How does collective work become visible through an individual’s artistic practice? 

In the Uzbekistan Pavilion at the 60th Venice Biennale, Aziza Kadyri’s collaboration with the feminist Qizlar Collective is rooted in women’s narratives, focussing on embodied memories, technological biases and identities in the process of perpetual migration. A ‘foreigner everywhere’, Kadyri chose the figures of the ‘transcultural trickster’ and the travelling storyteller as points of departure for the series of works created for her exhibition at Pushkin House. Personal, familial, and political questions become entangled through an intermedial conversation between patterns, weaving through traditional suzani textiles and animations generated by artificial intelligence. 

In the final weeks of Aziza Kadyri’s exhibition Spinning Tales, join the artist and Alyce Mahon, Professor of Modern and Contemporary Art at Cambridge University, for a conversation about the art historical and critical contexts of her exhibitions at Pushkin House and the Uzbekistan Pavilion at the 2024 Venice Biennale. 

Dr Alyce Mahon is a Professor of Modern and Contemporary Art and a Fellow of Trinity College at the University of Cambridge. She specialises in the dynamic between the body and the body politic in modern and contemporary art, photography, film and exhibition practice – from Dada, Surrealism and Sixties counterculture to contemporary feminist and performance art.

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