At the Baltic I saw As We Fade, the work of a prominent figure in Central Asian art: Saodat Ismailova. This wholly immersive exhibition explores the history and political turmoil of Central Asia, presenting a void, largely in regards to the politics surrounding the collapse of the Soviet Union. Ismailova’s use of archival footage taken between 1980 and 2000 depicts the transitory state of the region, which is made clear through the motif of obscurity through images of glass, water, mirrors as well as the constant disconcerting noises that fill the room. She presents the dream state through psychic images and the prophet Al-Muqanna’s teaching for divine ascension, reflecting the almost hypnotic indoctrination present within Soviet politics.
Every day our world becomes more and more “dystopian”, with freedoms being revoked all across the globe
With the current constancy of tragedy, the widespread political turmoil, and the prevalent fear of what the future may hold, the importance of political commentary through forms of art seems more explicit than ever. Every day our world becomes more and more “dystopian”, with freedoms being revoked all across the globe. The suppression of protests around the world, such as in the UK, and Georgia echo, the millions of people whose freedoms were quelled throughout the reign of the USSR, e.g. the introduction of martial law in Soviet Poland in 1981. Ismailova’s reasoning may have also been similar, her choice to create an exhibition now, with footage from the late 20th century, could be due to the public being more receptive to reflections of the current state of society. But, does this actually mean that political art is now more important than ever?
The debate about artistic cognitivism, where art is deemed a source of knowledge, suggests it is more important in today’s age where the rising prominence of anti-intellectualism has grown to a concerning level, and use of technology, such as AI, has subconsciously suppressed freedom of thought. However, the suggestion that art is more important now than before, for political discourse, is a flawed statement.
Creation has the capacity to go beyond the regulations
Throughout history, oppressive regimes have been met with resistance through the form of art, as referenced above, Solzhenitsyn’s depictions of Soviet Gulags or Miller’s photos of WWII present the raw truth, thereby resisting the systems that inspired their art. This may well be what Ismailova is doing with As We Fade, following the well-ploughed furrow of her artistic ancestors. Ismailova asserts ‘creation has the capacity to go beyond the regulations’, which evidently allows for further political discussion and resistance. Her statement suggests all creation—and all art by extension—is important for political discussion, reaffirming the concept that art today is not more important than ever, but rather just as important as ever as a gateway for political discussion.
Saodat Ismailova’s As We Fade will be exhibited at the Baltic until 7th June 2026.