Assouline celebrates 30 years in 2024. Founded in 1994 by Prosper and Martine Assouline, the company has published almost 2,000 books on contemporary culture and travel since their first, La Colombe d’Or (1994).
We sat down with Yaffa Assouline – Prosper’s sister and author of seven books and two limited editions about Uzbekistan – to talk about her travels in the Central Asian country; the art, craft and architecture of the region; the history and importance of Russian and Soviet art; and to delve into her research process for her latest book, Uzbekistan: The Hidden Collection (2024).
You’ve authored a number of Assouline coffee table books about Uzbekistan. What is your connection to the country?
I first visited Uzbekistan in 2011 and instantly fell in love. From the moment I arrived, I was captivated by the stunning architecture, the warmth of the Uzbek people, and their vibrant culture – everything about the country mesmerised me. As a journalist, I felt a natural urge to share this passion with others. In 2018, I had the privilege of meeting Saida Mirziyoyeva and Gayane Umerova. Through the Art and Culture Development Foundation (ACDF), they entrusted me with the chance to showcase Uzbekistan through themes I proposed. This collaboration resulted in seven books and two limited editions, which I believe truly capture the essence of Uzbekistan.
Tell us about your travels in Uzbekistan:
Over the course of five years, I travelled extensively throughout Uzbekistan, with the first year dedicated to immersing myself in its rich culture and history. This deep exploration gave me a unique perspective and allowed me to propose a vision for the various projects I undertook. The trust and support of Saida Mirziyoyeva and Gayane Umerova were instrumental and became a powerful source of inspiration for me.
What was one of your highlights while in Uzbekistan?
One of the highlights was collaborating with immensely talented photographers like Laziz Hamani on the books Uzbekistan, Living Treasures, Masterpieces of The Silk Road, and Silk and Gold, and with Harald Goldschak on Russian Avant Garde, Avant Garde Orientalist, and Hidden Collection. Together, we worked on several projects, including three books focused on the Savitsky Museum. It was an incredibly rewarding experience.
And a lowlight?
The challenges of travelling through remote areas and facing logistical hurdles were difficult, but ultimately, they made the end results all the more meaningful.
In recent years, Uzbekistan has become a more popular travel destination than ever before. What do you think has contributed to this rise in popularity?
Uzbekistan has truly opened its doors to the world, proudly showcasing its incredible heritage through a series of remarkable exhibitions. One notable example is the Paris exhibition on the regalia of the Emirs of Bukhara – On the Road to Samarkand at the Institut du Monde Arabe – for which I had the privilege of serving as the General Curator. The exhibition was a tremendous success, drawing a diverse international audience for six months, and was always bustling with visitors.
I believe that exhibitions like this, alongside the publication of books and other cultural initiatives, have played a significant role in revealing Uzbekistan’s beauty and rich history to the world. These efforts have undoubtedly contributed to the country’s growing popularity as a travel destination.
Your latest book, Uzbekistan: The Hidden Collection, focuses on art from the Nukus Museum of Art in the Republic of Karakalpakstan. Tell us about the region of Karakalpakstan?
Karakalpakstan is a culturally and geographically distinct region in Uzbekistan, characterised by its arid desert landscape and proximity to the Aral Sea.
And tell us about the Nukus Museum of Art:
The renowned artist Igor Savitsky developed a deep affinity for Karakalpak folk art during his participation in the Khorezm expedition in the late 1950s. Initially focused on archaeological painting, Savitsky became captivated by the local culture and artistic expressions of the Karakalpak people. In addition to his interest in folk art, he dedicated himself to preserving Russian avant-garde art, collecting thousands of works that had been condemned or suppressed during the Soviet era. Savitsky chose Nukus, the capital of Karakalpakstan, as the location for his museum – the Nukus Museum of Art – due to its remoteness, which allowed him to operate under the radar of Soviet authorities. He received support from local Karakalpak officials, who believed in the importance of his mission.
