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14 OUR LIFE • June-July 2026 THE UKRAINIAN MUSEUM 222E6NYC Zhanna Kadyrova: The Ground Shifts Beneath Our Feet Through August 30, 2026 The Ground Shifts Beneath Our Feet is the first North Amer - ican museum exhibition of one of the most internationally acclaimed living Ukrainian artists, Zhanna Kadyrova, whose contribution to the 2026 Venice Biennale received wide - spread critical recognition. In The Ground Shifts Beneath Our Feet, Kadyrova ex - plores the experiences of displacement, resistance, and regeneration through transformations of Ukraine’s phys - ical landscape. Across five bodies of work made in the years following russia’s full-scale invasion — Palianytsia, Russian Rocket, Embroideries, The Forest, and IDP: In - ternally Displaced Person — the artist considers how Ukraine’s land, the earth itself, responds to the threat of erasure with renewal. Through sculpture, embroidery, photography, and film, Kadyrova lays bare the ways in which Earth becomes a site of violence, memory, and resilience. From the destruction of the Kakhovka Dam and decimation of its reservoir eco - system, to the mining of agricultural land, the five works that make up the exhibition attest to how ordinary life survives despite extraordinary pressure. Palianytsia, Russian Rocket, and Embroideries (2022–) are three ongoing works created in the aftermath of the Palianytsia installation, 2022. River stones cut to resemble bread. full-scale invasion, which Kadyrova will con - tinue to enlarge as long as the war continues. Palianytsia is her iconic series named for the Ukrainian bread that became a marker of identity under occupation; Russian Rocket is a series of short videos superimposing Rus - sian rockets onto landscapes visited by the artist; and Embroideries consists of woven portraits that conflate domestic tranquility with the persistent presence of air alarms. Kadyrova’s large-scale video installation The Forest (2025) examines the consequenc - es of russia’s destruction of the Kakhovka Dam in June 2023, and the surreal new growth ris - ing from the dried bed of the destroyed res - ervoir. Realized with The Dovzhenko Centre film archive in Kyiv, the City of Zaporizhzhia, and the Khortytsia Museum, The Forest is part of a collaborative effort with locals from the Zaporizhzhia region. The film IDP (2026) documents the evac - uation of the monumental Origami Deer sculpture from a park in Pokrovsk, a city in the Donetsk region, in 2024, when the war’s front line approached. The film traces the sculpture’s odyssey from Pokrovsk through Warsaw, Prague, Vienna, Brussels, and Paris to the Venice Biennale, where it was the cen - terpiece of the Ukrainian pavilion’s Security Guarantees exhibition. Origami Deer has be - come a symbol of hope and survival. Zhanna Kadyrova was born in 1981 in Brovary, Ukraine. A graduate of the Taras Shevchenko State Art School’s sculpture de - partment, she is the recipient of the 2012 Kazimir Malevich Prize, the 2013 PinchukArt - Centre Grand Prize, and the 2025 Taras Shevchenko National Prize in Visual Arts. Her work has been exhibited at the Centre Pompidou, Palais de Tokyo, Castello di Rivoli, Ludwig Museum Budapest, Kunstverein Han - nover, and other institutions across Europe, the Middle East, and the Americas. The artist lives and works in Kyiv.
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