# LLMs-Full.txt - Full Content for Project Pages # Generated on: 2026-04-27T17:14:58.023Z # Total pages: 21 --- ## URL: https://www.azizakadyri.com/kadyrova-street ### Title: Kadyrova Street ### Page ID: 8072184 ### Content: Winner of the Dean's Collection Award 2020. Shortlisted for the MullenLowe NOVA Awards 2020. This video was created during UK lockdown. It is meant to convey to audiences at home what it would’ve felt like to watch ‘Fittings’, my one-woman show, in a theatre. In no means a replacement for the live performance, ‘Kadyrova Street’ is an augmentation and a story in itself: by emphasising the complexity of my relationship with Moscow and Tashkent, I explore the stereotypes young Central Asian migrants encounter on daily basis. --- ## URL: https://www.azizakadyri.com/art ### Title: ART ### Page ID: 8063198 ### Content: # **PLAY NICE** # **CUT FROM THE SAME CLOTH** # **NUCLEAR DREAMS** # **LIGHTER THAN THE WORDS WE SHARE** # **DON'T MISS THE CUE** # **SOFT DATA** # **SPINNING TALES** # **HER STAGE** # **SELF-EXOTICISATION ARCHIVES** # **9 MOONS** # **9 MOONS: IMAGINED ARCHIVES** # **CINÉ MOON MOBILE** # **DE-CANON** # **KADYROVA STREET** Solo exhibition with an immersive, interactive total installation at Somerset House, in collaboration with UAL Creative Computing Institute. Two-part immersive installation that explores industry, ecology, handcraft, and diaspora through embroidery, sculpture, and interactive tech, commissioned for the inaugural Bukhara Biennial. A moving image exploration of my father’s unrealised dreams and my own experience as an Uzbek migrant navigating uprooted identity and fractured belonging. Interactive multimedia installation with AI-driven elements, commissioned by the Zeppelin Museum. The Uzbekistan National Pavilion at the 60th Venice Biennale of Art, commissioned by the Uzbekistan Arts and Culture Development Foundation and curated by the Centre for Contemporary Art Tashkent. Solo exhibition at eastcontemporary gallery in Milan. A multimedia series exploring the body as a mnemonic device, intertwining personal and collective histories through textile installations and machine learning technology An ongoing series exploring the relationship between a Central Asian artist, their struggle with identity, and biases in publicly available AI networks. A project reflecting upon the untold *her*stories of women in Central Asia—stories that unveil struggles with colonialism, ideology and patriarchal ways in what is now Uzbekistan. A digital series consisting of symbolic representations of imagined memories, dreamt up through conversations with AI and transformed into 3D objects ‘taken out of’ the world of *9 Moons*. A collaboration with the Kim Bode on a transforming art installation for the video festival *D’EST#Cycle 2: Postsocialism as Method. Anti-Geographies of Collective Desires.* A long-term research project which includes a series of performance-based art workshops for Central Asian women that have experienced migration. A lockdown video work that explores the stereotypes young Central Asians encounter on daily basis by emphasising the complexity of my personal relationships with Moscow and Tashkent --- ## URL: https://www.azizakadyri.com/protected-collection-item ### Title: Protected Page ### Page ID: 8063204 ### Content: In order to view the page, please enter the password below: --- ## URL: https://www.azizakadyri.com/reset-password-page ### Title: Reset password page ### Page ID: 8063205 ### Content: Reset Password Reset Password --- ## URL: https://www.azizakadyri.com/cftsc ### Title: Cut From The Same Cloth ### Page ID: 8063236 ### Content: Aziza Kadyri's *Cut From The Same Cloth* (2024-2025) unfolds in two parts, drawing from her grandfather’s 1969 journey to study cotton-refining machinery in the Southern US as a Soviet Uzbek researcher. Blending oral history, archival imagery, her grandfather’s patent blueprints, and AI-generated motifs based on Central Asian textiles, the work explores the entangled histories of industry, ecology, and diaspora. In collaboration with Nurata-born master embroiderer Yulduz Mukhiddinova, the first part bridges traditional Uzbek Suzani embroidery with the mechanical forms of cotton gins, creating textile-metal hybrids that echo both heritage and industrial change. The second part, developed with artist Mathieu Bissonnette, transforms the research around her grandfather’s archive into a multisensory, interactive experience. Viewers navigate a dreamlike space shaped by abstracted river forms, soundscapes, and animation responding to movement and sound. Kadyri’s work captures the tensions between handcraft and mechanisation, personal memory and systemic change. In the words of the artist, *“My work engages in critical fabulation: reimagining fragmented pasts, reclaiming forgotten voices... inviting audiences to reconnect with histories disrupted by migration and industry.”* Co-author (digital experience): Mathieu Bissonnette Suzani embroiderers in Nurata: Muhabbat Abdullaeva, Nuriniso Alikulova, Munisa Alikulova, Dilafruz Alikulova, Sanobar Achilova, Halima Bekmurodova, Fotima Ikromova, Ruzigul Madatova, Zilola Mardieva, Muxtaram Sharipova, Zulayho Usmonova, Mohira Yusupova, Shohida Jabborova Sewists: Feruza Rakhmatova, Munisa Rakhmatova, Dilafruz Djuraeva, Firangiz Fayzieva, Bekjon Rakhmatov, Dilrabo Issakova AVL production leads: Khurshid Akhmedjanov, Jonibek Sharapov, Xojiakbar Uralov Voice talent: Malika Atajanova, Aziza Kadyri, Dmitriy Kasatkin, Sanjar Sattorov 3D generalists: Claudio Coutinho, Damian Winnichenko Special thanks: Qizlar Collective, Mouse Green, Shirin Jalilova, Anastasia Novikova, eastcontemporary Milan, Tashkent Institute of Textile and Light Industry --- ## URL: https://www.azizakadyri.com/about ### Title: ABOUT ### Page ID: 8063266 ### Content: I am a London-based Uzbek multidisciplinary artist working across textiles, sculpture, creative technologies, and performance practices. .  