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Sara Raza PhD/ دکتر سارا رضا

@punkorientalism

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Art Historian, Curator & Scholar
Punk Orientalism Studio📍Paris 19-23 Oct @asianow
@cca_tashkent AD Chief Curator
Core Critic @yaleschoolofart
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Punk Orientalism Studio & Babi Badalov: I Open My Mouth and Speak Art, Punk Orientalism Studio is dedicated to fostering new dialogues and experimental forms of cultural
exchange across Asia, Central Asia, the Caucasus, the Middle East, and their diasporas. Through
exhibitions, publications, research, education, public programmes, and interdisciplinary collaborations,
the Studio develops new frameworks for exploring contemporary art, cultural exchange, and transregional
ideas. #punkorientalism #asianow AsiaNow Paris 2026

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After six years in the making, @cca_tashkent opened its doors to the public earlier this month. The centre is a pioneering endeavour in Tashkent, providing a space for local artists to gather, create, and show their work. Despite various setbacks, the project persisted and perservered, with the team keen to erect a new national treasure in heart of the city. The building was designed by French architect duo Studio KO, who elegantly married Uzbekistan's rich historical pride with its push for modernity. Embrazing Uzbek culture in its most spectral sense is the Centre for Contemporary Arts Tashkent's main goal, platforming artists of all backgrounds and disciplines.

@11levels attended the opening, speaking to some of the key figures who worked to make it all possible. Chief Curator Dr Sara Raza and Art and Culture Development Foundation chairperson Gayane Umerova spoke with Larena, discussing the need for new spaces to bring artists together to bolster the Uzbek creative scene.

Read our piece covering the opening on our website.

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From 6 to 8 October, CCA Tashkent hosted the three-day Curatorial Intensive ‘Hikmah: Curating Knowledge, Embodied Wisdom & Materiality’, led by Dr Sara Raza, Chief Curator of CCA Tashkent.

The first day focused on knowledge and curating as a form of knowledge production, exploring the ideas and research behind ‘Hikmah’ through lectures, discussions and an exhibition walkthrough.

The second day turned to embodied wisdom, examining the relationships between the body, material, perception, the senses and different forms of experiential knowledge.

The third and final day focused on materiality and the ways materials can carry history, memory and knowledge. The intensive concluded with the artist in-conversation ‘Materiality, Knowledge and Hikmah’, bringing together artist Shokhrukh Rakhimov and Dr Sara Raza to discuss his artistic practice, his contribution to ‘Hikmah’, and the relationship between materiality, spirituality and wisdom.
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6–8-oktabr kunlari Toshkentdagi Zamonaviy san’at markazida “Hikmat” bilim, mujassamlashgan donishmandlik va moddiylikni sayqallash” mavzusida 3 kunlik muhofizlik jadal ta’lim dasturi bo‘lib o‘tdi. Mashg‘ulotlarni Markaz bosh badiiy rahbari d-r Sara Raza olib bordi.

Birinchi kun kuratorlik amaliyotida bilimning o‘rniga bag‘ishlandi. Ma’ruzalar, muhokamalar va ko‘rgazma bo‘ylab sayr doirasida ishtirokchilar “Hikmat” ko‘rgazmasining asosini tashkil etuvchi g‘oyalar va tadqiqotlar bilan tanishdilar.

Ikkinchi kuni ishtirokchilar gavdalangan donolik mavzusiga murojaat etib, tana, ashyolar, idrok va his etishing o‘zaro bog‘liqligi hamda shaxsiy tajriba orqali dunyoni anglashning turli usullarini o‘rgandilar.

Uchinchi yakuniy kun gap moddiylik hamda ashyolar tarix, xotira va bilimlarni qanday saqlashi mumkinligi xususida bordi. O‘quv darslari rassom Shohruh Rahimov va d-r Sara Raza ishtirokida “Moddiylik, bilim va hikmat” suhbati bilan yakunlandi. Uchrashuv davomida Rahimovning badiiy amaliyoti, uning “Hikmat” ko‘rgazmasidagi ishtiroki, shuningdek, moddiylik, ma’naviyat va donishmandlikning o‘zaro bog‘liqligiga oid masalalar muhokama qilindi.

