While the West might have only recently begun to pay more attention to the “-istan” countries that were once part of the Soviet Union, their culture and history stretch back centuries. These lands stood at the crossroads of ancient globalization, traversed by the Silk Road and enriched by a confluence of diverse civilizations. In his renowned travelogue, The Milione, Marco Polo vividly described the region as a tapestry of ancient cultures, abundant resources and opulent kingdoms. Centuries later, celebrated Italian author Italo Calvino drew from the same spellbinding geography in his poetic romance Invisible Cities, weaving the allure of these far-off lands and their thriving cultures into a dreamlike narrative structured as a dialogue between the Venetian explorer Marco Polo and the Mongol emperor Kublai Khan. These literary masterpieces testify not only to the region’s longstanding connection with the West but to its enduring fascination and profound impact on the Western imagination.
That’s where our conversation began with Sara Raza, the recently appointed artistic director of the Centre for Contemporary Art (CCA) in Tashkent, the capital of Uzbekistan. A globally recognized curator with a sharp focus on the region—particularly its postcolonial and post-Soviet legacies—Raza brings decades of curatorial experience across Asia, the Caucasus, the Middle East, Europe and North America. She previously served as the Guggenheim UBS MAP Global Art Initiative curator for the Middle East and North Africa and has curated landmark exhibitions at Mathaf: Arab Museum of Modern Art, the Rubin Museum of Art in New York (she wrote about “Clapping With Stones” for Observer) and the International Center of Photography. Her critically acclaimed book Punk Orientalism: The Art of Rebellion reflects a long-standing commitment to the region, offering “an in-depth overview of contemporary art from the former Soviet republics of Central Asia and the Caucasus, focusing on themes of resistance, subversion and counterculture while challenging both traditional Western notions of Orientalism and state-imposed narratives in post-Soviet societies.”
The CCA is set to reopen in September 2025 following a major renovation and expansion that will reposition it as a new arts and culture hub for Uzbekistan and the broader region. The transformation was made possible by an ambitious cultural investment led by the Art and Culture Development Foundation (ACDF), which seeks to strengthen Uzbekistan’s cultural ecosystem, stimulate its creative economy and offer new opportunities to practitioners on local, regional and international levels. As envisioned by the world-renowned French architecture firm Studio KO, the expansion establishes a thoughtful dialogue between the institution’s historical architecture and its contemporary surroundings. Drawing on traditional building techniques and local materials, the design moves in bold and forward-looking directions, embracing a contemporary sensibility grounded in Uzbekistan’s artisanal legacy and artistic heritage.
Raza has worked in the region for over two decades, largely with international institutions, and her new post offers a rare opportunity to contribute directly from within the fast-growing artistic and creative ecosystem of both Uzbekistan and Central Asia. “I’ve always been somebody who has been sort of in between different worlds, creating these dialogs and these thematic relationships,” she said. “They’re not just geographical.” Born in Iran, she has a personal connection to Uzbekistan, whose historical ties to Iran remain visible. The ancient cities of Bukhara, Samarkand and Khiva, once part of the Persian Empire, preserve the extraordinary architectural legacy of that golden era.
Even during the Soviet period, Uzbekistan maintained a remarkably active and flourishing creative and cultural scene—despite the fact that it remained largely invisible to audiences in the United States and Europe. “While Europe and North America were not aware of what was happening in Central Asia, it doesn’t mean there was an activity,” Raza explained. “If anything, it was a great moment for this east. East activity, South-South activity—I mean by communication within the global south. There was much communication with Latin America and Asia during the Cold War, translating into several festivals and cultural exchanges.”
That’s when Tashkent became a particularly dynamic meeting point. Yet due to Cold War-era divides, much of this 20th-century activity remained under the radar in Europe and the U.S. Raza herself brings nearly two decades of curatorial experience examining Central Asia and the Caucasus within the broader Soviet framework, paying close attention to how those relationships also extended to the Arab world, Turkey and Iran. Following the collapse of the Soviet Union in 1991, each Central Asian country gained independence but entered a period of transition and cultural realignment.
SEE ALSO: Creativity in Context – An Interview with Photographer Alec Soth
“Artists have always self-organized in Uzbekistan. They have their studios now, but this was something not really possible with the Soviet regime,” Raza said. At the same time, the country has long upheld deep respect for artisanship and developed excellence across various forms of craftsmanship—many surviving historic buildings still stand as striking testimony to this. Contemporary art, particularly in the more conceptual sense we recognize today, has often flown under the radar. Yet, as Raza notes, it has always been embedded in Uzbekistan’s cultural DNA, which places great value on language and poetry. “Some more contemporary conceptual expression somehow came out first in poetry, in other ways, where it could flourish, but in the visual arts, it’s something very recent. The foundation, however, is very strong as they have an entire tradition in sculpture, painting, textile and other forms of craftsmanship. At the same time, because there is a strong foundation in poetry, which is already a very ambiguous language, there’s poetic code manifesting within the artworks.”
