Sublimation Festival: From Uzbekistan to the World

From 12-13 September, Refuge returns to Sublimation Festival, taking place at the Yunusobod Sports Complex in Tashkent, Uzbekistan. Reflecting Uzbekistan’s rich history, this year’s lineup attests to Tashkent’s continuous adaptation of tradition, in flow with the multiplicities of cultures that have been imprinted on the country. Across disciplines of music, art, and workshops, the curation reflects the festival’s unique spirit: sitting at the crossroads between history and modernity, Uzbek tradition and globality, and at the point of junction that not only fosters collaboration but expands possibilities.

Following its first-ever year in 2024, Sublimation has already been named one of the top 10 festivals this month by Resident Advisor and has collaborated with several renowned international platforms. This year, Refuge is hosting a stage featuring DJs No Plastic, Leona, basic chanel, Kikelomo, DSL System, and ISL. Across the three stages, the programme also includes live acts of Central Asian sounds like SAMRATTAMA and Shaxriyor. The weekend event also goes beyond music, spotlighting performances and workshops across artistic disciplines, giving the local audience a taste of what is possible when art across the disciplines comes together to experiment, enhancing rather than competing.  

As a woman-led collective born from a lifelong friendship, founders Madina and Sabine, along with their crew, in this interview, reveal the journey of Sublimation and how the festival came to be a space for sharing culture, from Uzbekistan to the world.

Sublimation has very sweet beginnings—can you tell us the story of how it all started? How did a lifelong friendship, grounded by a common passion, give birth to Sublimation?

Sabina & Madina: We first met as classmates in Chirchik, an industrial city, where our friendship began with small school events we loved putting together. Those early moments showed us how much joy we found in creating side by side. Years later, after each of us had gone our own way — building experience in the cultural sphere and working on projects around the world — life brought us back together in Uzbekistan. Reconnecting felt natural, almost inevitable. With the bond of our friendship and a shared passion still as strong as ever, we knew we wanted to create something meaningful for our country. That’s how Sublimation was born - from our story, our friendship, and our desire for Uzbekistan’s unique voice to be heard on the global stage.

Can you share a favourite memory from running Sublimation so far? 

Diana (Tech Director, DJ): My favourite memory is gathering with the team right after the festival ends, still feeling the fatigue and the pride that everything worked out.

Alen (Art Director, DJ): Actually, there were two moments. The first was after the festival, when my team and I stood on a stage for a team photo. I brought two birthday cakes, one for Sabina and Madina to congratulate them on their first huge festival, and the second one for my favourite Adele (she is a queen), our friend and colleague, who had a birthday. Just imagine 20-30 people taking turns blowing out this poor, god forsaken candle on camera; it was funny and cute. 

And the second moment — more from a professional point of view: One day, Sabina sent a message saying, "Hey guys, what's up? I'll come to your office. I wanna do an agency rebranding of Sublimation." I stuck my fingers out. I’m still proud of myself that this entire design is our work. You can see the final result for sure.

Making your festival debut last year at Culture Palace of Aircraft Builders, a building that sits at the crossroads of cultures across time, brings a unique energy to the festival. How did you come to choose this location, and how does it reflect Sublimation as a cultural hub for experimentation and collaboration? 

Sabina & Madina: Hosting Sublimation at the Palace of Aviation Builders felt like the right choice. It’s not just an iconic modernist building, but also a place filled with memories — so many people in Tashkent grew up coming here for performances. After being closed for many years for renovation, we wanted to breathe new life into it, not only as a venue but also as a symbol of renewal. For us, Sublimation is about connecting the past with the present, giving people a chance to reminisce about their youth while also experiencing something new, experimental, and collaborative. Bringing the festival here allowed us to honour those collective memories while transforming the space into a living hub of culture and energy once more.

Ivan Dorn DJ Set, 2024

As the tech director, how does the choice of location, both this year at Yunusobod, and Tashkent Modernist in the previous year amplify the listening experience? What are some intentions you keep in mind to create an immersive atmosphere and soundscape? 

Diana: When creating a space, we always keep in mind that people should feel inspired to move through the festival — from stage to stage, from one point of attraction to another — and understand that each stage tells its own story, both in terms of sound and light.

We approach this through the lens of genres and the future atmosphere of the stages, carefully selecting the most fitting solutions. The modernist buildings themselves can add depth to the sound when we are inside (as being the Palace of Aircraft Builders in 2024), or become a striking backdrop and symbol for the festival (as in this year’s edition).

