As cities emptied on the eve of Russia\u2019s full-scale invasion, artist Zhanna Kadyrova\u2019s defiant concrete sculpture began its odyssey to this year\u2019s festival<\/p>\n
On a perfect spring day in Paris, the deer is first visible in the distance, poised between an avenue of just-budding plane trees in the 7th arrondissement. Its head is raised, its body poised. Seen there among the trees, it really could be a wild animal. In reality, it is a concrete deer, and not even a particularly naturalistic one, since it has the distinct look of origami about it. The sculpture is a play of scale and weight, as if feather-light folded paper has been enlarged and transformed into heavy concrete.<\/p>\n
The deer is strapped to a flat-bed truck, and it is being driven into the grand modernist headquarters of Unesco, the UN agency that looks after heritage, culture and education. It will stand there for a day in its gardens, with Alexander Calder\u2019s Spirale<\/a> for company and the Eiffel Tower as a backdrop. It is the last stop on a long overland journey across eastern, central and western Europe before it crosses the Venetian lagoon and docks in Venice for the 2026 art biennale, where, from this month, it will be the most prominent component of Ukraine\u2019s national pavilion.<\/p>\n
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