The CCA has launched a new residency program that invites international artists to engage directly with Uzbekistan’s heritage—its specific cultural context and its enduring artisan traditions—while giving local artists exposure to broader global practices and aesthetics. “We just opened the residencies in January this year for the first cohort of international artists, and it will serve as a great exchange platform between the world and Uzbekistan,” Raza said. Four residents working in contemporary art, design, crafts, architecture, culinary arts, moving pictures or sound art will work in the historic Tashkent mahallas—Uzbek for “neighborhoods”—of Namuna and Khast Imom, in newly restored heritage sites also designed by Studio KO. These spaces have a deep-rooted connection to the region’s artisanal legacy, as it was once a madrasah, a school where local builders, carpenters and masons mentored younger generations of craftsmen.
This renewed emphasis on reviving artisanal traditions is closely tied to one of Raza’s core goals: reshaping the CCA into an interdisciplinary center that supports projects across design, fashion and music. Uzbekistan has a notably young and dynamic population, with 65 percent under 30. Building strong links between the CCA and local universities is key, Raza emphasized—particularly given the institution’s proximity to Westminster International University in Tashkent. “There’s already a partnership to bring the students in. That’s the closest thing to a campus museum, so I hope that going forward, the professors will be able to integrate some of their syllabi with the museum’s program.” She is determined to develop these educational relationships as a way of expanding the museum’s role in shaping the next generation of cultural operators and art professionals in the country.
“The East is the foundation, but the aim is also to rethink some of those histories and heritage through artistic practices, through artists of today. The idea is not to cut off the past, but to reimagine it with the tools of international contemporary art, working in tandem with local artists. The program will celebrate Uzbekistan and branch out. From local and regional to global and digital realms, as well.”
Uzbekistan’s art scene has been bolstered by public investment
The government is backing this cultural revival, driven by the recognition that creative and artistic sectors are central to both national development and international prestige. One goal is to strengthen tourism—especially cultural tourism—around the historically significant cities of Khiva, Bukhara and Samarkand. At the same time, contemporary art and creativity have become integral to the government’s broader diplomatic and economic strategies, as demonstrated by the recent World Conference on Creative Economy (WCCE), held from October 2 to 4, 2024, in Tashkent under the theme Inclusively Creative: A Shifted Reality. Now in its fourth edition, the conference has firmly established itself as a major global gathering, attracting over 2,000 creative leaders from more than eighty countries. This year’s focus on emerging technologies—particularly artificial intelligence—and their impact on the creative sectors positioned Tashkent at the forefront of an evolving global dialogue. “These types of events are really important to show to creative individuals that you can actually contribute to the economy,” said Raza. “And they prove that the sector can contribute to the economic growth of the country.”
Notably, Uzbekistan will host its first biennial this year: the Bukhara Biennial, launching on September 5, 2025, in Bukhara, which is recognized as a UNESCO Creative City of Crafts and Folk Art. Organized and promoted by the Uzbekistan ACDF and titled Recipes for Broken Hearts, the biennial’s curatorial statement aligns closely with Raza’s vision for the CCA. It aims to transform the historic city into a dynamic platform where tradition and heritage intersect with contemporary art and creative innovation.
At the center of Uzbekistan’s cultural momentum is Gayane Umerova, who has played a pivotal role in shaping the country’s artistic landscape. As Deputy Head of the Department of Social Development of the Presidential Administration and Chairperson of the ACDF, Umerova has been instrumental in advancing the country’s global cultural presence. She also serves as Chairperson of the National Commission of Uzbekistan on UNESCO Affairs under the Cabinet of Ministers. Throughout her career, Umerova has worked tirelessly to elevate Uzbekistan’s cultural profile on the world stage, with landmark exhibitions of the nation’s art and creativity presented at major institutions, including the Louvre and the Arab World Institute in Paris, the Uffizi Gallery and Venice’s Ca’ Foscari University last year.
Meanwhile, another ambitious cultural milestone is on the horizon: the New State Art Museum in Tashkent, which is currently in the planning stages. Designed by internationally acclaimed architect Tadao Ando, the institution is poised to become the largest exhibition space in Central Asia. Spanning over 40,000 square meters and intended to house a collection of more than 100,000 objects and artifacts, the museum will offer an encyclopedic exploration of the region’s cultural legacy.
