Central Asian Art - The Times Of Central Asia

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Threads of Power: Women, Heritage, and the Art of the Silk Road

From June 24 to July 10, 2025, the Minerva Association will be presenting the exhibition Weaving the History of Central Asia at the Centre Paris Anim’ Espace Beaujon. This exhibition brings together the artworks of Fatimah Hossaini and the textile creations of Beltepà, paying tribute to the women of the region through the motifs and textile skills inherited from the Silk Road. In Central Asia, weaving, embroidery, and sewing have long been passed down from mother to daughter, practiced within the home and shared among craftswomen. These domestic yet deeply skilled practices embody an often-overlooked heritage, one that is both intimate and monumental. The exhibition sheds light on how art and fashion can transcend cultural and geographic boundaries, revealing stories of resilience, identity, and creativity. The exhibition celebrates women not only as artists and artisans but as powerful custodians of heritage. The handmade garments by the women of Beltepà, paired with Fatimah Hossaini’s striking photographic portraits, convey a sense of strength, dignity, and continuity. Together, these works send a compelling message: that of women’s empowerment and the intergenerational transmission of ancestral knowledge. Fatimah Hossaini’s artwork delves into themes of gender, identity, and cultural resilience. Her portraits of women in Central Asia illuminate lives and traditions that are often rendered invisible, offering a bold visual language that honors their presence and voices. The suzanis featured in the exhibition are rich with meaning. Every motif, color, and pattern tells a story, echoing the layered influences of the Silk Road and the women who continue these traditions today. Beltepà reinterprets traditional Uzbek fabrics — atlas, adras, bakhmal, and suzani — through a contemporary lens. Her collections merge craftsmanship with innovation, turning textiles into wearable artworks that reflect a living, evolving cultural identity.

Uzbek Art Kazakh Art Central Asian Art Kyrgyz Art Fondazione Elpis Tajik Art

Central Asian Perspectives Take Center Stage in Milan

A pale Milanese dawn draped the city in shifting greys, as visitors crossed the threshold into the space of Fondazione Elpis, a foundation created to promote dialogue with emerging geographies and young artists. This time, it was Central Asian artists who were in the spotlight, claiming a shared history fractured by Soviet rule and global currents. The show YOU ARE HERE: Central Asia redraws a regional map, allowing artists to redraw the borders of their belonging beyond nation-states. At the same time, it invites each visitor to relate to the works by locating its place within these stitched, erased, and reconfigured narratives. Curators Dilda Ramazan and Aida Sulova orchestrated twenty-seven artists into a living constellation: from Munara Abdukakharova’s rolled patchwork, its golden hammer-and-sickle motifs softened by the hand-stitched curves of Kyrgyz kurak korpe, to Vyacheslav Akhunov’s furious erasures of scraped notes, the show reassembled in unexpected patterns stories of resilience, resistance, and reimagined belonging. YOU ARE HERE not only reframed Central Asia for a European audience but asserted that the region’s histories are neither static nor singular, they are stitched, erased, reconfigured, and claimed anew by the very people who live them. The Times of Central Asia spoke with Kazakh curator, Dilda Ramazan. [caption id="attachment_31541" align="aligncenter" width="2560"] "YOU ARE HERE. Central Asia", installation view, primo piano, Fondazione Elpis, Milano © Fabrizio Vatieri Studio[/caption] TCA: Can you tell us about the genesis of the show? The show emerged after the invitation of the Fondazione Elpis, whose founder, Marina Nissim, became interested in the region and its artists after seeing one of the Central Asian pavilions at the Venice Biennale. By presenting the complex Central Asian landscape to a European public who might not know it very well, we wanted to give artists the platform for free expression without framing the region from the stereotypical perspective, as is often the case in the Western context. We wanted the artists to reflect on the idea of space and belonging through the idea of locating oneself. TCA: Do you feel there is a growing awareness of Central Asia in Europe? Yes, I can feel and see it, but it is a natural process one should expect within the logic of globalization. The exhibition addressed the impact of Soviet and post-Soviet transitions on the cultural identities of Central Asian nations by showcasing artists of several generations. Some of them had a direct experience of living under the Soviet regime, so again the artists spoke for themselves and the region’s past through their works. [caption id="attachment_31542" align="aligncenter" width="2560"] Emil Tilekov, Traces and Shadows, 2024 © Fabrizio Vatieri Studio[/caption] TCA: How is the theme of migration explored in the exhibition, particularly concerning its economic and emotional implications for Central Asian communities? Migration was one of the key aspects evoked in the show because it is still an experience lived by the artists and/or their relatives and families. Two Kyrgyz artists, for example, raised this issue in their projects. This was the case in the video by Chingiz...

Art and Culture Central Asian Art

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 Art and Culture Central Asian Art

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...

World Music Music Art and Culture Central Asian Art

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.

Diplomacy Art and Culture Music Central Asian Art

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.