The museum houses the world’s second-largest collection of Russian avant-garde paintings. Could you explain this genre?
Alexey Podkovirov, Builders, oil on canvas, 56.5 x 47 cm. Image Credit: Harald Gottschalk
The Russian avant-garde was a revolutionary art movement that emerged in the early 20th century, characterised by its rejection of traditional artistic forms and its embrace of bold experimentation. This movement encompassed various styles, including Suprematism, Constructivism, and Futurism, and it pushed the boundaries of abstraction, colour, and composition.
Artists like Kazimir Malevich and Wassily Kandinsky sought to break free from realism and narrative, creating new visual languages that reflected the political and social upheavals of the Russian Revolution. Avant-garde art was deeply intertwined with the idea of shaping a utopian future through radical artistic expression, making it a vital component of modern art history.
This book is the third in a series from Assouline about the Nukus Museum of Art. What makes the museum so special?
The museum houses over 90,000 pieces, including 15,000 avant-garde paintings, making it one of the largest collections of Russian avant-garde art in the world – second only to the Russian Museum in St. Petersburg. The collection features works by artists who were largely suppressed by Soviet authorities, showcasing styles such as Constructivism, Futurism, and Surrealism. Many of these artists faced marginalisation or persecution, and their contributions would have been lost without Savitsky’s dedicated efforts to preserve and promote their work.
The art in this book is described as “never-before-seen” – what does this mean?
The term “never-before-seen” in the context of this book refers to artworks that have either never been publicly exhibited outside of Uzbekistan, have never been published, or have remained hidden in the museum’s vaults for decades. Many pieces collected by Igor Savitsky were saved from destruction or censorship during the Soviet era, and as a result, much of the collection remained obscure for a long time.
“Never-before-seen” could also imply that these works have not been part of the mainstream art historical narrative, remaining hidden from both local and international audiences until now, as they are unveiled through this publication.
Personally, I delved into the storage archives and carefully curated a selection of items that had never been shown before. Many of these pieces were never exhibited in the Nukus Museum or anywhere else. I feel fortunate to have had the opportunity to present them.
Why is it important for this art to be seen?
It is crucial for this art to be seen because it preserves the voices of suppressed artists and offers a deeper understanding of Russian and Soviet art history. Additionally, it showcases the cultural defiance against political oppression, highlighting the resilience of artistic expression in the face of adversity. By bringing this art to light, we can appreciate the rich narrative and emotional depth that these works contribute to the broader context of modern art.
Can you share one of your favorite pieces of art featured in the book? What makes that piece stand out to you?
Arkadiy Stavrovsky, Safety poster, 1930-31, tempera and ink on paper, 36 x 52 cm. Image credit: Harald Gottschalk
I have a deep appreciation for the self-portraits of Ruvim Mazel; they capture such raw emotion and depth. Additionally, I am drawn to the poster artworks of Arkadiy Stavrovsky for their clever humour, which effectively navigates the boundaries of censorship. Both of these artists exemplify the creativity and resilience of artists during challenging times.
For your latest book you collaborated with photographer Harald Gottschalk and art historian John E. Bowlt. What contributions did they make to the book?
Harald Gottschalk played a vital role by joining me at the Nukus Museum to capture photographs of the artworks, bringing the hidden collection to life visually for readers. John E. Bowlt, an esteemed art historian, contributed by writing the preface, providing scholarly context and insights into the significance of the collection. He skilfully connected the works to the broader history of Russian avant-garde art, helping readers appreciate their historical and cultural relevance.
What is one thing we shouldn’t miss when travelling to Uzbekistan?
It’s impossible to choose just one! Everywhere you go in Uzbekistan, there are remarkable sights and experiences to be had. From the stunning architecture of Samarkand to the vibrant bazaars of Bukhara, each destination offers its own unique charm. The warmth and hospitality of the Uzbek people truly make every visit unforgettable.
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