Uzbekistan Boosts Art Scene With New Tashkent Center, Bukhara Biennial

(MENAFN- USA Art News) Uzbekistan has significantly increased investment in its cultural sector, aiming to foster a local creative ecosystem and enhance its international profile. A central figure in this initiative is Gayane Umerova, who heads the Department of Creative Economy and Tourism of the Administration of the President of the Republic of Uzbekistan and chairs the Uzbekistan Art and Culture Development Foundation (ACDF).

The ACDF is spearheading major projects, including the renovation and development of the Center for Contemporary Arts Tashkent (CCA Tashkent), which opened on September 6. This new cultural hub, housed in a transformed 1912 former tram depot, was designed by French architects Studio KO and represents the country's first permanent contemporary art, research, and community engagement institution. Its year-round program is led by chief curator Dr. Sara Raza, previously a curator for the Guggenheim UBS MAP Global Art Initiative for the Middle East and North Africa. The inaugural exhibition,“Hikmah,” features new commissions and recent works by 10 Uzbek and international artists.

Additionally, the ACDF is overseeing the creation of the new National Museum of Uzbekistan, designed by Tadao Ando, and commissioned the inaugural Bukhara Biennial, held in 2025. This biennial drew over 1.8 million visitors to the historic Silk Road city, engaging both international and local contemporary artists with historical sites. The foundation has also expanded Uzbekistan's presence at international events like the Venice Biennale and organized key cultural forums within the country, including the inaugural Aral Culture Summit and the 2025 UNESCO General Conference, promoting intercultural dialogue.

Umerova noted that after the collapse of the Soviet Union, Uzbekistan's cultural scene was weak, with limited public demand for contemporary culture due to other national priorities. She told Observer,“The country was in stagnation for more than 30 years, so there were a lot of gaps in theater, the film industry, concerts, art and craft. We're really trying to make sure that this mechanism is working again, that it is restored, renovated and functioning.” She highlighted that while the previous government lacked sufficient financial support for large-scale art projects, the current government's prioritization of culture has empowered organizations to plan more ambitiously. The ACDF's initial strategy focused on creating strong cultural offerings to stimulate community and infrastructure development. Over the past nine years, the foundation has worked to rebuild cultural infrastructure and international visibility, balancing tourism promotion with local community engagement.

Investments in the cultural sector are already showing results for tourism. Uzbekistan's foreign tourist arrivals surged from 2.7 million in 2017 to nearly 11.7 million in 2025, according to the government of Uzbekistan. This marks more than a fourfold increase. Exports of tourism services also rose from $531 million to $4.8 billion during the same period. The country has a very young population; 52 percent, or about 20.3 million, of its roughly 39 million inhabitants are under 30, with an average age of 29.5 years. Children under 14 constitute 30.5 percent of the population.

One of the ACDF's early goals was to cultivate an audience among younger generations to develop a local cultural economy and create opportunities in creative industries. Umerova stated,“Our country was usually predominantly interested in professions like lawyers, engineers and doctors, these classical jobs, and now we can see new jobs emerging.” She observed a growth in fields like art journalism, saying,“It wasn't common to write about artists. Now we can see so many articles in the local press. There's now a new market and new jobs.” Umerova describes the CCA as a form of“social-cultural architecture” designed for community engagement, explaining,“They don't have to particularly love the art, but they should be comfortable being surrounded by art. It's about giving them the time to adapt.”

Audience development efforts are yielding results. Umerova noted that when the project began, interest among young people was limited, with preferences leaning toward IT, film, or music.“But now we can see more and more people becoming interested in arts and crafts.” This approach also guided the Bukhara Biennial, which emphasized local engagement. Umerova said,“It wasn't only about making sure that tourists or the international art scene were coming. It was also important for us to see that locals were interested and that locals were engaged.” The biennial aims to catalyze local development and urban revitalization, opening new spaces within Bukhara's historic cultural district. Umerova emphasized the city's inherent layers of history, stating,“Bukhara tells us. Bukhara shows us the way.” She added,“Basically, it already has everything. It has so many layers of history, experience, wisdom and everything else. You basically dig a little bit, and Bukhara tells you how to embrace it.” The 2025 biennial, led by artistic director Diana Campbell and creative director of architecture Wael Al Awar, showcased over 200 artists from 39 countries, including acclaimed international names. All 70 commissioned works were produced locally.

We previously reported:

Central Asian nations are rapidly gaining global art world recognition, spurred by institution-building, biennials, and diplomatic efforts.

Source: Observer Arts

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