You mention that collaboration is key for Uzbekistan’s local scene—how did this priority shape your process of organising Sublimation?

Sabina & Madina: For us, collaboration is at the heart of Sublimation. Uzbekistan’s local scene is still relatively young, and it can only grow if we connect with one another - artists, institutions, and international platforms. When we started organising Sublimation, we made a conscious choice to build everything together: from working with Ustoz musicians in the regions, to inviting international partners like Boiler Room, Resident Advisor, and Refuge Worldwide.

This priority not only shaped the festival’s lineup but also influenced the way we work on a day-to-day basis. We see every step - from masterclasses to Yurt tours and art installations - as an opportunity to bring people together, exchange knowledge, and create something that one person or one organisation could never achieve alone. In that sense, Sublimation is less about us and more about the community we are helping to grow.

What has been your experience like as a DJ in Uzbekistan? As there aren’t too many spaces built for deep listening, especially compared to a venue like the historical Tashkent Modernist, how did it feel to share your music in that way with your own community in Tashkent last year? 

Diana: Being a DJ in Tashkent and playing something non-trivial is not the easiest task — there aren’t many spaces for that. But there are always enthusiasts trying to create them, just like new communities and parties. It’s even more powerful when promotional groups turn their projects into festivals and give artists the space to share their music in historically significant, unique locations, such as the Tashkent Palace of Aircraft Builders. That experience is distinctly different from small bars and clubs, making it truly valuable and unique.

Alen: Well, for me it was a complete disaster, haha. I don't really fit into the format, as I've always been drawn to more complex musical structures, and that's not a bad thing. But for me, there aren't many venues to DJ. Most clubs are filled with cool house or afrohouse, or God forbid, pop music with a touch of cringe. Some venues closed where you could play (thanks to Gia for warm evenings and parties), some weren't suitable from the start, or they stopped inviting me, for the reasons described above. But I don't despair, there's always the Internet and great networking. 

Now, I am extremely attracted to music production, starting to experiment a little with producing. But in any case, almost always during sets, there is a clear feeling that does not leave: "Oh my, what if this is too much, now everyone will leave, they will not understand, or this is not good". But these are unnecessary thoughts that prevent you from enjoying the game, because in the moment, it is not so important. What is, is how the soul sounds.

ZenGxrl DJ Set, 2024

What are you most looking forward to about sharing your work through a multidisciplinary platform like Sublimation? How does the diversity of disciplines impact how your work is felt, both for the audience and for yourself? 

Mirshod (Artist): Sublimation is a space where different disciplines don’t compete but amplify one another. Music, performance, and visual art merge into a single experience. For me, it’s essential that the audience doesn’t just look at the work, but is immersed in an atmosphere where each element complements the other. That exchange of energy also inspires me – I feel like I’m not creating an object, but part of a living environment.                        

How would you characterise the current networks of mutual aid between artistic and cultural platforms in Uzbekistan? What’s still needed to build sustainable collaboration? 

Diana: More and more small but interesting artists are being noticed, gaining recognition and popularity, but there’s still a strong need for greater attention and support for the different creative projects of local enthusiasts. This is an important step to show people around us that there are many ways to express yourself — and that it’s okay to be bold.

Refuge has had the pleasure of collaborating on Sublimation’s radio residency. What role do international partnerships like this play in sharing Uzbekistani talent with the world? In your experience, how can global communities better support and learn from each other? 

Sabina & Madina: Collaboration has been at the heart of Sublimation from the very beginning. For us, building a festival isn’t only about putting artists on stage — it’s about creating a community where local and international musicians, cultural institutions, and creative partners can learn from one another and grow together. In Uzbekistan, where the electronic music scene is still young, we see collaboration as the fastest way to strengthen it: from working with Ustoz musicians who carry the legacy of Uzbek folk traditions, to joining forces with international platforms like Boiler Room, to engaging local youth and emerging artists in every step of the process.

This priority shaped everything in how we organised Sublimation — from the venues and partners we chose, to the way we built our sub-brands, such as the Music School and Radio. 

The festival has grown into more than a music event; it has become a cultural hub where ideas, traditions, and talents meet, experiment, and create something that could never exist in isolation.

Doppi Twins Live, 2024

What are your experiences as a woman-owned/led collective?

Sabina & Madina: Being a woman-owned collective has significantly shaped who we are and how we work. For us, it’s not just about identity, it’s about creating a culture of trust, respect, and openness in a space where women’s leadership is still not always taken for granted.

