The exhibition invites us to remember (or learn about) the life of contemporary art in Central Asia at the intersection of the 1990s and 2000s, focusing on its (self)perception within the region and on the global, predominantly Western, art scene. This time was marked by the formation of its own language of contemporary art, the search for new landmarks, polemics with new/old centers and its position in relation to them.

The narrative is based on the collection of the Documentation project of Tselinny center and follows its form and logic. Non-linear, fragmented, mobile, it conveys the simultaneous disunity and integrity of the past, creating a sense of its presence in the present. Interactive and discussion-based, it reflects the idea of ​​a database as an open platform for the joint efforts of artists and researchers to preserve and study the past.

The exhibition involves the rotation of objects as one of the ways of presenting large volumes of data united by Documentation. The objects include works of art and accompanying materials: video and photo documentation, sketches, authorial and journalistic texts. They will be presented in the space of the Tselinny studio, which is consonant with the exhibition in its mobility: existing at the intersection of a workshop, laboratory, studio, it creates conditions for careful study and immersion in another time and environment.