Study shows that Chorsu Bazaar in Tashkent is a living social institution connecting the regions of Uzbekistan
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Study shows that Chorsu Bazaar in Tashkent is a living social institution connecting the regions of Uzbekistan

A field study conducted by the research organization Anthropogeos revealed that the Chorsu Bazaar in Tashkent performs far more functions than just trade. It serves as a link between the capital and the country's regions through food products, crafts, traditions, and daily human relationships, while also transmitting practical knowledge from generation to generation.

At Chorsu Bazaar, the question of products often evolves into a question of origin. A buyer, looking at grapes, tomatoes, or melons, may ask about where they were grown before learning the price. The answer might point to the Fergana Valley, a mountainous region, or an irrigated plain, turning a simple purchase into a brief exchange of information about Uzbekistan's landscape.

This connection between goods, geography, and conversation became one of the key findings of Anthropogeos's fieldwork in Chorsu. Through interviews, observations, and photographs, the study examined the bazaar's significance for the people who work there, buy from it, and introduce it to younger family members. Research conducted in Samarkand, Bukhara, and Khiva provided a broader view of how markets, food, and crafts remain an integral part of cultural life across the country.

It was established that Chorsu is not merely a historical site or a large commercial center. It is a living social institution: a place where family livelihoods are sustained, regional identities are recognized, and customs are absorbed through participation. Its importance stems not from resisting modern life, but from its ability to continue meeting needs that new forms of shopping cannot satisfy to the same extent.

More than a place to shop

Chorsu is often presented through its scale, its Soviet-era dome, and the variety of goods sold under and around it. However, fieldwork showed that its cultural role is most evident in small, daily rituals. Regular customers return to vendors whose judgment they trust. Merchants remember preferences and explain differences in origin, season, or preparation methods. Greetings, questions, and negotiations make the transaction personal, even when the market is crowded.

These exchanges are practical, not ceremonial. They help buyers assess quality and foster vendor loyalty, but they also reproduce familiar notions of hospitality, patience, and respect in Uzbekistan. The market provides a public venue for these expectations. Culture in Chorsu is not displayed behind glass; it manifests in the manner of people's interaction, their choices, the exchange of advice, and concessions to each other. Chorsu maintains its cultural importance because trade, social ties, and the transmission of everyday knowledge continue to exist together.

A country gathered at the counter

The geography of Uzbekistan is remarkably visible in Chorsu. Mountains, deserts, river valleys, and irrigated plains produce various crops and specialties, and the capital gathers many of them in one market. A walk through the bazaar becomes a journey through regions that can be hundreds of kilometers apart.

During the study, both buyers and sellers repeatedly described products by their place of origin. Yangiyol was associated with large sweet grapes; the Fergana Valley with peaches and nectarines; Khorezm with tomatoes; Qarshi with melons; Namangan with cherries; and Andijan with dense, aromatic onions. Such connections are part of the knowledge that buyers bring and that sellers share. Origin is not just a label. It can indicate climate, soil, harvest season, taste, and methods of transporting the product to Tashkent. Therefore, the question of where something comes from is a way of assessing that product. It is also a way of recognizing the people and environment behind it. Chorsu unites the country's regional diversity without reducing it to a single concept of Uzbek cuisine.

Tradition is absorbed through participation

One of the strongest findings was the educational role of the bazaar for children and youth. Chorsu does not teach formal lessons. Knowledge is acquired by accompanying parents or grandparents, observing how they interact with vendors, and gradually participating. Children learn to greet elders, when to listen, how to ask about goods, and how to behave in a public space.

They also encounter practical knowledge that is difficult to replicate in a classroom. Color, smell, texture, and season are used to evaluate products. Regional names carry meaning. The rhythm of conversation shows that bargaining can involve humor and mutual recognition, rather than confrontation. Repeated visits make these habits familiar long before a young person starts shopping independently. Bread serves as a prime example. Many families in modern apartment buildings do not have access to a home tandoor. In Chorsu, young visitors can still see the labor and skill involved in traditional baking and understand why bread holds such an important place in Uzbek hospitality. The bazaar allows the domestic tradition to be preserved in a public setting, despite changing lifestyles.