My artistic approach is characterised by a fusion of collaboration and interdisciplinary methodologies that drive the creation of both physical and digital immersive experiences. Central to my practice is a deep-seated interest in participatory practices within local communities. This interest has led me to co-found [Qizlar](https://instagram.com/qizlarqizlarqizlar), a self-organised grassroots collective firmly grounded in principles of interdisciplinarity and intersectionality, as well as enacting social change. In my projects, I explore a diverse array of themes, including migration, displacement, social invisibility, identity, decolonisation, feminism, and loss of language. These themes serve as focal points for my work, each offering a lens through which I examine societal dynamics and experiences of women within Central Asia and diaspora. I am intrigued by the potential of XR/AR/VR and AI technologies to enrich artistic research, edutainment, and socially engaged practices. I seek to understand and harness the capabilities of these tools to facilitate deeper engagement and interaction within artistic, activist and cultural contexts. In parallel, I dedicate myself to researching and experimenting with innovative ways of interacting with cultural heritage, particularly textiles and costume – media that have been traditionally labelled as ‘feminine’. Leveraging the latest technological advancements to reimagine traditional narratives and practices, I transform them to be more relevant to our contemporary experiences, and engage in a process of alternative mythmaking. gallery enquiries: agnieszka @ east-contemporary.org artist and portfolio enquiries: aziza @ azizakadyri.com (upcoming) Museum Commission, CHAT (Centre for Heritage, Arts and Textile), Hong Kong [*Making Kin*, Asian Art Museum, Humboldt Forum, Berlin, DE](https://www.humboldtforum.org/en/programm/laufzeitangebot/exhibition/making-kin-154748/)[](https://www.humboldtforum.org/en/programm/laufzeitangebot/exhibition/making-kin-154748/) [*Recipes for Broken Hearts,* Bukhara Biennial, Bukhara, UZ](https://www.bukharabiennial.uz/) [*Re-Constellations*, 5th Hangzhou Triennial of Fiber Art, Zhejiang Art Museum, Hangzhou, CN](http://fiberarthangzhou.en.caa.edu.cn/2025/show_summary/zlgk/index.html) [*Deconstruction/Reconstruction*, 18th International Triennial of Textile, Central Museum of Textiles, Łódź, PL](https://www.e-flux.com/announcements/6784303/18th-international-triennial-of-textile) [*Spectral Drift,* Audra Festival, National M. K. Čiurlionis Art Museum, Kaunas, LT](https://ciurlionis.lt/activity/exhibitions/spectral-drift/) [*Bild und Macht. Zeppelinfotografie im Fokus* (commission), Zeppelin Museum, Friedrichshafen, DE](https://www.zeppelin-museum.de/en/press/image-and-power-zooming-into-zeppelin-photography) *Genius Loci: Notes on Places* by Kunstverein Ludwigshafen, consisting of: [*Beauty and Ugliness,* Industriehof Speyer, Speyer, DE](https://www.kunstverein-ludwigshafen.de/speyer) [*The Ballet of the Nations: A Present-Day Morality,* Rudolf Scharpf Gallery of the Wilhelm Hack Museum, Ludwigshafen, DE](https://www.kunstverein-ludwigshafen.de/ludwigshafen) *The Flow: Central Asian Video Art Programme*, Ainalaiyn Space at Three Highgate gallery, London, UK *Big Screen Film Programme*, Focal Point Gallery, Southend-on-Sea, UK [*Ravenous Remediation: Documentary to AI Imaging from Eurasia*, Cinematheque, Cleveland Institute of Art, US](https://case.edu/artsci/bakernord/events/spring-2025-events/ravenous-remediation-documentary-ai-imaging-eurasia) [*Don’t Miss the Cue*, Uzbekistan National Pavilion, 60th Venice Biennale, Venice, IT](https://www.labiennale.org/en/art/2024/uzbekistan-republic) [*You are here. Central Asia,* Fondazione Elpis, Milan, IT (As part of Qizlar)](https://fondazioneelpis.org/en/you-are-here-central-asia) [*The New Subject. Mutating Rights and Conditions of Living Bodies*, KINDL – Centre for Contemporary Art, Berlin, DE](https://www.kindl-berlin.com/the-new-subject) *9 Moons*, Өmə, nGbK & Kunstraum Kreuzberg/Bethanien, Berlin, DE *9 Moons: imagined archives*, TAEX platform, London, UK [*Ciné Moon Mobile*, D’EST/District \* School without Center, Berlin, DE](https://district-berlin.com/en/dest-cycle-2-postsocialism-as-a-method-anti-geographies-of-collective-desires/) *Museum of Moscow’s Subconscious*, Athens Digital Arts Festival, Athens, GR *Android walks into a bar,* Centre of Theater Mastership, Nizhny Novgorod, RU *De-canon,* *New Skin: The Myth of a Technological Body*, Sevkabel port, Saint Petersburg, RU *Body-Gap-Garment-Gap-Room*, DECODING THE HABITUAL Symposium, 6th Tallinn Photomonth Biennial, Tallinn, EE *Beyond the wind*, Petr Fomenko Workshop theatre, Moscow, RU Gold Medal at the 18th International Triennial of Textile, PL Creative Technologies Fellowship Recipient and Resident at Somerset House Studios in partnership with UAL Creative Computing Institute (CCI), UK  1st Place, Workshops Category, Athens Digital Arts Festival IZOLYATSIA. Platform for Cultural Initiatives, Landscape as a Monument Residency, UA (upcoming) *Ornamental interventions – storytelling through patterns and creative tech*, National Museum, NO *Visual Arts Practice Through the Lens of Costume,* UAL: London College of Fashion, UK *Getting Under My Skin: Stelarc, Mónica Rikić, Aziza Kadyri,* CIFRA, UAE *Proposals, Prompts and Speculations* Symposium*,* UAL: Chelsea College of Arts, UK *Formations: In Conversation with Aziza Kadyri and Francesca Stocco*, Bonington Gallery, UK *Grounding Practice: Louis Morlæ & Aziza Kadyri*, Somerset House, UK *Stitching Luck: Talisman Crafting*, Croydon Council, UK *Systems Overhaul: Disrupting the System*, Architectural Association, UK *Gallery and Exhibition Design*, Goldsmiths, University of London, UK *Break Down and Stitch Up*, Toneelacademie Maastricht, NL *Soft Techne: Crafting Futures*. *A conversation with Dr Vivek Gupta*, Delfina Foundation, UK *Don’t Miss the Spin: Tales of Transcultural Geography*, *Women’s Agency and Intermedia Patterns. A conversation with Alyce Mahon*, Pushkin House, UK *Digital Activism in Grassroots Action*, UAL: London College of Communication, UK *Ha’m-neshini* hosted by Morehshin Allahyari, Victoria & Albert Museum, UK *Break Down and Stitch Up*, Critical Infrastructures and Image Politics (CIIP), UK *Monuments, Digital Activism, AR and Photogrammetry*, Winchester School of Art, UK *Storyboarding for Costume Design*, UAL: London College of Fashion, UK *Confronting Mediocracy: Creative Agencies Pushing the Boundaries*, 4th World Conference on Creative Economy, UZ *Performative spaces of extended reality*, Prague Quadrennial of Performance Design and Space, Prague, CZ *AR as a Medium for Social Commentary*, Athens Digital Arts Festival, GR  *Augmenting the shopping centre. Experiencing the Museum*, Garage Museum of Contemporary Art, Moscow, RU *RARE Visions of Performance Design and Scenography*, Theatralia: Journal of Theatre Studies, vol. 27, no. 1 (Guest editor) **2018-2020**  MA Performance Design & Practice, Central Saint Martins, London, UK **2013-2017** BA Fashion Design, Tsinghua University, Beijing, CN --- ## URL: https://www.azizakadyri.com/press ### Title: PRESS ### Page ID: 8063268 ### Content: *The One Show: Somerset House Studios Artists* \- TV feature, **BBC One** (25/11/2025) [*Bukhara Biennial: Recipes For Broken Hearts*](https://drive.google.com/file/d/10tmufxrnaA6KM0B4zczMsHinFNJC4iIY/view?usp=drive_link) - Review (mention), **The Art Journal** \[CN\] [*Meet the 3 winners of the International Textile Triennial in Łódź*](https://architecturaldigest.pl/poznalismy-3-laureatow-miedzynarodowego-triennale-tkaniny-w-odzi/) - Review, **Architectural Digest Poland** \[PL\] [*The First Bukhara Biennial Reveals That the Most Expensive Ingredient Is Time*](https://observer.com/2025/10/art-review-analysis-bukhara-biennial-recipes-for-broken-hearts/) \- Review (mention), **Observer** [*Spinning Yarns:*](https://www.artforum.com/columns/bukhara-biennial-on-site-rachel-wetzler-1234736624/) [*On the 2025 Bukhara Biennial and soft power in Uzbekistan*](https://www.artforum.com/columns/bukhara-biennial-on-site-rachel-wetzler-1234736624/) - Review (mention), **Artforum** [*How Central Asia’s largest art biennale in Bukhara signals new chapter for Uzbekistan*](https://www.scmp.com/lifestyle/arts/article/3326930/how-central-asias-largest-art-biennale-bukhara-signals-new-chapter-uzbekistan) - Review (mention), **South China Morning Post** [*Bukhara Biennial 2025: 13 Must-See Installations*](https://www.admiddleeast.com/story/bukhara-biennial-2025-guide-to-must-see-installations-uzbekistan) - Review, **Architectural Digest Middle East** [*At the Bukhara Biennial, textile becomes the canvas for collective healing*](https://www.vogue.in/content/at-the-bukhara-biennial-textile-becomes-the-canvas-for-collective-healing) \- Review (mention), **Vogue India** [*How Bukhara's Biennial paints a picture of Uzbekistan's global artistic heritage*](https://www.bbc.com/storyworks/bukhara-biennial/recipes-for-broken-hearts) - Interview, **BBC Storyworks** [*Interview with Aziza Kadyri*](https://drive.google.com/file/d/1uszFNk90vjd5D4IQBR9a5o40KWBzRE24/view?usp=drive_link) \- Interview, **Canvas Magazine (Online & Print, Jun '25)** [*TASTES LIKE ABUNDANCE: The Open and Closing Circuits of Artificial Intelligence in Contemporary Art*](https://1drv.ms/b/c/5455756099bd6f6e/ERokhFzA6DhAkfLtggiGd8cBwAET9qI8HnQir1V_YBmiMg?e=Slj6ut) \- Review, **Backflash Magazine (Print, Feb '25)** [*This Central Asian Country Is Fast Becoming An Art-World Hotspot*](https://www.vogue.co.uk/article/uzbekistan-travel-art-guide) - Announcement, **British Vogue (Online & Print, Mar '25)** [*Aziza Kadyri – The Collective Memory Of Uzbek Women*](https://open.spotify.com/episode/2GcMfvct9Rw45Dicn50cBs) *-* Podcast, **Kitchen Conversations** [*Walkie Talkies EP.1 | With Leonardo Bigazzi, Lisa Long (Julia Stoschek Foundation) and Mohamed Almusibli (Kunsthalle Basel)*](https://youtu.be/0d5TiFN0NHs?t=329) \- Review, **Artissima Fair** [*Identity, geography and gender in Aziza Kadyri’s practice*](https://www.conceptualfinearts.com/cfa/2024/12/12/aziza-kadyris-artist/) – Interview, **Conceptual Fine Arts** [*‘it’s okay to break from tradition’: inside aziza kadyri's uzbekistan pavilion at venice biennale*](https://www.designboom.com/art/its-okay-to-break-from-tradition-aziza-kadyri-uzbekistan-pavilion-venice-art-biennale-interview-10-24-2024/) – Interview, **Designboom** [*Aziza Kadyri | In every language, I'm a different person*](https://www.youtube.com/watch?v=Qw-jheIjVMA) – Podcast, **#Gashtak** [*Aziza Kadyri and decolonial practices in art*](https://podcasts.apple.com/kz/podcast/aziza-kadyri-and-decolonial-practices-in-art/id1777181025?i=1000676939241) – Podcast, **Yurt Jurt** [*How Uzbekistan's young generation is changing the face of its creative economy*](https://edition.cnn.com/2024/05/15/world/video/generation-next-uzbekistan-creatives-spc) – TV Documentary film, **CNN World** [*New Currents: BODIES OF HISTORY*](https://drive.google.com/file/d/1Swkj7Rnm4kNlPvBQ2fn-tjp9y1O2W7rn/view?usp=drive_link) – Review, **ArtAsiaPacific (Print, issue 138)** [*Women In Art: Aziza Kadyri*](https://drive.google.com/file/d/1514ngxEEarHAf80LCORzBvfRflQ_PeiU/view?usp=sharing) – Interview, **Harper's Bazaar KZ (Print, Art Issue)** [*Away from home: Three women who promote Uzbek cultural identity while living abroad*](https://elleuzbekistan.com/en/away-from-home/) – Interview, **ELLE Uzbekistan** [*Aziza Kadyri and Qizlar Collective: Don’t Miss The Cue*](https://www.e-flux.com/announcements/598720/aziza-kadyri-and-qizlar-collectivedon-t-miss-the-cue/) – Announcement, **e-flux** [*Uzbekistan Pavilion 2024*](https://www.les-nouveaux-riches.com/interview-uzbekistan-pavilion-2024/) – Interview, **Les Nouveaux Riches** [*Venice Biennale 2024: Top 5 National Pavilions*](https://art.art/blog/venice-biennale-2024-top-5-national-pavilions) – Review, **ART Domains** [*Hyperallergic’s Quick Guide to the 2024 Venice Biennale Pavilions*](https://hyperallergic.com/918762/hyperallergic-quick-guide-to-the-2024-venice-biennale-pavilions/) – Review, **Hyperallergic** [*The Best National Pavilions of 60th Venice Pavilion*](https://artdogistanbul.com/en/the-best-national-pavilions-of-60th-venice-pavilion/) – Review, **ArtDog Istanbul** [*The Resilience of Craft: Three Exhibitions at Venice Biennale Uphold Legacy of Traditional Arts*](https://www.aramcoworld.com/articles/2024/september-october/the-resilience-of-craft---three-exhibitions-at-venice-biennale-uphold-legacy-of-traditional-arts) – Review, **AramcoWorld** [*Empowerment, Will, and Wit – Venice Biennale Pavilions (Part 2)*](https://metropolism.com/nl/recensie/empowerment-will-and-wit-venice-biennale-pavilions-part-2/) – Review, **metropolim** [*e-flux Criticism / 60th Venice Biennale, National Pavilions*](https://www.e-flux.com/criticism/607413/60th-venice-biennale-national-pavilions) – Review, **e-flux** [*Guide to Pavilions and Exhibitions from Asia at 60th Venice Biennale: Giardini and Arsenale*](https://artasiapacific.com/shows/guide-to-pavilions-and-exhibitions-from-asia-at-60th-venice-biennale-giardini-and-arsenale) – Review, **ArtAsiaPacific** [*Uzbekistan at the Venice Biennale*](https://elleuzbekistan.com/en/uzbekistan-at-the-venice-biennale/) – Article, **ELLE Uzbekistan** [*Aziza Kadyri, Don't Miss the Cue, The Uzbekistan pavilion, Venice ★★★★☆*](https://petitpoi.net/aziza-kadyri-the-uzbekistan-pavilion-in-venice/) – Review, **pierre d'alancaisez** [*Aziza Kadyri, Self-exoticisation Archives, 2023*](https://www.researchgate.net/publication/382833448_Aziza_Kadyri_Self-exoticisation_Archives_2023) – Academic review, **Lei**, DOI:10.30687/Lei/2724-6094/2024/12/019 \[IT\] [*Tecnologia e tradizione per un ordito di genere*](https://ilmanifesto.it/tecnologia-e-tradizione-per-un-ordito-di-genere) – Interview, **Il Manifesto** \[IT\] [*Spinning Tales: A Digital Thread through Aziza Kadyri's AI Textiles*](https://www.courtauldian.com/single-post/spinning-tales-a-digital-thread-through-aziza-kadyri-s-ai-textiles) – Review, **The Courtauldian** [*Qizlar – a group about women for women*](https://elleuzbekistan.com/en/qizlar-a-group-about-women-for-women/) – Interview, **ELLE Uzbekistan** [*Ausstellungsfilm: "The New Subject. Mutating Rights and Conditions of Living Bodies"*](https://www.youtube.com/watch?v=lXn_b7YtqJ8) – Announcement, **KINDL** [*ARTISSIMA 2024, un Ecosistema en transformación: La Presencia de las Mujeres Artistas en las Ferias de Arte Contemporáneo*](https://www.m-arteyculturavisual.com/2024/11/14/artissima-2024-un-ecosistema-en-transformacion/) – Review, **M Arte y Cultura Visual** \[ES\] [*Corporeal and digital – multidisciplinary artist Aziza Kadyri’s blend of old and new*](https://lampoonmagazine.com/article/2023/12/06/kadyri-extended-reality-traditional-art-decolonization-feminism-identity-migration/) – Interview, **Lampoon Magazine** [*6 artists explore what it means to be human amid an uncertain future*](https://www.new-east-archive.org/articles/show/12985/new-skin-nova-art-finalists-2021) – Review, **New East Digital Archive** [*Выставка «Новая кожа: Миф технологического тела» в «Севкабеле»*](https://theblueprint.ru/culture/art/novaya-kozha-sevkabel) – Review, **The Blueprint** \[RU\] [*report for LOOOONGER with collaborator Maya Dorozhenko*](https://loooonger.ru/maya_report) – Interview, **Группа продлённого дня** \[RU\] [*MINDSCAPES. Дополненная реальность и воображение во время пандемии*](https://supportyourart.com/stories/mindscapes-dopolnennaya-realnost-y-voobrazhenye-vo-vremya-pandemyy/?fbclid=IwAR3vJvcgWwVBdWbYGTg-016JTw00qWZZSuVN7_vrlR9GQIgWkTJAOMTtm4o) – Interview, **Support Your Art** \[RU\] [*Будьте как дома*](https://www.youtube.com/watch?v=q2p_i5972Zk) – TV Documentary film, **CGTN Russian** (12/05/2018) \[RU, CN\] --- ## URL: https://www.azizakadyri.com/lttwws-zeppelin ### Title: Lighter Than The Words We Share ### Page ID: 8063424 ### Content: **Museum commission for *Image and Power. Zooming into Zeppelin Photography* at Zeppelin Museum, Friedrichshafen, DE** In Lighter than the Words We Share (2025), commissioned by the Zeppelin Museum, Aziza Kadyri reimagines the Zeppelin airship not as industrial machinery but as a mythical figure suspended between memory and invention. Drawing on Persianate fables and the storytelling structure of Kalila wa-Dimna, the work blends archival images from the museum with Central Asian stories, symbols, and textile motifs. Through AI-driven animations and speculative narration, Kadyri invites viewers into a layered, dreamlike landscape. The installation reflects on how the Zeppelin’s story might have been imagined by those who never saw it firsthand, crafting a counter-narrative through absence and interpretation. It also honours the overlooked labour of women who stitched airship envelopes, connecting their craft to Uzbek collaborative traditions. Sculptural and interactive, the piece evokes a suspended world – part skeleton, part dreamscape – charged with memory, silence, and the possibility of reimagining forgotten histories. Image Credit: *Bild und Macht. Zeppelin-Fotografie im Fokus, 2025 // Image and Power. Zooming into Zeppelin Photography* © Zeppelin Museum Friedrichshafen, Foto Markus Tretter --- ## URL: https://www.azizakadyri.com/lttwws ### Title: Lighter Than The Words We Share - Support Page ### Page ID: 8063458 ### Content: ## Lighter Than The Words We Share (LTTWWS) ###### Privacy Policy ###### Support & Feedback ###### App Version & Credits LTTWWS is an immersive companion to the exhibition by Aziza Kadyri, commissioned by the Zeppelin Museum. This app does not collect, store, or share any personal data. We do not use cookies, analytics tools, or third-party trackers. No login is required and no information is transmitted to any server. If you have any questions about this privacy policy, please contact: aziza@azizakadyri.com For technical support or feedback about the app, please contact aziza@azizakadyri.com Current version: 1.0. Last updated: May 2025. App development by Mathieu Bissonnette. Copyright 2025 Aziza Kadyri. --- ## URL: https://www.azizakadyri.com/her-stage ### Title: Her Stage ### Page ID: 8063459 ### Content: A multimedia series exploring the body as a mnemonic device, intertwining personal and collective histories through textile installations that reflects my grandmother’s unrealised dream of becoming a folk dancer, blending traditional Uzbek dance with digital tools to create a distorted choreography that bridges memory, aspiration, and the constraints of patriarchal and socialist structures in mid-20th century Uzbekistan. Gold Medal at the 18th International Triennial of Textile (Łódź, PL) Studio interns: Margarita Makhanova, Talbia Nasir, Noor-Ul-Ayn Tanveer *Her Stage (II)*, 2024, *The New Subject*, KINDL – Center for Contemporary