The Bukhara Biennial in Uzbekistan has made a remarkable debut with its inaugural event titled “Recipes for Broken Hearts.” This biennial, directed by Diana Campbell with Gayane Umerova, showcases the resilience and beauty of the city of Bukhara, despite its tumultuous history of invasions and modern challenges.
The event features over 70 artworks exclusively created by Uzbek artists, with some collaborations with foreign artists. This emphasis on local talent and equal representation avoids the common pitfall of using foreign artists as mere decorations. One standout piece is “Longing” by the Indian and British duo Hylozoic/Desires in collaboration with Uzbek artist Rasuljon Mirzaahmedov. This installation weaves locally made ikat textiles through the city’s underground water passages, symbolizing collective trauma and social continuity.
Another notable work is “Eight Lives” by Uzbek artists Oyjon Khayrullaeva, Raxmon Toirov, and Rauf Taxiro. This piece explores intergenerational female networks of care in Bukharian culture through oversized ceramic organs and traditional herbal elements.
The biennial’s setting in historic caravanserais, madrasas, and mosques adds a unique charm to the event, showcasing the city’s architectural heritage. The artworks displayed in these ancient spaces help recreate Bukhara’s authentic historical texture, contrasting with the Soviet-era restorations that stripped away layers of history.
Local participation and engagement with the biennial are also noteworthy, with Uzbek audiences showing pride and enthusiasm for the event. The exhibition’s free entry allows broader access to art in a country where the average income is relatively low.
However, the event is not without its challenges. The backdrop of authoritarian rule in Uzbekistan raises questions about the government’s involvement in cultural projects like the biennial. Artwashing, the practice of using art to cover up structural abuses, is a concern in the region, as regimes use art for propaganda and image-building.
Despite these complexities, the Bukhara Biennial stands out for its genuine artistic brilliance and thought-provoking works. Pieces like “Under the Mulberry Tree, the Wind Sang Our Names” by Hera BĂĽyĂĽktasciyan and Isiom Khudoyberdiev offer profound reflections on history, identity, and coexistence.
In conclusion, while the biennial may be part of a larger artwashing agenda, it also serves as an oasis of artistic expression in a repressive environment. The event’s success and impact on the local art scene will be interesting to observe as Uzbekistan navigates its cultural and political landscape.
