The discussion about the situation with the House of Artists in Bishkek has gone beyond the art community. The authorities intend to transfer this building for commercial use, which could leave the Union of Artists without its historical venue.
Photo 24.kg
People's Artist Erkin Saliev shared his opinion in an interview with 24.kg on how this decision affects the cultural life of the country and what risks it poses for future generations of artists.
— What is the current situation with the House of Artists?
— To be honest, it has reached a deadlock. We are in a state of waiting. After the information became public, a heated discussion started on social media, and people reacted very negatively to the news about the eviction of artists.
This is not just a question of a private studio or office — it concerns a large organization, the Union of Artists, which unites more than 500 professionals in the field of visual arts.
Moreover, this building has a rich history: masters such as Chuykov, Aitieva, Lydia Ilyina, Herzen, and Suimenkul Chokmorov worked here. These individuals created Kyrgyz art in its modern understanding.
We are talking about a cultural space, about heritage, not just real estate.
— What is the essence of the conflict? What concerns you the most?
— The main problem lies in the substitution of values. The city, especially its center, is overflowing with commercial establishments. We see a rise in the number of shopping centers, hypermarkets, and business centers. I am not even sure that other countries have such high densities.
This space has historically formed as the cultural core of the capital.
Erkin Saliev
Here are located the opera, ballet, museums, libraries, and theaters. This is the image of the capital, and now they want to add another commercial establishment to this environment.
At the same time, we understand that this is a valuable piece of land. But the question arises: what is more important — culture or business?
— Some claim that the building could be transferred to the state. That sounds logical, doesn't it?
— Formally, yes. But in practice, it raises many questions. We have carried out major repairs three times at our own expense, while the city administration refused to participate, citing that the building belongs to us.
Now the city administration believes it has the right to dispose of this property, which is puzzling. Their position changes depending on the circumstances.
— What alternatives have been offered to you?
— We were offered three rooms in some old building, which, as it turned out, is also slated for demolition in the coming years.
This is not a solution to the problem, but merely a temporary reprieve. The Union of Artists is not a bureaucratic structure. We have studios, galleries, and exhibition spaces. It is a living organism.
— Are you actively involved in the cultural life of the country?
— Definitely. We participate in exhibitions both in the country and abroad, providing our works for international events and state delegations free of charge.
We represent the culture of Kyrgyzstan, and at the same time, we may end up without our venue. This seems strange.
Erkin Saliev
— Have you reached out to the authorities?
— Yes, we started with that. We prepared official letters from the Union of Artists to the presidential administration, the government, and the Ministry of Culture.
We hope for a response, as we have seen examples where decisions were reconsidered under public pressure.
— There is an opinion that artists are closed off in their circle. Is that true?
— This is absolutely incorrect. Such a viewpoint can be explained either by ignorance or a deliberate attempt to discredit us.
The Union of Artists is the center of the cultural life of the country. We generate ideas, discuss projects, and initiate new ventures.
We organize symposiums, plein airs, and international projects, often at our own expense.
— How is the work organized within the union?
— We have a democratic structure. The leadership is formed through a board, and the chairman is accountable to the board. It is a kind of parliamentary model of governance. We actively develop connections with the regions — Karakol, Osh, Talas, and Naryn. It is a unified network.
— How are things with the youth?
— We have opened up to new talents. Previously, it was difficult to join the union, but now participation in two or three exhibitions is enough. We provide young artists with the opportunity to enter our environment, which helps them develop faster.
— Many claim that in the USSR, art was under strict censorship. Do you agree with this?
— Partly. Censorship existed, but these were artistic councils that cared about the high level of art.
— So the restrictions were justified?
— You could say that: they established certain standards. Low-quality works were not allowed — what we now call "dark" and "pornographic" art.
Historical art, from antiquity to the Renaissance, always supported humanism and high aesthetics. That was the focus.
— What diagnosis would you give to contemporary art in Kyrgyzstan?
— A decline. We exist on the legacy created earlier. There is no support system for artists in the country. They are forced to earn a living, teach, or do business, which prevents them from fully focusing on art.
There are serious problems with aesthetic taste. Even at a high level of skill, there is often a lack of understanding of harmony, composition, and color, which leads to the emergence of kitsch.
Erkin Saliev
— How is the art market doing?
— It is practically non-existent. We lack collectors and patrons. People are willing to spend money on anything but art.
— Why is the situation better in neighboring countries?
— This is a complex question. Perhaps it has to do with cultural traditions and the level of development of the environment. But we have not formed a class of people who consciously support art.
— You mentioned pressure on art. Is it increasing?
— It is not a widespread phenomenon, but such a trend exists. We are forced to take public opinion into account, including religious views.
— Does this limit artists?
— Yes, it can lead to the emigration of talented individuals, as creativity requires freedom.
— How did you get into cinema?
— I started with practice. I worked as an assistant to the production designer on the filming of "The White Steamship." It was a real school for many well-known people.
— Why aren't you filming now?
— I have a new project, but it turned out to be "politically incorrect" — they suggested changing some scenes. I started reworking it, and in the end, it turned into a novel.
— To sum up: what is happening with culture in Kyrgyzstan right now?
— We are on the edge of a precipice. If we do not realize the importance of culture now, we will lose it. It will be impossible to restore it in the future.