Art, Berlin, DE *Her Stage (III)*, 2024, *Soft Data*, eastcontemporary, Milan, IT *Her Stage*, 2024, two-channel video, edition of 5 + 2AP --- ## URL: https://www.azizakadyri.com/spinning-tales ### Title: Spinning Tales ### Page ID: 8063478 ### Content: This solo presentation in London, curated by Denis Maksimov, interweaves textiles, digital technology, and narrative objects to explore Central Asian heritage, untold *her*stories, and diasporic identity through works like *9 Moons, The Drought*, and AI-reinterpreted circus banners and posters. Studio interns: Margarita Makhanova, Talbia Nasir, Noor-Ul-Ayn Tanveer --- ## URL: https://www.azizakadyri.com/soft-data ### Title: Soft Data ### Page ID: 8063487 ### Content: Solo presentation at eastcontemporary that harnesses technologies such as AI to unlock new potentials of premodern craft, textiles, and ornament from Central Asia. Courtesy of the artist and eastcontemporary, Milan. Studio interns: Margarita Makhanova, Talbia Nasir, Noor-Ul-Ayn Tanveer --- ## URL: https://www.azizakadyri.com/9-moons-ph ### Title: 9 Moons (2023) ### Page ID: 8063488 ### Content: This project explores familial histories and the tangled identities of women in Uzbekistan, beginning with an heirloom from my great-grandmother, Oybibi ("the Moon Dame"). Her dowry, a large Suzani embroidery from the Jizzakh region featuring nine celestial bodies—"moons"—was cut and distributed among my extended family. My family retained two pieces, which now serve as the foundation for the installation. In this creative reconstruction, the missing moons symbolize the experiences of women in my family from the 1920s to today. The fragmented embroidery, connected by threads, forms a non-hierarchical genealogical tree. A hidden digital layer (AR) further explores the invisibility of these women's lives, depicting untold stories of struggles with colonialism, religion, ideology, and patriarchy in Central Asia, reimagined through the dream-like lens of childhood memories. This handmade embroidery on Uzbek cotton, dyed in turquoise, replicates two pieces from my great-grandmother's dowry. The original Suzani embroidery, from the Jizzakh region, featured nine 'moons' and was meant to be passed down to me as the eldest daughter. However, when I was a child, it was cut into sections and distributed among extended family, leaving only two pieces with us, which now inspire my installation. In my creative reconstruction, I use the missing 'moons' to depict stories of the women in my family from the 1920s to today. These abstract illustrations reflect the narratives I grew up with, forming a non-hierarchical genealogical tree—a rhizome of relations—connected by threads. Women, traditionally excluded from family trees, are central in this work, with a hidden AR layer further exploring the invisibility of their experiences. The name Oybibi holds two meaningful parts: 'Oy', meaning 'moon', and 'Bibi', translating to 'lady' or 'dame'. Despite the significance of her name, she was never addressed as Oybibi; instead, friends and family called her Oliyaxon. Oybibi passed away twenty days before I was born, and I never had the chance to meet her. According to my mother, I would have been named after her, had circumstances been different. However, no one could bring themselves to inform her of Oybibi’s passing. In 1939, Oybibi had her first child and eventually gave birth to six children. Her husband served in the Soviet Army during WWII, but his health never fully recovered, and complications led to his untimely death in his forties. Despite many hardships, Oybibi managed to provide for her family as a 'zavkhoz'—a house manager—for the Cabinet of Ministers of the Uzbek Soviet Socialist Republic. Her access to primary education set her apart from many other Uzbek women who, unfortunately, did not have the same opportunities. My mother recalls that they called Oybibi 'the grandma General', reflecting her tough, reserved nature. In fact, they were slightly afraid of her. She chain-smoked like there was no tomorrow; she smoked till her very end. Her favourite pastime was watching boxing matches and men's football, and her years of navigating a patriarchal society left a lasting mark on her. To her, engaging in activities that were traditionally masculine seemed to legitimise her role as the head of the family. I wonder if I'll ever understand what her personal fight was. Grandmother Kh., Oybibi's daughter, had always harboured a deep desire to become a dancer and devote herself to the arts. She danced with Botir Zokirov before his rise to fame, performing to the rhythm of the Uzbek doira—originally a feminine percussion instrument shaped like a circle. However, Oybibi couldn’t allow her eldest daughter to pursue such an ‘unserious’ path, mainly because, in her world, it wouldn’t lead to a suitable marriage. The textile industry in Uzbekistan was rapidly expanding due to the excessive cultivation of cotton, a colonial project of the USSR that spanned over a century, marked by forced and child labour practices. This still has profound effects on the people and environment of Uzbekistan today. Kh. gave up her dream of dancing and entered the industry of cotton—paxta. Yet, her love for the spotlight couldn’t be suppressed. With access to the latest fabrics and designs during times of scarcity, she dazzled those around her with her fashionable looks. She fondly recalls her late husband, who supported her on long work trips, taking over household duties and childcare. She would often say, “You’ll never find an Uzbek man like him; they simply don’t exist.” On one of her work trips, she represented the Republic at the 1975 Baghdad International Fair; the only story she tells from that trip is how she cooked Uzbek pilaf for Saddam Hussein and his delegation. She habitually masks her achievements by weaving a narrative that aligns with the traditional expectations of an Uzbek woman. Her life is a beautiful, yet suppressed dance. The textiles chosen for this installation are intentional: a blend of dyed Uzbek cotton and old stock Soviet linen. Grandmother U. wrote a memoir—a rare gem of herstory among the many memoirs and shajara that feature only the men of the family. She