Livelihoods passed down through generations

The study also showed that Chorsu supports a large number of family incomes in ways that cannot always be divided into clear job descriptions. Relatives may jointly be responsible for sourcing, transportation, preparation, sale, and accounting. Younger family members learn by observing experienced traders, while long-standing relationships connect producers outside Tashkent with sellers in the capital. Succession does not mean that every generation works exactly the same way. Payment methods, transport, communication, and customer expectations change. What remains is the body of practical knowledge: how to assess a supplier, set up a display, respond to seasonal demand, and maintain trust. The bazaar gives economic value to this knowledge and provides a path from one generation to the next.

This same principle extends beyond food products. Around the main trading areas, kiosks and workshops offer baskets, textiles, ceramics, metalwork, and household items. These goods carry knowledge about materials and craftsmanship that is Uzbek tradition. Their presence demonstrates that Chorsu's cultural landscape extends beyond the dome and the depiction of the bazaar only as a destination for groceries.

Why Chorsu still feels different

Tashkent residents now have many more ways to shop. Supermarkets offer fixed prices and predictable layouts; neighborhood stores provide convenience; delivery services eliminate the need to travel. Nevertheless, Chorsu continues to attract people because it offers a different combination of choice, knowledge, and human contact.

A supermarket shelf can identify a product, but it rarely facilitates a conversation with the person who selects or sells it. At Chorsu, buyers can compare varieties, ask how something should be cooked, buy quantities suitable for home or celebration, and seek out specialties related to a specific region. Trust can be placed in a familiar vendor, not just in a brand or printed label. It is important not to romanticize this. Overcrowding, traffic, hygiene, storage, and accessibility are real issues, and modern retail meets genuine needs. Chorsu's value lies in offering something extra, not pretending that nothing has changed. It remains useful because it adapts while preserving direct relationships between buyers, sellers, and producers.

A place of exchange in every sense. Commerce is the reason people come to Chorsu, but it is not the only thing exchanged there. Advice is passed between traders and buyers. News spreads through regular conversations. Regional differences are discussed through food, accent, and crafts. Familiarity is renewed through repeated encounters, including meetings between people who might only know each other within the market. Field studies show that this social infrastructure deserves attention when discussing the future of the bazaar. Improvements to buildings, transport, and visitor facilities can strengthen Chorsu, but physical plans do not always reflect the relationships that make it function. A row of stalls can also represent a network of suppliers, relatives, regular customers, and neighboring traders who help each other throughout the day. Thus, protecting Chorsu's cultural role does not require freezing it in time. It requires understanding what relationships, skills, and forms of access must continue as the market changes. The most important traditions are often not objects that can be preserved. They are ways of collective action.

Part of a broader Uzbek history

Observations in Samarkand, Bukhara, and Khiva placed Chorsu within a broader Uzbek traditional context of markets shaped by their surroundings. Siyob Bazaar in Samarkand connects local daily purchases with the city's tourism economy. Bukhara's trade domes situate commerce within a historical architectural environment, while Khiva's market spaces are located near the old city's cultural landscape. Each market has its own balance of local production, trade, tourism, and social life. Chorsu is distinguished by its scale and location in the capital. It gathers an especially wide range of goods, languages, and trading practices, allowing different parts of Uzbekistan to meet in one urban space.

The key finding of the study is that Chorsu is important because it remains alive, not just preserved. People continue to depend on it for income, food, specialized goods, and trusting relationships. Younger generations continue to encounter customs there during normal family life. Regional diversity continues to arrive at its stalls every day. This is what the bazaar means to its people: not a single monument or memory, but a common place where culture remains useful. Chorsu connects the practical work of the present with traditions inherited from the past, and its future will depend on preserving both within the framework of one market.

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The idea of transforming the old diesel station into a cultural center belongs to Gayane Umerova, Chairman of the Uzbekistan Art and Culture Development Fund. She noted that the concept arose long ago as a personal desire to create a place where artists and creative communities could gather, merging industrial heritage with modern architecture.

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The choice of the architectural bureau was driven by Umerova's admiration for the work of the Parisian studio Studio KO, particularly the Yves Saint Laurent museum in Marrakech, constructed from brick. One of the studio's co-founders, Olivier Marty, emphasized that the collaboration began with the observation that 'Uzbekistan is a country of brick.' Gayane Umerova explained that the location on this site was strategically important because three cultural and educational institutions were nearby: the State Museum of Arts (which is preparing to become the Museum of Architecture), the Academy of Arts, and several modernist buildings nominated for UNESCO inclusion. It was important to her to preserve the location in this historic district as an 'attraction point' for local youth.

