Following the death of president Islam Karimov in 2016, Uzbekistan has liberalised some of its social, economic, and political life. Meaningful change, however, still needs time to take root. In a country where visual art is nascent and official censorship still exists, encouraging free expression is a crucial yet often risky task. The 139 Gallery, therefore, is a badly needed forerunner. [...]
But Karpov’s vision is wider than the 139 Gallery. Apart from showcasing the work of local and foreign artists, the space will also provide a platform for discussions about art, social and cultural issues, and the changing reality of Uzbekistan. “Our goal is to build a space where everyone — artists, journalists, filmmakers, communities, and the government — everyone can work together on issues that concern us. It will be a place of dialogue. I have chosen art as a kind of mediator,” he says.
Karpov believes that out of all the visual arts, documentary photography is uniquely positioned to help Uzbek society start to discuss issues facing the country today, as well as to act as a stepping stone to open up new forms of art. “The moment you start doing something uncommon, there are always misunderstandings and criticism from society,” Karpov says. “But from my experience, when you show people documentary photography, very true photography, in which they see the reflection of their own lives, they understand. They see it as part of their being. This is what is so great about documentary photography.”
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