is convinced it can never be published in Uzbekistan, as it contains too much criticism of the male leadership in the UzSSR at the time. To me, it is a subconsciously feminist work that remains unpublished. She writes in her memoir: “Poverty was destined for us by our grandfather, Qodir ibn Yahyo ibn Rahim, the representative of the Central Asian Islamic clergy in Tokmok, modern-day Kyrgyzstan. When the Soviets took control of Turkestan, Qodir foresaw the consequences more clearly than anyone. In 1924, he returned to Tashkent and voluntarily surrendered all his lands and valuables to the new government. He also instructed his children to avoid becoming attached to material possessions, urging them to focus on gaining knowledge instead.” The impact of Soviet rule can even be seen in the names of her female cousins: Sanoat (Uzbek for ‘Industry’), Ziroat (‘Agriculture’), and Sur’at ('Rates of Growth'). When my grandmother U. was eight years old in 1948, she survived a hit-and-run accident by a motorcyclist. However, too afraid to tell her family, she kept her pain to herself. For sixteen years, she suffered intense pain, undiagnosed by numerous doctors. Despite this, she completed her education, ghostwriting academic papers in Russian for her male cousins and writing her dissertation on the construction of the first colour television centre in Tashkent. She even refused my grandfather’s marriage proposals multiple times, believing her suffering was a punishment from higher powers. Battling pain, she fought for her right to work against the wishes of her in-laws. Only after her first child was born did doctors discover the cause of her suffering: kidney necrosis. U. was one of the few women to lead the construction of the Tashkent TV tower and later became its first director. In her memoir, she recounts numerous instances of standing up to the incompetence of male leaders in her field; her colleagues called her ‘the Iron Mother’. The TV tower became her life’s project, woven into every story, every event—symbolising her resilience and ambition. She was awarded the USSR State Award for her achievements but only revealed it after her husband’s death, not wanting him to feel overshadowed by her success. Great-grandmother Z.’s name translates to ‘the long-haired one’. She descended from a line of Shahs who lost everything during Soviet rule. She married my great-grandfather, the son of a Silk Road merchant who fled to China to escape repression and labour camps. Their marriage was brief: L. passed away at the age of 25. According to the family tale, after washing her hair, she ran out into the wind while caring for her two young children, which led to a severe case of meningitis. My great-grandfather vowed to remarry only a woman who couldn’t have children, believing that only an infertile woman could learn to love her stepchildren as her own. Great-grandmother I. fulfilled this role—an outspoken Xorazmian woman, an active socialite, and one of the first women in Uzbekistan to board a plane and parachute jump in the 1930s, when many women around the world hadn’t yet secured the right to vote. She understood the true value of clandestine connections between women in a male-dominated communist society. My mother recalls her knowing all the women who could help in difficult times. Through this rhizomatic network of friendships and favours, she became a strong backbone for the family she married into. The piece is intentionally incomplete, reflecting a centuries-old tradition of leaving embroidery unfinished as a wish for a happy and prosperous future. The ‘yulduz nusxa’ ornament on the parachute is my dedication to my younger sister, the youngest woman in my family, whose name translates to ‘star’—completing the familial and cosmological framework of the installation. Suzani is a type of embroidery made mainly in Uzbekistan and Tajikistan, derived from the Persian word سوزن (Suzan) meaning 'needle'. Suzanis were traditionally handmade by Central Asian brides as part of their dowry, and were presented to the groom on the wedding day. This installation is based on the canonical structure of a Suzani that was traditionally crafted in the Jizzakh region of Uzbekistan. The Jizzakh suzani features large red rosettes framed by a decorative wreath, which holds significant importance. Some researchers suggest that this type of composition is similar to the decor found on Sogdian fabrics, but without any additional images within the rosettes. The circles on the Jizzakh suzani are believed to represent heavenly bodies associated with the astral cult that have lost their original meaning over time. Additionally, the 9 rosettes on the suzani may allude to the 9 months of pregnancy, representing womanhood and the fertility cycle. --- ## URL: https://www.azizakadyri.com/dont-miss-the-cue-uzbekistan-pavillion-venice-biennale ### Title: Don't Miss The Cue ### Page ID: 8063491 ### Content: The Uzbekistan National Pavilion at the 60th Venice Biennale of Art Organiser: Uzbekistan Art and Culture Development Foundation Special support: Saida Mirziyoyeva, Advisor to the President of the Republic of Uzbekistan Commissioner: Gayane Umerova, Chairperson of the Uzbekistan Art and Culture Development Foundation Curators: Institution of the Centre for Contemporary Art Tashkent Associate artists: Qizlar Collective (Anastasia Sever, Sofia Seitkhalil, Gulnoza Irgasheva) Project management: Laziza Akbarova, Bekzod Ulmasov, Malika Zayniddinova Exhibition design and architecture: ADRA Studio, Sophia Bengebara, Pauline Ouazana, Othmane Bengebara [e-flux announcements: Aziza Kadyri and Qizlar Collective: Don’t Miss The Cue](https://www.e-flux.com/announcements/598720/aziza-kadyri-and-qizlar-collectivedon-t-miss-the-cue/) [e-flux criticism: Kim Córdova on 60th Venice Biennale National Pavilions](https://www.e-flux.com/criticism/607413/60th-venice-biennale-national-pavilions) [e-flux criticism: Nikolay Smirnov on 60th Venice Biennale Central Asian Pavilions](https://www.e-flux.com/criticism/619363/60th-venice-biennale-central-asian-pavilions) [Finestre sull'Arte: Venice Biennale 2024, the top 10 best national pavilions in our opinion](https://www.finestresullarte.info/en/news-focus/venice-biennale-2024-the-top-10-best-national-pavilions-in-our-opinion) [AramcoWorld. 