Dushanbe Dispatch: In Political Critique, Tajik Artists Work Around the System
“People
here need art to be fun, that’s the first step. Then maybe when they
start understanding more, it can also be conceptual. But to attract
them, it must be fun,” explains Murodjon Sharifov,
one of a handful of contemporary artists working in Tajikistan, a
post-Soviet Muslim country struggling with the aftermath of a
devastating civil war, religious radicalization, and extreme poverty.
The country’s dictatorship—President Emomali Rahmon has been in power
over 20 years—is seen by many as a stabilizing force in what would
otherwise be utter chaos or a Taliban-style takeover.
Murodjon is referring to his work, Wish them luck!, an outdoor installation that took place within the frame of Spaces on the Run,
a project that included workshops, a multi-site public art exhibition
and events in various locations of the capital, as well as a tour of
other Central Asian countries for the participating artists, themselves
originating from these countries and Tajikistan. The project's aims
are “to analyze the processes behind recent transformations of public
spaces in the post-socialist context and to investigate the status of
public spaces in Central Asia by challenging the hegemonic narratives,
consumerist and private interests by re-appropriating/re-thinking and
re-activating the public space trough contemporary art and social
practices.”
Spaces on the Run was initiated in 2014 by Stefan Rusu, an expat curator from Moldova currently working at Dushanbe Art Ground, the only contemporary art space in Tajikistan, founded in 2012 by artist and curator Jamshed Kholikov. Jamshed
is a pioneer of the small contemporary art scene in Tajikistan. He was
initiator and participant in some of the first contemporary art projects
that took place in the country starting in 2004, before co-founding the
Dushanbe Art Ground with the support of the Swiss Cooperation Office
that has funded contemporary art activities in Dushanbe for more than a
decade.
Wish them luck!
is composed of around two dozen watering cans arranged in lines
radiating from a central point, placed near a water faucet on the
grounds of a private amusement park. The visitor is intended to fill the
cans with water but gets trapped by the rules of the game: only one
unmarked can is empty, the rest are filled with sand. It is the artist’s
comment on the profound systems of corruption eating away at his
country, where nothing can be achieved without bribing some official or
agent. Bribery is the only way to create something, to act, while those
who don’t are stuck with cans filled with sand, immobile and inactive.
This
more profound social criticism is lost on the audience, who prefer to
play with water. And who can blame them? Tajikistan is also a country
facing severe water shortages with its glaciers rapidly retreating, and
more than 1.5 million of its 8 million people are food-insecure. Experts
believe that this extreme climate change in Central Asia might result
in regional warfare, and that it should be a top geo-political priority.
But it is not, because here politicians are focused on enriching
themselves and their families.
While
“contemporary art,” a term that in any case needs some analysis, is
considered by many in the west as a dominant cultural form, and believed
accurately or not to have transformative powers, its role in Tajik
society is almost entirely inexistent. It is something practiced by
about ten artists within a closed circle. When asked what contemporary
art means to them, many artists with whom I spoke told me that for them
it is video art. Not installation, painting, or even performance. Not a
specific language or a critical approach. Rather it is something medium
specific: namely, video. This might be due to the complex socio-cultural
situation in Tajikistan, torn between the present resurgence of Islam, a
religion that for fear of idolatry forbids human representation in art,
and a Soviet past that encouraged the idolatry of sanctioned people and
images. Or it is due to the lack of funding for production. With only
two local funders, the Open Society Institute, a Soros Initiative, and
the Swiss Cooperation Office, the former of which is under threat of
expulsion, the small budgets that do exist are for implementation
exclusively.
But
video might also be to some the culmination of contemporaneity, with
its ability to record, document, and reflect reality, and also
deconstruct it. Video seems to have been the medium of choice also
because of its non-materiality; this, in a dictatorship that cracks down
violently on any public dissent and criticism, is an asset. It can be
easily distributed anonymously on the internet, it leaves almost no
traces, and yet can reach people all over the world instantaneously. It
can be screened surreptitiously and due to its temporality, has a much
higher chance of not attracting the attention of the censors, while an
object-based exhibition with critical material would much more likely be
shut down.
