This leads to one of the most central rooms in the exhibition dealing directly with the reality of physical violence. It shows a horizon of Shots (2022-2023) displayed together with the work Harmless War (2023), white-painted geometrical forms using metal sheets that have been pierced by shrapnel. The metal plates are evidences of war. Kadyrova reduces those material evidences to forms which are welcomed by the traditional gaze of a Western art audience. It becomes one of her most provocative gestures.
The final chapter of the exhibition could as well be a beginning. It addresses the position of the artist herself when, in the beginning of the full scale invasion, making art felt useless.
It leads us to the Carpathian mountains where Kadyrova defined her own place in the war. It created a new line where through art, Kadyrova can speak about Ukraine around the world while defending it and bringing monetary contributions back to her country.
The exhibition of Zhanna Kadyrova Flying Trajectories is made in collaboration with the Kunstverein Hannover, Germany, where Daily Bread, Kadyrova’s first retrospective, was shown earlier this year.
The exhibition is curated by Björn Geldhof, Artistic Director of the PinchukArtCentre.