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Biennale](https://www.ilgiornaledellarte.com/Articolo/Diario-da-Venezia-terza-parte-Reportage-in-aggiornamento-dalla-Biennale) [A Revolt: Guida Biennale di Venezia 2024 / Arsenale / Ɐlternativa](https://arevoltmagazine.com/blog/2024/06/18/guida-biennale-di-venezia-2024-arsenale-%C9%90lternativa/) [Il Giornale D'Italia: L'uzbekistan porta alla Biennale un progetto che accarezza passato e presente](https://www.ilgiornaleditalia.it/news/cultura/603978/l-uzbekistan-porta-alla-biennale-un-progetto-che-accarezza-passato-e-presente.html) [Kunstmagazin Parnass: Venedig: Unsere Pavillon-Favoriten](https://www.parnass.at/news/venedig-unsere-pavillon-favoriten) [stayinart: Don't Miss the Cue - Aziza Kadyri and Qizlar Collective](https://www.stayinart.com/blogs/kunst-news/aziza-kadyri?srsltid=AfmBOorxVaoKdiehd_WmkxrYLKgo9ikYbgzq6UFW7V5XW357z4hYSCj5) [RTVE: Venecia 2024 II: nuevos relatos, cuidados, resiliencia](https://www.rtve.es/television/20240530/metropolis-bienal-venecia-2024-pabellones-nacionales/16125036.shtml) [RTVE: Metropolis ends its summer reissue cycle with the Venice Biennale](https://www.rtve.es/television/20240909/metropolis-termina-su-ciclo-reemisiones-verano-con-bienal-venecia/16209512.shtml) --- ## URL: https://www.azizakadyri.com/imagined-series ### Title: 9 Moons: Imagined Archives ### Page ID: 8063492 ### Content: Using my custom Suzani AI generator, I crafted symbolic representations of imagined memories. My creative process begins with 2D images generated by the AI, which I then reimagined and personally modelled into 3D objects that were ‘taken out of’ the world of 9 Moons. This collaboration with AI dives deep into the evolution of collective memory in the AI age. How has the process of constructing collective memory changed with the development of AI technologies? Do we still remember anything, or is there something else that remembers instead of us? My artworks, rooted in a feminine familial perspective, emphasise objects that are ‘iconic’ in a sociological sense. For instance, the cotton boll – with generations tied to cotton production, these bolls symbolise more than agriculture. They represent the Soviet agro-industrial colonial project's profound societal and ecological effects in the Central Asian region. --- ## URL: https://www.azizakadyri.com/ai-suzani ### Title: Self-exoticisation Archives ### Page ID: 8063493 ### Content: I trained an AI on images of traditional Suzani embroidery (an art form linked with invisible feminine labour), attempting to visually capture the mental traps I had unconsciously set up for myself on the journey of relearning and redefining my blurred Central Asian identity. These outcomes are a work in progress, and a continuous conversation I keep having with a digital tool which - for now - still remains a reflection of colonial structures, aesthetics and imaginations. Within these collaborations with AI, I am still grappling with the challenge of expressing my personal experiences in a manner that is authentic to my sense of self. There are instances when I feel like an amorphous being in a perpetual state of flux, with no definitive shape or form. Concurrently, I question whether my portrayal of these experiences only serves to perpetuate and idealise visual aesthetics that have been co-opted and commercialised for the outer world to consume. Explore the instagram page for the AI Suzani project to see more AI experiments: [A post shared by art, embroidery, neural networks and AI (@qodiriy.ai)](https://www.instagram.com/reel/Cx-F8FIrFI_/?utm_source=ig_embed&utm_campaign=loading) --- ## URL: https://www.azizakadyri.com/cine-moon-mobile ### Title: Ciné Moon Mobile ### Page ID: 8063494 ### Content: This project is a collaboration with the wonderful artist Kim Bode/NAILS\*hacks facts fictions. We created a transforming art installation for '[D’EST #Cycle 2: Postsocialism as Method. Anti-Geographies of Collective Desires](https://www.d-est.com/program/dest-cycle-2-postsocialism-as-method-anti-geographies-of-collective-desires/#:~:text=The%20second%20D%27EST%20cycle,their%20unfolding%20into%20the%20future.),' which included screenings curated by krёlex zentre and Nhà Sàn Collective. Intrigued by the history of the ‘anti-colonial’ Ciné-Trucks, which traveled to various non-aligned countries since the 1950s with the support of the Soviet Union to screen resistance films (which is a whole other conversation about propaganda), Kim Bode and I developed the Ciné Moon Mobile, our very own flexible architectural aluminum structure that houses textiles and geometric elements that reflect the traditional historical iconography of Suzani embroideries from the Jizzakh region of Uzbekistan. In my adaptation of these dowry textiles, the moons become haptic fixed points that unite the different experiences of women\* in my family since the 1920s. The roaming Ciné Moon Mobile is a video art and experimental film sculpture, a vehicle, a habitat as well as a hospitable, multifunctional organism. D’EST serves as a nomadic platform and online archive for video art, experimental and documentary films. It aims to map artistic forms of historiography that intersect with postsocialist, queer-feminist, and decolonial narratives and imaginaries. The platform operates under the guidance of the art space and community center District\*School Without Center in collaboration with international curators, artists, cultural workers, researchers, and activists. --- ## URL: https://www.azizakadyri.com/9moons ### Title: 9 Moons ### Page ID: 8063517 ### Content: The project deals with familial ‘herstories’ and womens’ tangled identities in Uzbekistan. It starts with the object that my great-grandmother, Oybibi, owned. Her name translates as "the Moon dame," and her dowry, which was a large piece of traditional Suzani embroidery of the Jizzakh region, depicted 9 celestial bodies—moons—placed in a 3x3 grid-like shape. The embroidery was cut into pieces and distributed amongst the many strands of my extended family when I was a child. My part of the family was left with two parts that have now become the starting point for the installation.  