Spaces on the Run, for example, was carried out both officially, with due permits, and unofficially, assuming the risks. The
project is critical of current urbanization policies that favor the
demolition of soviet era buildings, while supporting the construction of
new, stylistically hybrid structures that may aspire to reflect a
modern autochthonic architectural identity but are embroiled in
corruption and money-laundering. The governmental policies of
eliminating the past while privatizing and commercializing all public
space echoes the trend in many post-socialist countries, where a violent
form of capitalism has usurped most social preoccupations.
But
here, in Dushanbe, it’s not a question only of eradicating the past by
razing entire neighborhoods and important architecture from before 1989,
an issue
that historian and journalist Gafur Shermatov addresses in his
writings. The more egregious problems are the absolute opacity in
awarding building contracts, the totalitarian decision-making in city
development lacking any civic input, the corrupt spending of European
funds on megalomaniacal construction projects, and the absurd amount of
money-laundering that occurs in the construction industry, the most
profitable in the country. These issues, however, are less likely to be
addressed openly and directly because while general social problems,
like gender inequality, the environment, the changing urban landscape,
the dependence of Tajikistan’s economy on remittances from Russia, are
vaguely touched upon in the public sphere, once specific individuals are
named culpable or some civic action taken, there is immediate
censorship and retaliation.
The grey zone in which Spaces on the Run managed to function is characteristic of how any critical public discourse can exist in this country. There are protected spaces, few, where a certain indirect critique is allowed, and where to garner permission to act, one must hide the true nature of the activity or engage in bribery. So it was with a series of presentations on transformations in public space in post-socialist countries that took place in the Children’s Park of Dushanbe. The park is managed by an office associated with the municipality that focuses on children and youth with disabilities. To get the necessary permits for these events, Dushanbe Art Ground co-opted the office by inviting it to present its civic activities, all the while obfuscating the criticisms expressed by Gafur Shermatov in his lecture about the destroyed parks of Dushanbe. However, other projects within Spaces on the Run needed to take place in private spheres: Murodjon’s Wish them luck! and Kazakh artist Bakytzhan Salikhov’s The Best Citizens, a work composed of mirrors reflecting onlookers’ countenance, thus reminding them of their civic responsibilities, were installed on the private land of an amusement park where Murodjon’s mother works. Other lectures about this transformation were scheduled in a former state cinema turned private restaurant, where the group was allowed to gather semi-privately in exchange for food and drink purchases, thus highlighting the very phenomenon addressed by the speakers.
Many
in Dushanbe who lived under the Soviet regime are nostalgic for that
past: it was a time when roads and cities were built (it was then that
Dushanbe was developed from a small village into the country’s capital,
with unique architecture and excellent infrastructure); education and
health care was universal and free; cultural institutions like opera,
museums and theater were funded; and people had jobs. Russian is still
the language of culture, business, and interethnic communication, but
the young generation brought up in a post-civil war reality, when
nationalistic tendencies also manifest themselves in the battle for the
Tajik alphabet, a Persian language, is losing its literacy in Russian
and is not yet gaining it in Tajik either.
“Some
of my students don’t know how to write their own names neither in Tajik
nor in Russian, and we expect them to understand and take an interest
in contemporary art,” says Murodjon, who also teaches painting and
drawing at the Institute of Art. The conflict over the script of Tajik,
which is now the official language, embodies the political conflict
within the Tajik people themselves: some want to Latinize it and thus
get closer to Uzbekistan who also adopted this alphabet. Others, the
devoutly religious, prefer the Persian alphabet to align themselves to
Iran and their Persian heritage, while a final group prefers to leave it
in Cyrillic and not distance themselves from Russia on which Tajikistan
heavily depends economically and militarily.
