Layers of memory: when traditions speak through contemporary art

On May 10, the Human House gallery felt especially warm: this time, the occasion was the Qatlama exhibition, which intertwined the layers of Uzbek traditions with the present day.

Where did the name of the exhibition come from?

Qatlama is an Uzbek layered flatbread, fried in oil. Its golden layers reflect the multifaceted nature of our traditions. From family rituals and textile traditions to musical heritage and crafts, cultural practices continue to live within us, adapting to societal changes. Like precious threads, they connect the present with the past, giving daily life a touch of the sacred.

It is important not only to preserve traditions but also to understand how they evolve over time. Some disappear, some remain, and others are reborn. Why do some forms lose relevance while others gain new resonance? 

Today, it is particularly interesting to observe how traditions influence contemporary art, enriching culture and inspiring artists, who incorporate them into their personal expression. The visual language of the masters gives tradition a voice that sounds new, yet still recognizable. And how to maintain the essence, authenticity, and soul of these cultural codes – this is one of the key questions of our time.

In contemporary Uzbek art, tradition is no longer seen as just a heritage of the past. It becomes a living, flexible material that is not only passed down from generation to generation but also evolves. Tradition absorbs echoes of history, responds to daily life, preserves collective memory, and reacts to the challenges of the present, while remaining an important part of cultural continuity.

The guests were warmly welcomed by the exhibition’s curator, Svetlana Astakhova. We were welcomed by a young woman with chestnut hair, dressed in an elegant black dress, whose fiery thread that evening connected ritual culture and contemporary art.

The clothes tied to trees symbolized the sails that are hung in the mahallas to catch the sweet mulberries. Everyday life, depicted in black-and-white photographs, transports us to a place where special relationships and foundations have been formed over centuries. Here, everything relies on unwritten rules – respect for elders, warmth in communication, care for the younger, and readiness to support each other in any situation.

Anvar Safo's composition "Parallax" invites the viewer not just to look but to deeply engage and understand: any perception is a personal view, and truth can be complex and multifaceted.

The composition uses a contrapuntal technique, known in cinema, where the visual and sound sequences sharply clash: for example, tragedy on the screen is accompanied by joyful music.

The vivid houses in Laziza Tulaganova’s works evoke a deep sense of anxiety about preserving the unique national appearance of the city, which is dear to the heart of every resident.

"We need to preserve the old town, the authenticity of our Tashkent, as it is a historical heritage, an open museum. Every street is unique and beautiful. I try to feel the atmosphere and convey it to the viewer, to filter it through myself and show the city as I see it. Color, forms, and perspectives. In this way, I preserve the face of the disappearing city on my canvases," says Laziza.

In her work "People Who Will Say Something," Laziza depicts faces that express the fear of others' opinions: a restraint in behavior, the fear of rejection or mockery, an excessive desire to please others, to fit into their expectations...

"People Who Will Say Something" is that dreadful phrase that changes the fate of people, and someone gives up on their goal, dream, or plans. That’s why I thought, who are these people, and I decided to paint them," Laziza ironically explains her concept.

Khurshed Khalilov 

The main feature of Samarkand artist’s style is rethinking the surrounding world through the prism of his personal perception. He constantly experiments, moving from classical academicism to abstractionism and conceptualism. In his works, he reinterprets Eastern cultural traditions with a modern approach, simplifying them to basic forms, as if purifying the space and leaving only the most important. This approach resonates with the searches of the masters of the Turkestan avant-garde.

Djama Adylov

Although Djama Adylov’s paintings use motifs of “grotesque horror,” they are based on classical expressionism – a style where the main focus is the expression of emotions, not exact representation. His works stand out with a special plastic language, unique style, vivid colors, and unusual placement of characters in space.

Tamilla Sultanova

In the painting "Dreams of Quince," tradition appears as a complex labyrinth of images and visual symbols, united in an intricate mosaic. At the center is the quince, one of the oldest fruit crops, known to humanity for over 4,000 years. Apparently, this inspired the artist to make the quince a kind of "vault" of memories collected over many years and poured to the surface from the depths of the subconscious.

Daniyar and Sharifa Sharafkhodjaeva

Daniyar and Sharifa Sharakhodjaeva present a series of wooden works in which the chapan is embodied as a symbol of Eastern cultural tradition. Instead of the familiar textile texture, wood is used, emphasizing the stability and eternity of the foundation of tradition, similar to the rings of a tree that preserve the memory of the years lived.

Lina Isyanova 

The main material of the artist is embroidery, but unlike the traditional perception of hand embroidery as a craft or hobby, she views fabrics as special canvases of life, on which different plots and personal interpretations of events are woven with a delicate thread.

Her work "Return" reflects the associative reflections of the artist about returning home. The swallows, which were near her, reminded her of her native home and mentally took her back to well-known lands.

Anvar Choriqulov 

A young artist from Bukhara, Anvar Choriqulov, has developed a unique style that conveys the landscapes and life scenes of his native city. 

His abstract paintings show tradition in a new way – not through familiar symbols or images, but through space that exists here and now, yet seems to dissolve in time and colors.

Photo: Anastasiya Kravchenko