In its initial state, the building was in extremely poor condition, according to Olivier Marty—it was covered in an oil film and permeated with fuel odor. However, the team decided that a radical reconstruction was impossible. Instead of adding extensions or 'glass boxes,' the architects chose to keep the historical volume virtually untouched, focusing the emphasis on the entrance from below. Marty noted that the building itself dictated many decisions, including the internal arrangement of functions.

A particular difficulty was the building's belonging to the imperial era, meaning it was built before the revolution, in the early 20th century. The technologies for restoring such brick were largely lost, requiring the involvement of French and regional specialists to restore these skills. The architect believes that this experience can set a new standard for the restoration of historical buildings in Central Asia, covering both imperial and Timurid structures.

Curatorial Program and Non-Linear Development of Art

Dr. Sara Raza served as the project curator, having previously curated art from the Middle East and North Africa under the UBS program at the Guggenheim Museum. The study of a specific historical period—from the late 1950s to the 1980s, when Tashkent was a key center for cultural and political exchange during the Cold War, hosting figures such as U. E. B. Dubois and Angela Davis—served as the starting point for the center's program. This theme formed the basis of the opening exhibition titled 'Hikma,' which means 'wisdom' in Islamic tradition.

Raza stressed that referencing the past in this context is not nostalgia but serves as a foundation for future development, i.e., a 'process of becoming.' In the curator's view, the region's history develops differently than the Western linear model of 'modern — late modern — postmodern'; it is characterized by breaks and pauses. The CCA's task is not to rewrite this history but to fill the gaps using small but important elements, like bricks.

Raza cited a joint project with the Art Development Fund for the national pavilion of Uzbekistan in Venice. There, works by an artist whose ideas emerged in the 1970s and 80s remained only sketches for decades, demonstrating the 'non-linear,' intermittent path of the region's art.

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The architectural concept of the center extends beyond mere exhibition spaces. In addition to the main hall of the former diesel station and the service building, the team added an amphitheater 'box' above the central space for performances, as well as a vertical exhibition volume. In the center, visitors can not only have coffee or visit the library but also participate in a book club, a small 'supper club,' watch a film, or attend a symposium and 'study day.' Furthermore, the center actively engages with the education sector: concerts were organized at Westminster University of Tashkent, where Gayane Umerova previously studied.

Initially, it was planned to place an artists' residency near the center, but the architects suggested moving them outside the building, into mahallas—old urban quarters. This decision was inspired by Studio KO's residency experience in Morocco, as the team believes artists need a local, 'vernacular' living experience, not ready-made infrastructure. Currently, the fund supports two such residencies established in a former madrasa and kindergarten, with similar projects planned in Samarkand, Nukus, and Kokand.

The panel discussion also addressed the Bukhara Biennale held a year ago, which attracted about one million local and one million foreign guests. Gayane Umerova viewed this experience as proof of growing interest in contemporary art in Uzbekistan, despite the skepticism the fund faced when purchasing the plot in 2017. She recalled that Tashkent previously hosted the UNCTAD summit on the creative economy, which was an important signal for the country. The fund is also working on a 'creative park' project that will unite fashion, music, and cinema, positioning CCA Tashkent as part of the state and fund strategy for supporting creative industries.

A symbolic moment was the visit to the center the day before the opening by the President of Uzbekistan, Shavkat Mirziyoyev. The discussion moderator, Mariette Westermann, Director and CEO of the Solomon Guggenheim Foundation, called this a sign of high state attention to culture. Concluding the event, participants shared their expectations: Olivier Marty wished to see 'chaos and madness' in the exhibitions; Sara Raza spoke of 'cross-pollination'; and Gayane Umerova chose the word 'separation,' expressing hope that the project would become an independent institution. Participants unanimously emphasized that the official opening is only the beginning of the long journey of the Contemporary Art Center of Tashkent.

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The Chamber of Commerce and Industry of Uzbekistan announced the opening of an exhibition of Chinese brand products and the ninth International Exhibition 'Products of Silk Road Countries' in Tashkent. The events started on September 2.

The exhibitions are being held at the CAEx exhibition complex from September 2 to 4. Sherzod Ibragimov, Deputy Chairman of the Chamber of Commerce and Industry of Uzbekistan, attended the opening ceremony.

These exhibitions provide Uzbek entrepreneurs with the opportunity to interact directly with Chinese companies, find new partners, discuss investment projects, and establish joint production.

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