Women's
rights and gender inequality are also serious issues here. Larisa
Dodkhudoeva, the only art history professor at the University in
Dushanbe, explains:
In the Soviet times, the gender gap was not nearly as wide. Women were educated, had good jobs and social standing in society. Now it seems we have regressed with this resurgence of religion and traditionalism. Women are now pushed back into the home and their presence in public is diminishing more and more. They are becoming invisible.
These subjects are taken up by two female artists in Reimagining the New Man,
another project initiated by the Dushanbe Art Ground in 2014 and
curated by Stefan Rusu. In one part of the project participants were
involved in a video production workshop taught by two American
filmmakers and were given access to film archives from the Soviet period
from which to work. This event was sponsored by the U.S. Embassy in
collaboration with the local funders previously mentioned and was an
extension of an initiative on civic engagement proposed by the U.S.
Embassy.
Alla Rumyantseva’s I Met a Girl is based on a famous Tajik film from 1957 in which the patriarchal structure of society is criticized and questioned in favor of women’s emancipation. After a long period during the Soviet era when women could, within a limited frame, “follow their dreams,” a return to the patriarchy of old is taking root in modern Tajikistan. Using fragments of the 1957 film juxtaposed with new interviews with women, this video criticizes the religious values that are taking over society and making it nearly impossible for women to self-actualize.
Generation Next,
the work of Surayo Tuychieva who is the only professor of art theory in
Tajikistan and Larisa Dodkhudoeva’s daughter, reveals the
transformation of political ideology in Tajikistan through the prism of
changing accessories worn by women. During the Soviet era schoolgirls,
like boys, wore red kerchiefs around their necks. They were all
Pioneers, members of the Soviet youth. A new religious ideology has
replaced the former atheist one, and has instead relegated women to an
inferior position, hiding them behind hijabs. The red scarf has morphed
along with the ideology, from a sign of atheism and equality between the
sexes to a sign of religiosity and oppression.
In
today’s Tajikistan there are only few who criticize publicly, and those
that do tend to do it in general terms, using a masked language of
metaphor, or without pointing the finger to individual culprits. In this
oppressive and potentially explosive context, where the people are
forced to choose between a secular corrupt dictatorship that keeps the
country semi-stable or a collapse into yet another civil war, only
small, primarily private events that try to bring awareness to various
social problems can take place. But with no public debate and only a few
who take an interest in these issues, transformation will be very slow.
For the most part people want to be businessmen, artists included. The
struggle to make a living in Central Asia’s poorest country supplants
all other preoccupations.
Sabzali
Sharipov, Murodjon’s father, and one of the most famous artists from
the Soviet era, sums up the perspective of some in this way:
What our president did for our country after five years of bloody civil war is very good—he united us, he made us a nation. We fear Islamization, religious fanaticism—it happens very fast regardless of the education at home. Art and science are our only hopes.
But
how can art offer hope when it exists for so few and is constantly at
risk of being silenced by this same president’s government? Stefan Rusu
looks ahead:
I hope and want to believe that Dushanbe Art Ground and its team will survive the increased restrictions which will continue to impose themselves following the examples in Russia and Uzbekistan, where the independent sector was stifled on all levels.
Tajikistan
sits at the crossroads of ideologies—it is here that the battle between
east and west, modern and traditional, past and future, secularism and
religion is taking place. And if art will have any role in the country’s
future, it must be brought out from the private realm into the public.
—Olga Stefan
009, based in Zurich. She contributes regularly to ArtReview, Frieze Magazine, Art in America,Flash Art, Sculpture Magazine, ArtSlant, and Artmargins. Her upcoming exhibition, Laughter and Forgetting, takes place October 9-16, 2015 in the frame of Bucharest Art Week.
Murodjon Sharifov, Wish them luck!, 2015, Public performance at Pаrk Poytaht. Courtesy of the artist and Dushanbe Art Ground
Bakytzhan Salikhov, The Best Citizens, Installation view at Pаrk Poytaht. Courtesy of the artist and Dushanbe Art Ground
Alla Rumyantseva, I Met a Girl, 2014, Video still. Photo: Stefan Rusu
Zuhur Habibullaev
He was able to change the style of Tajik art in the sixties of the 20th
c. So he has been in the center of the Tajik artistic life for many
years.
