In her two-channel video, The Iron Road (2021), Ira Eduardovna revisits the night in which her family left Uzbekistan on its way to Israel, focusing on her memories as a ten-year-old girl from the farewell at the train station, which marked the beginning of a long journey.
The artist reconstructs the train cabin from memory, returning her family to it. She directs and shoots the scene, telling them about what awaits them in the coming years. The sorrow of parting and the fear of the unknown are reflected in another, parallel channel, comprising black-and-white still photographs, which capture the facial expressions of the participants in the drama. Through spectacular and complex use of the photographic and cinematic mediums, the installation explores the elusiveness of memory and time and the unrelenting pains of immigration.
