From a Vanishing Sea to Milan’s Spotlight: When Apricots Blossom, a Lost Sea Speaks
From April 20 to 26, 2026, Uzbekistan will present one of its most ambitious cultural projects to date at the Milan Design Week. Titled When Apricots Blossom, the exhibition will take place at Palazzo Citterio in Milan’s Brera district, transforming the historic space into a multi-layered exploration of craft, memory, and environmental change. Organized by the Uzbekistan Art and Culture Development Foundation, the exhibition is commissioned by its chairperson, Gayane Umerova, and curated by architect Kulapat Yantrasast, founder of WHY Architecture. Bringing together twelve international designers and Uzbek artisans, the project explores how traditional knowledge can help societies respond to environmental crises. At its core lies Karakalpakstan, an autonomous region in northwestern Uzbekistan that has experienced one of the world’s most severe ecological disasters. A Story Rooted in Loss and Resilience The exhibition takes its name from a poem by Hamid Olimjon, written in the 1930s as a reflection on hope and renewal. Today, that symbolism carries renewed relevance. For decades, the Aral Sea has been shrinking. Once one of the largest inland bodies of water in the world, it has lost more than 90% of its volume since the 1960s, largely due to irrigation policies that diverted its feeder rivers. The result is a transformed landscape of desert, salt plains, and fragmented ecosystems, with communities forced to adapt to rapid environmental change. [caption id="attachment_30520" align="aligncenter" width="2560"] Moynaq. Aral Culture Summit 2025; image courtesy of Iwan Baan and ACDF[/caption] Rather than focusing solely on loss, When Apricots Blossom highlights how communities continue to live, create, and adapt. Visitors enter through a façade transformed by a large textile installation by British designer Bethan Laura Wood, created in collaboration with Uzbek artisans. Drawing on decorative elements used in nomadic yurts, tassels, ribbons, and woven patterns, the work creates a vivid and tactile threshold. Inside the courtyard, an installation of apricot trees by Uzbek floral artist Ruben Saakyan sets the tone. The apricot, both a symbol of hospitality and a key Uzbek export, also reflects resilience, continuing to grow even in the harsh conditions of the Aral Sea region. Further inside, a “deconstructed yurt” designed by WHY Architecture serves as a central gathering space, reflecting the adaptability of nomadic shelter traditions. Craft as Knowledge, Not Decoration For Umerova, this distinction is central. “Craft in Karakalpakstan is more than tradition, it is a system of knowledge,” she told The Times of Central Asia. “It has evolved over centuries in close relationship with the land.” [caption id="attachment_46319" align="aligncenter" width="1440"] Handwoven textiles on a traditional loom at “When Apricots Blossom”; image: ACDF[/caption] Umerova notes that materials such as wood, silk, felt, ceramic, and reed reflect a deep understanding of local ecosystems. These practices are passed down through generations, carrying both technical skills and cultural knowledge. In the context of the Aral Sea crisis, this knowledge takes on renewed importance. “The communities there have long developed ways of adapting to changing environments,” she told TCA. “Their craft traditions embody this resilience.” For Umerova, sustainability is as...