Of course, there have been challenges: sometimes people underestimate us at first or assume we need external approval to accomplish big things. But instead of discouraging us, that has given us even more drive to build something authentic and powerful on our own terms.

At the same time, we’ve discovered that being women in leadership has become one of our greatest strengths: it allows us to bring sensitivity, empathy, and a sense of community into everything we do. 

We’re proud that Sublimation has grown into a platform where people feel safe, inspired, and part of something larger, and that this spirit comes directly from our perspective as women founders. 

Samantha Togni Workshop, 2024

As Sublimation grows globally, what do you hope to bring from Uzbekistan to the world?

Sabina & Madina: For us, the most important thing is to show that Uzbekistan is not only a place with deep traditions, but also a place of constant reinvention and creativity. What we hope to bring to the world is this unique dialogue between heritage and the contemporary: from maqom (the native Uzbek genre) meeting electronic to folk voices joined by live synths — these become centuries-old rhythms transformed into something that speaks to a new generation.

We also want to amplify the spirit of community that exists here: the way people come together, share, and support one another. Sublimation is not just about music, but about creating spaces where people feel connected, whether they’re in Tashkent, Samarkand, or Berlin. If the world can even catch a glimpse of that openness, warmth, and inspiration from Uzbekistan, then we’re doing what we set out to do.

For both the crowd and participating artists, what do you hope they take away from the festival? 

Diana: I wish people would leave the festival carrying inspiration with them. Projects of this scale should encourage others to grow, to create, and to try things they were once afraid of. It’s just as important that both guests and artists understand: this is not only about music, but also about an open and supportive community. A community worth developing and supporting, whether by becoming a part of it or simply by acknowledging its existence.

Alen: I hope they will take away a good mood, pleasant memories, and new connections. To be honest, I think the second season of the festival will show that Sublimation is not a typical event; it is distinguished by its visual component and concept, thoughtful line-up, art and community. It looks fresh on the market, individual, without losing national identity, compared to what is usually done. This year, we introduce our own: an unconventional, unique format. 

I hope that over time, people will be more open to discovering new things without fear. We have no restrictions; open to everyone who might be curious. The festival is unique among local and global festivals. This is a piece of those European parties held in unusual and attractive locations, featuring an interesting lineup in the event program, which attracts people not only in Uzbekistan but also around the world. With each edition, there will be more such people every time.

Sublimation has a very distinct visual identity. How do you balance international aesthetics with Uzbek cultural heritage in your designs? 

Alen: To answer this question, I will dive a little into the personal. I grew up in a culturally and ethnically diverse family, with roots in both Europe and Asia. My passion for art, music, and culture in childhood laid the foundation for what I do now in the professional design field. All my work as an art director or designer has always been eclectic, a format that I still feel drawn to. It is a kind of credo or philosophy. To give birth to a new branch, you need to plant something old there, add a little of your own madness and talent, and voila! What drives you is that you can create everything from nothing at once. And this forms new images that acquire uniqueness. 

This is also what I bring to Sublimation. It is a big project, and the main objective is to retain this character. Navigating the merriment between the traditional and modern allows for more room to illuminate meaning through metaphors, experimentation, and a return to the origins of design and trends. This also gives me the courage to move forward, or yeah, something like that. I hope you enjoy these creations and visuals. 

Mirshod: For me, the balance is simple: think global, but stay rooted in our tradition. I draw on universal visual codes that resonate in an international context and fuse them with Uzbek heritage, incorporating ornaments, architectural motifs, and symbols. That’s how a contemporary language is born, one that is both relevant and an honest reflection of our culture. This is where the strength of Sublimation’s visual identity lies.

Sublimation Festival, 2024

What were the main challenges and opportunities of working with this year’s location, and how did you adapt the sound and light design?

Diana: The main question, as always, is electricity! And of course, we hope the weather won’t let us down. But the fact that it's open-air makes it all worthwhile. The sound becomes so much more felt outdoors; there’s more air than inside, and guests have plenty of space to walk around and explore the location.

How do sound, light, and visuals come together to create an immersive experience for the audience?

Diana: Here, we’re creating a collaboration between our contractors in lighting, sound, and visual arts. What’s important is that all these people are ready to support each other in shaping the stage, which is why I think the best way is to come and see for yourself the results of their work!

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Sublimation Festival will take place in Tashkent from 12-13 September. We hope to see you there! More info here. Grab your tickets here. 

Photos courtesy of Feruz Rustamov and Amir Melikov.