This creative reconstruction of this dowry piece uses the missing ‘moons’ as structural points that depict different experiences of the women in the family since the 1920s till now. The loose pieces containing a mixture of hand-stitched embroidery techniques and local canons are connected with threads—creating a non-hierarchical genealogical tree, a rhizome of relations. The untold histories of women in Central Asia—stories that unveil struggles with colonialism, religion, ideology and patriarchal ways in what is now Uzbekistan—are depicted through dream-like imagery induced by a child's vivid imagination of these spoken herstories. A hidden layer of digital reality further explores the connections, and, as a form, emphasises the invisibility of these women's experiences. The website contained detailed stories of women featured in the piece, and the augmented reality experience allows the viewer to explore photographic archives and immerse themselves in 360-degree environments. --- ## URL: https://www.azizakadyri.com/de-canon ### Title: De-Canon ### Page ID: 8063526 ### Content: De-canon is a socially engaged research project that combines elements of performance and collaborative artefact creation. The project aims to deconstruct the subject-object relation and create non-hierarchical connections both in the decolonial perception of the Central Asian female identity and in the artist-viewer relationship. Primary research will be conducted via a continuing series of creative workshops with Central Asian women who have experienced migration. By analysing and deconstructing memories that represent a wider migrant experience, the project will experiment with translating verbal stories into abstract sounds and artefacts that trigger tactile, visual and olfactory senses. The methods will rely on phenomenology and decolonial aesthesis. The workshops are designed to subvert the role of skin as a shell, repurposing it as a foundation on which we layer re-evaluated meanings that were previously suppressed. Our findings will manifest as a tangible ‘archive’ represented by a series of ever-evolving wearable sculptures. The sculptures will only remotely resemble costume and, when worn, will limit the capabilities of the body, dictating the wearer’s physicality as well as augmenting their empirical perception of reality. These ‘wearables’ will remain unfinished and will be modified during each successive workshop. This approach reflects the impossibility of uncovering the problems of marginalised communities with a one-time artistic statement, and emphasises the need for a long-term systematic approach to the questions of decolonial embodiment and praxis. Civic Assistance Committee, Bilim Club and Maksatbek Abdunazar Uulu, Anna Ter-Saakova, Zarnigor Omonillayeva, Taus Makhacheva, Asel Rashidova, Roman Solotowitski, Dmitry Limbos, Elizaveta Abushinova, Maya Dorozhenko and Mouse Green --- ## URL: https://www.azizakadyri.com/nuclear-dreams ### Title: Nuclear Dreams ### Page ID: 8097622 ### Content: **Nuclear Dreams** (2025) offers a poetic exploration of my father’s unrealised dreams and my own experience as an Uzbek migrant navigating uprooted identity and fractured belonging. The context is a personal space where memory and lineage meet: a young man whose plans of becoming a nuclear physicist were shaped and disrupted by history’s turbulent forces that started with the collapse of the Soviet Union, and continued with him forced into migration.  From an intimate beginning, the film moves into Tashkent’s symbolic landscapes: once hubs of scientific ambition and cosmic dreams, they are now silent, obsolete monuments to shattered ideals. These spaces shaped a whole generation’s vision of the future, reflecting both shared hopes and the ongoing anxieties around nuclear power that continue to affect us today. I carry my father’s idealism and relentless optimism within me, guiding how I confront the challenges of displacement, migration, and the shifting geopolitics that shape my life today. In dialogue with the CIRCA 20:25 manifesto, the film creates an emotional sanctuary (‘refugium’) for fragile, unfulfilled futures and layered histories. I hope to embrace the tension between disillusionment and optimism, loss and resilience. Like the manifesto’s call to pause and inhabit stillness amid chaos, I invite viewers into a rhetorical space of an internal dialogue: where personal/collective memory and sense of self are reflected on and speculated upon, in hopes of starting a communal polylogue. --- ## URL: https://www.azizakadyri.com/play-nice ### Title: Play Nice ### Page ID: 8324293 ### Content: Multidisciplinary artist Aziza Kadyri presents an exhibition of newly commissioned work developed as part of the 12-month Creative Technologies Fellowship in partnership with UAL Creative Computing Institute. Kadyri’s immersive, interactive exhibition for G31 continues her ongoing worldbuilding series. The installation explores the origins of the artist’s alter ego—a trickster figure inspired by Central Asian and Middle Eastern oral traditions and rooted in her Uzbek identity. This shapeshifting, adaptive trickster, invisible in the installation itself, represents a form of cultural survival—Kadyri’s attempt to reinterpret her heritage for digital and diasporic contexts. The title *Play Nice* is twofold, recalling the artist’s shifting sense of belonging growing up between Russia, China, Uzbekistan and the UK whilst referencing the mischievous nature of her persona. *Play Nice* invites viewers into the artist’s fragmented childhood memories of growing up as an immigrant in early-2000s Moscow. The work intertwines sound, scenography, and tactile interventions. Merging Uzbek craft with AI, Kadyri explores new cultural narratives for a digital age, reframing questions of belonging, adaptation, and identity through a theatrical lens. Commissioned by Somerset House Studios in collaboration with UAL Creative Computing Institute. Exhibitions & Special Projects Manager: Jodie Edwards  Abid Farhan, Agnes Cameron, Eva Verhoeven, Harry Leek, Laurent John, Lieven van Velthoven, Mathieu Bissonnette, Mouse Green, Murad Khan, Rosie Walker.