The city walls of Old Bukhara 1967

Editor: This is Mariam Aslamazian's "The city walls of Old Bukhara," painted in 1967. It’s quite a subdued piece, a cityscape with the city walls fading into the background and skeletal trees framing the view. What can you tell me about it? Curator: This work presents an interesting lens through which to view Soviet Nonconformist Art. Here, Aslamazian seems to depict a scene of decline or stagnation. The crumbling walls, the bare trees – they speak of a place perhaps bypassed by the supposed progress of the Soviet Union. Editor: So, the painting might be a subtle critique of the Soviet narrative of constant advancement? Curator: Exactly. By focusing on a historic site, literally a city's ruins, and choosing such muted tones, she perhaps implicitly questions the Soviet project. Soviet art was often tasked with portraying optimism and collective achievement. How do you think this piece measures against this backdrop? Editor: It certainly clashes. The Soviet aesthetic favored bold colors and grand scenes of industry. This feels…quietly subversive. The choice to focus on a non-industrial subject in and of itself reads as dissent. Curator: Precisely! The painting’s strength resides not in outright opposition, but rather in its subtle deviation from officially sanctioned themes. The selection of a seemingly 'ordinary' landscape allows her a certain degree of plausible deniability while subtly conveying a counter-narrative about Soviet realities and anxieties regarding lost history and tradition. Editor: I see that, a silent resistance almost. Thank you! I will keep that in mind when thinking about the painting’s message. Curator: And I learned something by having to clarify my thoughts. Appreciating Aslamazian’s ability to convey political meaning without obvious statements is something I can consider more closely now.