Habibulloev is People`s Artist of the Republic of Tajikistan and Member of the Union of artists of Tajikistan.
He was born in 1932 in Dushanbe. He has had good professional education: graduated from Olimov State art College in Dushanbe in 1953 and Mukhin High industrial-art school in St. Petersburg in 1959.
Habibulloev has been participant of the all USSR, republican and international exhibitions from 1960. His works are held in museums and private collections of Tajikistan, Russia,Europe and Asia.
Dilorom Shermatova was born in Tajikistan. Now living and working in Dushanbe she is one of Tajik most distinguished artists who has exhibited her works in a number of art centers .She graduated from Olimov State Art College in Dushanbe. She is a member of the Artists Union of Tajikistan.
The uniqueness of her art works is in the fact that all her pictures are made of dried pressed rose petals. Each detail of the picture, even (eyes, eyelashes, hair) – are made of dried pressed roses.
Instead of oil she uses natural gamut of colors of these beautiful flowers. And also she makes her artworks with semiprecious stone (frorentine mosaics).
Dilorom’s works represent a new trend in the modern art of Tajikistan. She invites the viewer to go beyond stereotypes, to convey the significance of people’s daily lives and aspirations.
Her works are in private collections in Europe and USA.
Habibulloev is People`s Artist of the Republic of Tajikistan and Member of the Union of artists of Tajikistan.
He was born in 1932 in Dushanbe. He has had good professional education: graduated from Olimov State art College in Dushanbe in 1953 and Mukhin High industrial-art school in St. Petersburg in 1959.
Habibulloev has been participant of the all USSR, republican and international exhibitions from 1960. His works are held in museums and private collections of Tajikistan, Russia,Europe and Asia.
Work of Nurjon (Lemon Seller)
Zuhur Habibullaev
size:110x70 year:1985 material:oil and canvas
Master (Usto)
Zuhur Habibullaev
size:120x80 year:1986 material:oil and canvas
Morning of the Shepherd
Zuhur Habibullaev
size:120x80 year:2003 material:oil and canvas
Bazar (Grape Seller)
Zuhur Habibullaev
size:90x120 year:2004 material:oil and canvas
Refugees
Zuhur Habibullaev
size:100x100 year:2004 material:oil and canvas
Dilorom Shermatova
Dilorom Shermatova was born in Tajikistan. Now living and working in Dushanbe she is one of Tajik most distinguished artists who has exhibited her works in a number of art centers .She graduated from Olimov State Art College in Dushanbe. She is a member of the Artists Union of Tajikistan.
The uniqueness of her art works is in the fact that all her pictures are made of dried pressed rose petals. Each detail of the picture, even (eyes, eyelashes, hair) – are made of dried pressed roses.
Instead of oil she uses natural gamut of colors of these beautiful flowers. And also she makes her artworks with semiprecious stone (frorentine mosaics).
Dilorom’s works represent a new trend in the modern art of Tajikistan. She invites the viewer to go beyond stereotypes, to convey the significance of people’s daily lives and aspirations.
Her works are in private collections in Europe and USA.
The Morning
Dilorom Shermatova
size:19x25 year:Unknown material:dried rose petals, cardboard
Motherhood
Dilorom Shermatova
size:21x43 year:Unknown material:dried rose petals, cardboard
Girl with flute
Dilorom Shermatova
size:19x25 year:Unknown material:dried rose petals, cardboard
Girl with flute
Dilorom Shermatova
size:19x25 year:Unknown material:dried rose petals, cardboard
Mountain girl
Dilorom Shermatova
size:25x40 year:Unknown material:dried rose petals, cardboard
Manzura Uldjabaeva
Born in Leninabad (Tajikistan Soviet Socialist Republic) in 1952.
She graduated from the Republic Art College of Dushanbe in 1974.
From 1974 to 1976- Art Director of the Publishing House “IRFON”She graduated from the Republic Art College of Dushanbe in 1974.
