The multifold installation Iron Mother (2026) is based on unpublished memoirs of the artist’s grandmother, Umida. Her recollections offer a rare female voice among family memoirs and sheshire — traditional genealogies that record the history and continuity of a family lineage that have predominantly centred male protagonists. Umida was one of the few women to oversee the construction of the Tashkent TV Tower and later became its first director. For her resil- ience and willingness to stand up to masculine leadership, her col- leagues called her the ‘Iron Mother’.

Kadyri transforms her story into a deconstructed television studio divided into a stage and a control room. A textile backdrop recreates a mosaic from the interior of the Tashkent TV Tower, whose central figure, according to its creator, was modelled on Umida. Standing at the interactive control panel, the viewer takes her place and participates in memory formation and multilingual narration — memories gain voice and momentum within the space. In this way, the story of a woman that long remained unpublished emerges from the family archive, gaining recognition and reclaiming ground in the present.