Textures of GrIevIng

Aza Shadenova

Part of Prescient Pool 18

05 May – 02 June 2018
Tuesday - Saturday 10:00 - 18:00

Opening reception:
Saturday 05 May 2018 18:00 - 21:00

HOP Projects Space

In a body of new work commissioned for Prescient Pool by HOP Projects CT20, Aza centers her unrealised project on Textures of Grieving, the original intent of which was to be scattered on the grounds of the Aral Sea. The exhibited presentation is five times smaller than the original installation. The narrative thread of the work explores how Central Asian national identity is mirrored in the climate disaster of the Aral Sea. Through these works, Aza visualises her own interpretation of the meaning of slow erosion of her ethnicity in the modern world and compares it to the shrinking of the Aral Sea.

During 1920 -1930, the sovietisation of Central Asia brought significant changes to societies which lead to the  “unveiling” of their physical and mental states: erasing traditions and removing religion from the cultural memory, triggering an emancipation and liberation of Central Asian women and as a result the loss of their identity. Aza questions in the absurdist manner whether the Soviet ideology was beneficial for Central Asia or is it responsible for the slow shrinking of the Central Asian ethnicity rooted by homogenising people into a single “national unit”.

Aza Shadenova


Selected works:

Work 1: Textures of grieving. 2017. 2 fabric installations. Wool, cotton, silk to be installed on the wall. (Measurements TBC)

Work 2: The fragment of Aral. 2018 Oil on canvas. 8 canvases put together 155cm x 208cm

Work 3: Twisted fisherman’s wife. 2017. Clay sculpture. (Measurements TBC)

Work 4: Grieving flowers in the vase. 2018 Oil on canvas. (Measurements TBC)

Work 5: An Installation to be executed during the run of the exhibition. Mixed materials.


AZA SHADENOVA (born in Uzbekistan) is a Kazakh artist raised in Kyrgyzstan. She now lives and works in Hastings, UK.  Aza Shadenova was one of the few young artists featured in the Central Asian Pavilion at the 55th Venice Biennale (2013). She has participated in group shows at Sotheby’s; Kyrgyz National Museum of Fine Arts; Moscow Biennale 2014; EMMA Espoo Museum of Fine Arts (Finland, 2016), as well as exhibitions in France, Switzerland, Germany, Kazakhstan, Argentina and the UK.




PP proposes a coastal tread that cuts into the void of non-fulfilment to discover alternative views on unrealized projects and since a state of non-realization implies the potential for achievement, we would like to have a succession of works take shape as a series of joint actions performed out in the outlying areas (if necessary re-imagined…) from where they may have been originally planned so to project the grounds of a conditional future with no traditional views, making this works available to everyone much as that’ story we all know but do not know where it came from, and that still hold dear and use to communicate with.

We would like to gradually understand these urban interventions from a more critical view point collated as rule by local people, makers and artists, and for them to become available to all in the shape of exhibitions, talks, workshops, screenings and most importantly as an ever-evolving record. we believe in the urgency of new modes of expressions and pioneering practices that can tear down the barriers between the audience and the ‘white walls’, making contemporary art relevant and far-reaching to a wider audience. We have the creative and co-operative agility to implement between larger institutions, individual artists and members of the public, working with partners in Folkestone, London, Chile and New York. It is an exchange network of resources, and each production brings together different areas of expertise in a close-knit collaboration and to be able and contribute the ever more diverse coastal network.

HOP Projects 2018