From 1976 to 1993, she worked as Costume Designer of the “Tajikfilm” studio.
Since 1987, she is member of the Cinematographer and Artists’ Union of the USSR.
Since 2004, she is member of the Designers’ Union of the Republic of Tajikistan.
Since 1993 until present, she is professor at Olimov State Art College.
Being a costume designer, Ms. Uldjabaeva created draft costumes for more than 25 movies.
Some of them like “Mysteries of the family”, directed by V.Akhadov, was rewarded during the International Film Festival in Germany in 1984.
“The Stars are shining above tanoor”, a film of S.Rakhimov, was presented during the Film Festival in Cannes.
In 1996, she participated in the design of the uniforms for the Honor Guards under the President of the Republic of Tajikistan (authors’ group).
Portrait
Manzura Uldjabaeva
size:40x25 year:Unknown material:plasticine, cardboard
Dervish
Manzura Uldjabaeva
size:50x40 year:Unknown material:mixed techniques
Fantasy
Manzura Uldjabaeva
size:60x40 year:Unknown material:hot batik
Nostalgia
Manzura Uldjabaeva
size:60x40 year:Unknown material:hot batik
Caspian Melody
Manzura Uldjabaeva
size:50x40 year:Unknown material:mixed techniques
Farruh Negmat-Zadeh
Born in 1959 in Dushanbe, and graduated from Moscow Art School and from Surikov State Art Institute of Moscow (1983).
He is member of the Union of Artists of Tajikistan and has participated in USSR and international exhibitions.
His works are in museums and private collections in The Netherlands, the USA, Syria and North Korea.
He is member of the Union of Artists of Tajikistan and has participated in USSR and international exhibitions.
His works are in museums and private collections in The Netherlands, the USA, Syria and North Korea.
Scene of Life
Farruh Negmat-Zadeh
size:58x88 year:1978 material:Oil Canvas
Flight
Farruh Negmat-Zadeh
size:76x120 year:2004 material:oil and canvas
To Guests
Farruh Negmat-Zadeh
size:120x70 year:2005 material:oil and canvas
Portrait of Tahmina
Farruh Negmat-Zadeh
size:120x80 year:2005 material:oil and canvas
Portrait of Sabzina
Farruh Negmat-Zadeh
size:60x50 year:2005 material:oil and canvas
Bakhtiyor Odinaev
Artist Stage Manager. Born in Khujand and graduated from Olimov State
Art College of Dushanbe in 1974. Since 1976, he is the – costumes
designer for “Tajikfilm”, “Belarusfilm” and “Mosfilm” studios. Since
1992, he has been a Lecturer of Olimov State Art College. Since 1987,
he is member of the confederation of the USSR cinematography Union and
of the USSR Union of Artists.
He has participated in national and international exhibitions. His works are in private collections in Europe and CIS countries.
He has participated in national and international exhibitions. His works are in private collections in Europe and CIS countries.
Talk
Bakhtiyor Odinaev
size:40x30 year:2000 material:Unknown
Beauty
Bakhtiyor Odinaev
size:84x62 year:2000 material:Unknown
To go on a visit
Bakhtiyor Odinaev
size:72x60 year:2000 material:Unknown
Navrooz
Bakhtiyor Odinaev
size:90x66 year:2003 material:Unknown
December Morning
Bakhtiyor Odinaev
size:80x60 year:2005 material:oil and canvas
Azim Mukhamadiev
Born in Tashkent in 1943 and graduated from the Art College in Dushanbe in 1963. At present, he is working at the Publishing House in Dushanbe.
He has participated in many artists' exhibitions in the Tajik Republic.
He also designs books of different authors and the textbooks of general education schools.
In 1986, he participated in “The International Fair of books” in Moscow.
