrew McConnell has dedicated his career to illuminating the world’s overlooked regions and underreported stories. He has a distinctive ability to examine major global issues and events from fresh, often unexpected perspectives. Ordinary people in extraordinary circumstances are the focus of McConnell’s lens. From conflict zones in the Democratic Republic of the Congo to the hidden lives of the Sahrawi people in Western Sahara, his work frequently highlights human endurance in challenging environments. His new book, Some Worlds Have Two Suns, takes a different direction. It explores the vast, remote Kazakh Steppe, where the sparse local population coexists with the high-tech world of space travel. The project began in 2014 after he filmed his documentary Gaza. While decompressing at home in Ireland, he watched a BBC documentary about a Soyuz spacecraft landing in the Kazakh Steppe. The stark contrast between destruction and human achievement struck him. “I turned to my parents and said, ‘I’m gonna go and see that.’” That moment sparked an eight-year journey documenting the Russian ground crews recovering astronauts and the communities living beneath these celestial homecomings. TCA: You visited the Kazakh Steppe multiple times to document the Soyuz landings. How many trips did you make and what were the challenges of reaching such a remote location? Andrew: I probably made a dozen. I would join the ground crew in Karaganda, which is not far from Astana, and from there they head out to the Steppe, and depending on whether it's winter or summer they have different vehicles for either one. In summer, the Steppe is fine to drive on, so they have four by fours and we head out and set up camp the day before the Soyuz arrives. They know the exact time the Soyuz will land, right down to the second, and it always goes to the same location, which is a group of tombs. You can see those in the book, the two horsemen beside these tombs. These are old nomadic burial tombs, maybe 300 years old, so that, initially, was very interesting to me… you know, what are these? The Steppe is this unending boundless void of nothingness, just flat grassland. At first, as a photographer, it was quite underwhelming because visually, how do you make that interesting? But here were these tombs in the middle of nowhere and it was instantly fascinating. That was always the base camp. I don’t know if that’s where Rocosmos aimed Soyuz, but that’s where it came into the atmosphere every time I saw it. It would enter the atmosphere above these tombs. The parachute deploys and then it depends on the wind because they can drift for 20 kilometers. A couple of times it was a windless day, and the Soyuz dropped within sight of these tombs. I had a fantasy that it would drop in the middle of it. [caption id="attachment_28250" align="aligncenter" width="2000"] Nomadic burial tombs, Soyuz landing zone, Kazakhstan, 2018; image: Andrew McConnell[/caption] TCA: What shifted your focus from the...

Art and Culture

Kazakh Singer Dimash Kudaibergen Climbs U.S. Charts with “Smoke”

Kazakhstani singer Dimash Kudaibergen has achieved significant success on the U.S. charts with his song Smoke, ranking highly on both Amazon and iTunes. Throughout January 2025, international media outlets, including publications in Argentina, the United Kingdom, and the United States, featured stories on the singer. Reports highlighted his exceptional vocal range, creative independence, and dedication to Kazakh national culture - qualities that have earned him a global fan base. “Dimash Kudaibergen is rapidly becoming one of Asia's best-known artists, captivating audiences worldwide with his unique fusion of neo-classical, pop, Kazakh folk, and contemporary trends. His independence allows him to experiment freely, combining traditional Kazakh motifs with global musical influences. For him, music is not just entertainment but an opportunity to present Kazakhstan's rich culture on the world stage,” Haute Living wrote. [embed]https://www.youtube.com/shorts/zKBUihALTH0[/embed] Released on April 26, 2024, Smoke is one of Dimash’s latest tracks. The music of the composition was written by the singer, with lyrics by Candice Kelly and Dimash Gordon. The song quickly gained traction, and by January 30, 2025, it had risen in the U.S. charts. It reached No. 32 on the iTunes Top 100, entered the Top 10 of Amazon’s Best Sellers in Songs, and claimed No. 1 in Amazon’s Best Sellers in Pop. This success underscores Dimash Kudaibergen’s growing influence beyond Kazakhstan and rising prominence in the international music industry. Dimash Kudaibergen is a Kazakh singer renowned for his extraordinary six-octave vocal range. He first gained international recognition after winning Slavic Bazaar (2015) and later became a finalist on the Chinese talent show Singer (2017). His musical style blends elements of neoclassical, pop, and traditional Kazakh folk. He has performed on prestigious stages worldwide, including the Kremlin Palace, Barclays Center, and Meridian Hall in Toronto. In 2019, he won the MTV Global Chinese Music Awards, and in 2021, he was named Asian Musician of the Year by the Top Chinese Music Awards. Kudaibergen also took part in the opening and closing ceremonies of the Beijing Olympics.

Art and Culture

Japanese Musician Mashu Komazaki Named “Ambassador of Uzbek Culture”

Japanese singer and musician Mashu Komazaki has been awarded the title of “Ambassador of Uzbek Culture,” becoming the first Japanese citizen to receive this distinction, Uzbekistan’s Ministry of Culture has announced. As an Ambassador of Uzbek Culture, Komazaki will work to promote Uzbekistan’s traditional music and arts in Japan. The Ministry of Culture has pledged full support for her activities, providing national costumes, musical instruments, and other cultural materials. Komazaki has a close connection to Uzbek music, having previously volunteered as a music teacher in Bukhara. She plays the dutor, a traditional Uzbek stringed instrument, and has performed at major cultural festivals in Uzbekistan. Speaking at the award ceremony, she expressed gratitude for the honor and shared her passion for introducing more Japanese audiences to Uzbek music. “When I perform Uzbek music, many in Japan tell me it creates a vivid image of a mysterious land along the Silk Road. Some even say they want to visit Uzbekistan because of the music,” she said. The “Ambassador of Uzbek Culture” title is part of a new initiative under a presidential resolution aimed at recognizing foreign citizens who actively promote Uzbekistan’s cultural heritage. Those granted the status receive cultural materials and may even be recommended for state awards based on their contributions. Komazaki plans to organize concerts and educational events in Japan to further showcase Uzbekistan’s rich musical traditions.

Art and Culture

Museum Showcasing Traditional Rishtan Ceramics to Be Established in Uzbekistan

A museum dedicated to the history of traditional ceramics will be established in the Uzbek town of Rishtan. The institution, organized as a non-governmental entity, aims to serve as a center for preserving and promoting the region’s unique pottery heritage. The museum’s key objectives include collecting and preserving exhibits, conducting cultural and educational programs, and training young artisans in pottery through the traditional mentoring system. Additionally, it will foster international cooperation by collaborating with foreign museums to organize exhibitions and exchange expertise. To implement the project, a working group has been formed to develop the museum’s concept and oversee its activities. The building designated for the museum is expected to be fully adapted to its needs by April 1, 2025. Notably, in September 2023, London’s King’s Foundation School of Traditional Arts hosted a master class led by Uzbek ceramist Shokhrukh Rakhimov. The event, supported by Uzbekistan’s Foundation for the Development of Culture and Arts, introduced master's and doctoral students to the traditions of Uzbek ceramics. Rakhimov inspired participants to explore new artistic forms using ancient craft techniques, highlighting the importance of cultural exchange and the preservation of national heritage within the global academic community.