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Olivier Marty, co-founder of the Paris-based architecture firm Studio KO (@studioko), specializes in giving historic structures a considered second life. His latest project, the Centre for Contemporary Arts Tashkent (CCA Tashkent, @cca_tashkent), does just that for the 1912 tram depot and diesel station in the heart of Uzbekistan’s capital, transforming it into the country’s first permanent institution dedicated to contemporary art.

Working with partner Karl Fournier, Marty chose to preserve, rather than overwrite, the building’s character. Ahead of CCA Tashkent’s public opening, Marty spoke with ArtAsiaPacific about the thinking behind the transformation, and what it means for contemporary art in Central Asia.

Follow the link in bio to read the full interview on our website.

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On Sunday, 4 October, join Dr Sara Raza, Chief Curator of CCA Tashkent, for a special curatorial tour of the inaugural exhibition at the Centre.

Moving through the Exhibition Space and the Centre’s newly transformed building, Dr Sara Raza will introduce the curatorial ideas behind ‘Hikmah’ and explore how participating artists engage with material intelligence, embodied knowledge, memory, spirituality, ecology and transformation.

Limited capacity. Registration is available via the link in the description.

The tour will be conducted in English.
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4-oktabr, yakshanba kuni Toshkent Zamonaviy san’at markazidagi ilk ko‘rgazmaning badiiy rahbar hamrohligidagi maxsus sayri uchun Markaz bosh muhofizi d-r Sara Raza davrasiga qo‘shiling.

Ko‘rgazma maydoni va Markazning yangi sayqal berilgan binosi bo‘ylab sayohat qilib, d-r Sara Raza “Hikmat” ortidagi kuratorlik g‘oyalari bilan tanishtiradi va ishtirokchi rassomlarning moddiy zako, mujassamlashgan bilim, xotira, ma’naviyat, ekologiya va o‘zgarishlar bilan qanday munosabatda bo‘lishini kashf etadi.

Joylar soni cheklangan. Ro‘yxatdan o‘tish tavsifdagi havolada mavjud.

Ekskursiya ingliz tilida o‘tkaziladi.
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В воскресенье, 4 октября, доктор Сара Раза, главный куратор Центра современного искусства в Ташкенте (CCA Tashkent), проведёт специальную кураторскую экскурсию по первой выставке Центра.

Во время экскурсии по выставочному пространству Центра доктор Сара Раза расскажет о кураторской концепции выставки «Hikmah» и о том, как участвующие в ней художники обращаются к темам материального знания, телесного опыта, памяти, духовности, экологии и трансформации.

Количество мест ограничено. Регистрация доступна по ссылке в описании.

Экскурсия пройдёт на английском языке.

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‘Hikmah: Curating Knowledge, Embodied Wisdom & Materiality’
A Three-Day Curatorial Intensive with Dr Sara Raza, Curator of ‘Hikmah’

From 6–8 October, CCA Tashkent will host a three-day curatorial intensive led by Dr Sara Raza, taking Hikmah, the Centre’s inaugural exhibition, as its central case study. The programme explores curating as a form of knowledge production, considering knowledge, embodied wisdom, material intelligence, and the relationship between art, ideas and exhibition-making.

The intensive is designed for emerging and mid-career curators, artists, writers, researchers and cultural practitioners.

English language proficiency is required. Reading materials will be provided.

Limited capacity. Registration via the link in the description.
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“Hikmat: bilim murabbiyligi, mujassam donishmandlik va moddiylik”
“Hikmat ko‘rgazmasi badiiy rahbari d-r Sara Raza bilan uch kunlik muhofizlik mashg‘uloti

6–8-oktabr kunlari Toshkent Zamonaviy san’at markazida d-r Sara Raza rahbarligida uch kunlik muhofizlik jadal mashg‘uloti bo‘lib o‘tadi. Dastur Markazning ilk “Hikmat” ko‘rgazmasiga bag‘ishlanib, u izlanish va muhokamalar uchun asosiy tadqiqot namunasiga aylanadi. Unda muzey ko‘rgazmalari tajribasi bilim majmuasini ishlab chiqish shakli sifatida mushohada yuritiladi va bilim, ro‘yobga chiqarilgan donishmandlik, moddiy ong, shuningdek, san’at, g‘oyalar va ko‘rgazma yaratish jarayonining o‘zaro bog‘liqligi mavzulariga murojaat etadi.

Mazmunga boy ushbu darslar muhofiz, rassom, muallif, tadqiqotchi va madaniyat sohasidagi mutaxassislar uchun mo‘ljallangan.