USSR
Azim Mukhamadiev
size:65x50 year:1994 material:oil and canvas
Composition
Azim Mukhamadiev
size:40x30 year:1988 material:paper and Indian ink
Composition
Azim Mukhamadiev
size:29x20 year:1988 material:paper and Indian ink
Composition
Azim Mukhamadiev
size:40x35 year:1997 material:oil and canvas
Composition
Azim Mukhamadiev
size:70x70 year:2004 material:oil and canvas
Murivat Bekhnazarov
Muruvat Beknazarov is a painter who transforms the reality into
fantastic and exotic world. Picture for him is a plane which he must
decorate by expressive and sensuous color.
Beknazarov is Honoured Artist of the Republic of Tajikistan and Member of the Union of artists of Tajikistan.
He was born in 1943 in the Vanj region of Gorno-Badakhshon province. At first he graduated from Olimov State art College in Dushanbe (1965) then he decided to continue education in Estonia and graduated from Estonian Academy of arts in Tallinn (1970). Since that time he has participated in USSR, republican and international exhibitions. His works are held in museums and private collections of Tajikistan, Europe, Asia and USA.
Beknazarov is Honoured Artist of the Republic of Tajikistan and Member of the Union of artists of Tajikistan.
He was born in 1943 in the Vanj region of Gorno-Badakhshon province. At first he graduated from Olimov State art College in Dushanbe (1965) then he decided to continue education in Estonia and graduated from Estonian Academy of arts in Tallinn (1970). Since that time he has participated in USSR, republican and international exhibitions. His works are held in museums and private collections of Tajikistan, Europe, Asia and USA.
Merging
Murivat Bekhnazarov
size:150x180 year:1985 material:Unknown
Naked Woman
Murivat Bekhnazarov
size:100x80 year:1987 material:Unknown
Portrait of Lola
Murivat Bekhnazarov
size:75x65 year:1995 material:Unknown
Charity
Murivat Bekhnazarov
size:120x100 year:1998 material:Unknown
Harvest
Murivat Bekhnazarov
size:90x70 year:2005 material:Unknown
Zakir Sabirov
Сабиров Закир Джабирович 16 июня 1951г.р.,образование высшее.
Окончил Ленинградский институт театра, музыки и кинематографии
(1971-1976)г.г. класс профессора Афанасьева Д.В.
Работал в Государственном Академическом Театре Оперы и Балета им. С. Айни г. Душанбе с (1976-1992)г.г. в качестве художника постановщика и технолога.
Являлся членом Союза Художников СССР.
1981-1983г.г. Творческая командировка в Алжир
1983-1992г.г. Работа в театре оперы и балета им. С. Айни г. Душанбе
1991-1992 г.г. Художественный фонд г. Душанбе.
1992-1997 г.г. (ТПФК) «СОЗ», Директор.
1997-2006 г.г. Свободный художник, изобретатель.
Работает в жанре театральной, станковой и монументальной живописи, прикладного искусства, графика, костюм и .т.д.
Станковые работы и эскизы спектаклей, экспонировались на всесоюзных, республиканских и международных выставках. В том числе в г.Москве в выставочном «Манеж», Театральный Музей им. Бахрушина. В г. Душанбе в выставочном зале Союза Художников и Государственный Музей им. Бехзода. В г. Минске, Алжире, Испании, Италии, Индии и т.д.
1997-2006 г.г. Создан новый стиль «ПАРАЛЕЛИЗМ» и «МАТЕРИАЛИЗМ» в области искусства.
Новый стиль, «ПАРАЛЛЕЛИЗМ» и « МАТЕРИАЛИЗМ», является инновационным проектом в области искусства, материальном культуре и теории искусства.
Работал в Государственном Академическом Театре Оперы и Балета им. С. Айни г. Душанбе с (1976-1992)г.г. в качестве художника постановщика и технолога.
Являлся членом Союза Художников СССР.
1981-1983г.г. Творческая командировка в Алжир
1983-1992г.г. Работа в театре оперы и балета им. С. Айни г. Душанбе
1991-1992 г.г. Художественный фонд г. Душанбе.
1992-1997 г.г. (ТПФК) «СОЗ», Директор.
1997-2006 г.г. Свободный художник, изобретатель.
