In a transformative journey from the aftermath of a devastating earthquake in 1966, Tashkent, the capital of Uzbekistan, is now positioning itself on the global stage through a blend of ancient heritage and modernity, leveraging tourism, business, and cultural initiatives.
Following the earthquake, Sharof Rashidov, First Secretary of the Uzbek Communist Party, envisioned a new Soviet capital, merging socialist modernity with Uzbek heritage. The resulting "Tashkent modernism" is now gaining international recognition as Uzbekistan focuses on cultural promotion.
Sasha Fedorov, an activist and urban preservationist, challenges the common narrative of the earthquake's severity, suggesting that the authorities skillfully utilized the situation to renovate the capital. Tashkent modernism, characterized by a mix of modernist and post-modernist buildings, is now a focal point for the Art and Culture Development Foundation (ACDF) of Uzbekistan.
As part of the broader strategy to modernize the country with culture at its core, the ACDF aims to showcase Tashkent's modernist buildings globally. In October, the foundation organized the conference "Where in the World is Tashkent," featuring Rem Koolhaas as the keynote speaker. The ACDF plans to establish a system to list significant buildings and develop a design code, with the ultimate goal of securing UNESCO World Heritage Site status for Tashkent's modern buildings.
Despite the push for preservation, challenges remain as iconic structures like the Chorsu Bazaar face renovation that may alter their unique character. Activists like Fedorov emphasize the urgency of preserving modernist masterpieces amid ongoing demolitions.
President Shavkat Mirziyoyev's vision of a "New Uzbekistan" emphasizes openness, optimism, and cultural development. The ACDF, under Mirziyoyev's leadership, has become a key player in promoting Uzbekistan's cultural heritage and fostering contemporary art. Initiatives include international Silk Road exhibitions, a Centre for Contemporary Art, and artist residencies. The ACDF aims to position Uzbekistan as a cultural hub, engaging with global artistic trends.
While the government pours resources into cultural projects, critiques arise regarding the distribution of benefits. Timur Karpov, a documentary photographer, questions the impact on the people, arguing that culture remains under state control. Despite concerns, the ACDF's efforts signal a significant shift toward cultural openness and international collaboration.
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