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Explore the artworks
Naila Ri
A Way of Seeing Oneself
A Way of Seeing Oneself
[watercolor, paper]
In this series, the artist reconstructs her own memory, understanding it as the foundation of identity itself. Turning to personal recollections and significant moments from childhood, Naila creates layered, fluid images. Recognizable forms gradually dissolve into abstraction, echoing the inaccuracy of memory and the inherently abstract nature of human thought. Threads running through the watercolor compositions become a metaphor for interweaving - reflecting identity as a whole yet multifaceted figure composed of many different lines and “seams.”
In this series, the artist reconstructs her own memory, understanding it as the foundation of identity itself. Turning to personal recollections and significant moments from childhood, Naila creates layered, fluid images. Recognizable forms gradually dissolve into abstraction, echoing the inaccuracy of memory and the inherently abstract nature of human thought. Threads running through the watercolor compositions become a metaphor for interweaving - reflecting identity as a whole yet multifaceted figure composed of many different lines and “seams.”
The works are conceived as open forms for interpretation, within which viewers may discover fragments and reflections of their own past, their own memory, and ultimately even themselves.
Dasha Dzhurabaeva
Tree of Life
Tree of Life
[canvas, oil, 200 × 160 cm]
A debut work from a series of large-scale paintings immersed in a symbolically rich, epic crimson color. The first painting among a sequence of extended allegorical narratives introduces an image of endurance and undying life. Embodied in the massive, volumetric depiction of a dry yet powerful ancient tree, the work evokes the scale of history - a long generational and epochal resistance against death and chaos. Here, memory appears as a superpower, granting unimaginable resilience to individuals, communities, and living ecosystems.
A debut work from a series of large-scale paintings immersed in a symbolically rich, epic crimson color. The first painting among a sequence of extended allegorical narratives introduces an image of endurance and undying life. Embodied in the massive, volumetric depiction of a dry yet powerful ancient tree, the work evokes the scale of history - a long generational and epochal resistance against death and chaos. Here, memory appears as a superpower, granting unimaginable resilience to individuals, communities, and living ecosystems.
{At its core, the painting reflects on how trials temper us and bring wisdom. The tree is dry, with a swing hanging from its branches, yet it does not surrender - a severe, eternal elder.}
Nasiba Karimova x Shaima Gulbekova
Tags
Tags
Husnoro Dzhuraeva
Window into the Past
Window into the Past
[threads, paper tags]
This work attempts to reflect on how norms are produced and how quickly memory adapts to new systems of meaning. What was recently new has already become a familiar part of the cultural landscape, intertwining with historical roots that reach back to the era of the “Shahnameh”. Proper names dissolve, replaced by the name of an archival entry that points toward legend.
This work attempts to reflect on how norms are produced and how quickly memory adapts to new systems of meaning. What was recently new has already become a familiar part of the cultural landscape, intertwining with historical roots that reach back to the era of the “Shahnameh”. Proper names dissolve, replaced by the name of an archival entry that points toward legend.
{Among the tags, one can notice names marked with dates marked Before Common Era), as if belonging to people who lived long before - a reminder of culture’s deep roots. Something new, familiar to a younger generation, may reshape or continue these roots by adding or erasing names from the list. The work reflects on how rapidly such a re-sorting of tradition becomes naturalized.}
[window frame, glass, curtains, photo]
A window removed from the utilitarian structure of a house is transformed into a symbolic image of memory. It becomes a portal into the past, into childhood - through the grandfather’s gaze, through his habit of watching passersby from the window.
[textile, embroidery, patchwork]
At the core of this work lies the classical mosaic of a Soviet apartment building. By referencing this element of architectural decoration and translating monumental forms into soft, tactile materials, the artist constructs an image of embodied experience within urban space - where buildings, parks, and roads become extensions of the human body rather than obstacles to overcome.
In this vision of a trusting relationship with the city, the labor-intensive craft of embroidery plays a significant symbolic role. It articulates ideas of careful preservation and attentive reimagining - presenting the urban environment as something intimate, safe and welcoming, even for vulnerable groups.
At the core of this work lies the classical mosaic of a Soviet apartment building. By referencing this element of architectural decoration and translating monumental forms into soft, tactile materials, the artist constructs an image of embodied experience within urban space - where buildings, parks, and roads become extensions of the human body rather than obstacles to overcome.
In this vision of a trusting relationship with the city, the labor-intensive craft of embroidery plays a significant symbolic role. It articulates ideas of careful preservation and attentive reimagining - presenting the urban environment as something intimate, safe and welcoming, even for vulnerable groups.
Zulfiya Spowart
House 45
House 45
Noem Radzhabi + X
Tetris
Tetris
Shaima Gulbekova
The End of the World
The End of the World
[photo installation]
The photographs in this project serve as entry points into the specific lived experience of a person with a neurological diagnosis. Rather than observing the illness itself, the viewer encounters its traces within everyday surroundings. The work focuses not on spectacle but on the subtle shifts in routine, perception, and emotional landscape that shape daily life.
The photographs in this project serve as entry points into the specific lived experience of a person with a neurological diagnosis. Rather than observing the illness itself, the viewer encounters its traces within everyday surroundings. The work focuses not on spectacle but on the subtle shifts in routine, perception, and emotional landscape that shape daily life.
[graphic art]
A recollection of the December days of 2012, when school classrooms stood empty because of rumors about the imminent end of the world. A solitary child on a bus and at a school desk appears as an ironic yet serious illustration of how myths continue to live in the 21st century.
{This is an ironic work about the apocalypse in reality - not a fiery hyena, not a natural disaster, but simple human inaction. The ‘end of the world’ was scheduled for 21.12.2012, according to interpretations of the Mayan calendar.
The apocalypse, in a sense, did happen, but only because people believed the rumors and gave up. We see the artist as a schoolgirl at that time. We see her riding alone on a bus, sitting by herself at a desk in an empty classroom. And, of course, the decision not to let children go to school is strangely amusing, as if that could somehow save them from the end of the world.}