Работает в жанре театральной, станковой и монументальной живописи, прикладного искусства, графика, костюм и .т.д.
Станковые работы и эскизы спектаклей, экспонировались на всесоюзных, республиканских и международных выставках. В том числе в г.Москве в выставочном «Манеж», Театральный Музей им. Бахрушина. В г. Душанбе в выставочном зале Союза Художников и Государственный Музей им. Бехзода. В г. Минске, Алжире, Испании, Италии, Индии и т.д.
1997-2006 г.г. Создан новый стиль «ПАРАЛЕЛИЗМ» и «МАТЕРИАЛИЗМ» в области искусства.
Новый стиль, «ПАРАЛЛЕЛИЗМ» и « МАТЕРИАЛИЗМ», является инновационным проектом в области искусства, материальном культуре и теории искусства.
Создатели радуги
Zakir Sabirov
size:110x89.5 year:1997 material:холст, масло
Крик- 90 годы
Zakir Sabirov
size:130x100 year:2000 material:холст, масло
Призрачная свалка
Zakir Sabirov
size:100x85.5 year:2001 material:холст, масло
Город в Сахаре
Zakir Sabirov
size:60.5x80.5 year:2004 material:холст, масло
Весна
Suleiman Sharifi
Zakir Sabirov
size:100x70.5 year:2006 material:холст, масло
Born in 1958 in Dushanbe.
Member of the Union of Artists of Tajikistan.
Participated in republican and international exhibitions.
Works are held in museums and private collections of Tajikistan, Europe,Russian and USA.
E-mail: ssharifi@yandex.ru
E-mail: ssharifi@yandex.ru
Healer
Suleiman Sharifi
size:85x70 year:2004 material:oil on canvas
Night
Suleiman Sharifi
size:100x80 year:2005 material:oil on canvas
Love
size:95x75 year:2006 material:oil on canvas
Ih und libido
Suleiman Sharifi
size:50x60 year:2008 material:oil on canvas
The heart of melon
Suleiman Sharifi
size:75x95 year:2009 material:oil on canvas
Sabzali Sharif
Sabzali Sharipov (1946). Painter-monumentalist. Mr. Sharipov graduated
from the Drama-arts Institute in Tashkent, Uzbekistan, in 1972. He
paints thematic paintings, landscape painting, portraits. He also works
in the field of monumental arts and graphic arts; lives in Dushanbe
Struggle
Sabzali Sharif
size:97x97 year:1992 material:oil and canvas
Blind Man
Sabzali Sharif
size:115x57 year:1992 material:oil and canvas
Prayer
Sabzali Sharif
size:115x115 year:1993 material:oil and canvas
Anxiety
Sabzali Sharif
size:97x100 year:1993 material:oil and canvas
Damned
Sabzali Sharif
size:115x57 year:1994 material:oil and canvas
Farrukh Khojaev
Farrukh Khojaev (1960) graduated from Polygraphic Institute in Lvov,
Ukraine. Works in the field of graphic arts and painting.
Navruz
Farrukh Khojaev
size:80x90 year:2000 material:oil and canvas
Corrida
Farrukh Khojaev
size:70x90 year:2000 material:oil and canvas
Sherdor
Farrukh Khojaev
size:80x90 year:2001 material:oil and canvas
Ozar Sharifi
Ozar Sharifi was born in Dushanbe on 1986.
He graduated from Tajik Art College.
Ozar participated in the exhibition of art works of young
Tajik painters in Bactria Culture Center.
He illustrated the second edition of “Melody of Mountains”
by Swiss Agency for Development and Cooperation.
Personal exhibition in Bactria Culture Center on 2005.
Personal exhibition in Kulyab on 2007.
Old man and the bird
Ozar Sharifi
size:50x35 year:2005 material:water-colour
Friends
Ozar Sharifi
size:35x50 year:2005 material:water-colour
Talk
Ozar Sharifi
size:50x35 year:2006 material:water-colour
illustration
Ozar Sharifi
size:20x30 year:2007 material:mix
...a suivre...
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