Art Review Before arriving in Venice, Zhanna Kadyrova’s “The Origami Deer” undertook an epic journey mirroring those of displaced Ukrainians. May 13, 2026 — 5 min read Zhanna Kadyrova’s "The Origami Deer" (2019) in Berlin (all photos Gregory Volk /Hyperallergic ) VENICE — On Tuesday, May 5, the day before previews began at this year’s Venice Biennale , Russia launched a massive drone and missile attack on Ukraine, targeting, as is usual, civilians and civilian infrastructure. Twenty-seven people perished, and well over 100 were injured. At the 61st iteration of the international art event, among many scandals and controversies , the Biennale’s startling decision to welcome Russia back into the fold despite the now five years of its brutal, unprovoked war on Ukraine looms as especially shameful.  With very few exceptions, this war — the worst in Europe since World War II — was largely invisible throughout the sprawling Biennale, including the main exhibition In Minor Keys , the national pavilions, and…