Inglizchani erkin bilish lozim. Zarur adabiyot taqdim etiladi.

Joylar soni cheklangan. Ro‘yxatdan o‘tish tavsifdagi havolada.

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For decades, the cultural compass pointed West. Today, its centre of gravity is shifting. From Almaty and Tashkent to Baku, Damascus and Ramallah, a different cultural map is taking shape. New museums and institutions are opening, art and design weeks are creating platforms for local voices, and contemporary practice is entering into new conversations with architecture, craft, heritage and place.
These cities do not belong to a single movement. Their histories, and the realities in which artists and designers are working, are profoundly different. What connects them is the emergence of cultural ecosystems that no longer need to look towards the traditional capitals to define their relevance.
In Almaty and Tashkent, ambitious institutions are giving Central Asian culture new visibility. In Baku, the city itself becomes a cultural platform. In Damascus, art is helping to rebuild connections after years of rupture. In Ramallah, design looks to heritage not as something static, but as material for the future. This is not about finding the next Paris, Milan or London.
It is about recognising that culture no longer has only one centre.
Discover the full story on Marie Claire Maison Arabia.
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@tselinnycenter
@almatymuseumofarts
@aspangallery
@asifkhan.now
@chapman_taylor_architects
@jamanurkalieva
@benchellal, photographed by @timverhallen_photography
@nurlan_smagulov_foundation
@lace.inga
@cca_tashkent
@acdfuz
@studioko
@bukhara.biennial
@punkorientalism
@muhannad.shono
@nariward
@rakhimov_shokhrukh_
@tarikkiswanson
@studiokimsooja
@ali.cherri
@bakuartweekend
@heydaraliyevfoundationofficial
@leyla999
@artweeksyria
@artopia.uae
@signed_by_line
@ammarparis
@ghaith.alsayed
@palestinedesignweek
@unesco
@birzeit.university
@elshai.eg
@yahya_alsholy
@ambient.gaza
@jessica.azizeh

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Homeland steals my heart everytime❣️🇺🇿

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Thank you Architectural Digest (@admiddleeast) & writer Maghie Ghali (@maghieghali) for this wonderful review. It was a pleasure to share the opening of CCA Tashkent (@cca_tashkent) & the inaugural exhibition “Hikmah” (wisdom) with you.

For me “Hikmah” was always intended as an open ended curatorial dialogue, the first artist is the architect (@studioko) & the first artwork is the sensitively restored building. This foundation has allowed for the cross-circulation of art & ideas with 10 additional artists who have further occupied the space in beautiful & unexpected ways. The result is a true conversation about material intelligence, through the hand of the artist, which is hikmah personified, manifested through art & sculptural form. I couldn’t be more thrilled with the exhibition!

Thank you to all the artists: Ali Cherri, Nadia Kaabi-Linke, Kimsooja, Tarik Kiswanson, Vladimir Pan, Shokhrukh Rakhimov, Bakhtiyar Saipov, Daribay Saipov, Muhannad Shono, & Nari Ward.

“Hikmah” runs until 31 Jan, 2027. See you in Tashkent, all are welcome!

#gayaneumerova #studioko #hikmahtashkent

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6 сентября в Ташкенте открылся CCA Tashkent (@cca_tashkent ) — первый постоянный государственный центр современного искусства в Узбекистане. Его появлению предшествовали несколько лет активной работы Фонда развития культуры и искусства Узбекистана ( @acdfuz ) с проектами внутри страны и за ее пределами — от участия в крупнейших международных культурных событиях до выставок, резиденций, образовательных программ и работы с культурным наследием.

5 сентября, за день до официального открытия, TÄJ побывал в CCA на предпоказе для прессы — увидел Центр после шести лет реконструкции и принял участие в пресс-конференции, на которой председатель Фонда развития культуры и искусства Узбекистана Гаянэ Умерова, главный куратор Центра доктор Сара Раза ( @punkorientalism ) и архитектурное бюро Studio KO ( @studioko ) рассказали о его программе, архитектуре и дальнейших планах.

Полный материал читайте на сайте Taj.kz

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The AA Visiting School Samarkand takes place at the Observatory of Ulugbek, a machine built in the 1420s to observe the sky, serves as a departure point for participants to engage with broader issues of climate change, heritage, and astronomy.

Supported by @acdfuz

Map of Samarqand by @nabiagzam
Photograph by E. Yuditsky, April 1956

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