Ukraine's 'Origami Deer' Sculpture Rescued from Frontline Tours Europe

Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
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Ukraine's 'Origami Deer' Sculpture Rescued from Frontline Tours Europe

Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)

An "Origami Deer" statue rescued from a Ukrainian city destroyed and occupied by Moscow's army is touring six European countries before featuring at the 61st Venice Biennale, which has sparked outrage over the inclusion of Russian artists.

Ukrainian artist Zhanna Kadyrova created the concrete work with her colleague Denys Ruban in 2019 for a park in the eastern city of Pokrovsk to replace a Soviet-era military plane displayed there.

In 2024, Kadyrova and historian Leonid Marushchak removed the deer, shaped like a paper origami, as Russian troops closed in and then occupied Pokrovsk.

The sculpture will be the main feature of the Ukrainian pavilion, named Security Guarantees, at the Venice Biennale.

It will feature alongside Russian exhibits at the event that started in 1895 and comprises festivals, art and architecture exhibitions running from May 9 to November 22.

The decision to invite Russian artists, banned from the 2022 and 2024 editions after Moscow's full-scale invasion of Ukraine, has sparked international uproar with the European Union threatening to cut funding for the Biennale.

"It's very important for us to see how the entire world reacts to the situation, supporting us and opposing Russia's participation," Marushchak told AFP.

"If the Russians want to show their culture, they might as well organize a biennale in Pokrovsk which they have destroyed," he added.

En route to Venice, the deer has been exhibited in Warsaw, Vienna and Prague and will continue on to Berlin, Brussels and Paris.

Displaced from its pedestal, the deer symbolizes "millions of Ukrainians who have lost their home" and moved abroad, Kadyrova told AFP during a stopover in Prague.

The resemblance to paper origami refers to the Budapest Memorandum of 1994 which saw Ukraine yielding its nuclear arsenal to Russia in exchange for security guarantees that did not materialize.

"So it's no more than paper," Kadyrova said.

Marushchak has been evacuating works of art from eastern Ukraine since the war started.

He has saved scores of objects, often taking huge risk with his team, to protect them from looting or theft.

One of the most dramatic rescue operations involved a 700-year-old stone lion statue evacuated from a museum in Bakhmut in 2023, just before the Russian army took the city, as Marushchak's car was hit by a shell on the way out.

"Other evacuations were difficult in that we didn't succeed as much as we wanted because the front line was too close and the danger was too big," Marushchak told AFP.

The Venice Biennale typically attracts more than 600,000 visitors to pavilions set up by participating countries.

Kadyrova said the Ukrainian team was not planning any protest over Russia's participation as "it's up to politicians".

"But I hope that some community will gather to pressure the Biennale, pressure Italy, and I hope that it will not happen."



Saudi Heritage Commission Uncovers Over 1,700 Artifacts at Ancient Al-Juhfah Miqat Site

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
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Saudi Heritage Commission Uncovers Over 1,700 Artifacts at Ancient Al-Juhfah Miqat Site

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA

Saudi Arabia's Heritage Commission completed the first season of its joint scientific mission with the University of Exeter at the ancient Al-Juhfah Miqat site, uncovering more than 1,700 artifacts, including pottery, glass, stone pieces, shells, and worked objects, confirming the site's significance along the Egyptian pilgrimage route.

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel believed to have served pilgrims and travelers, and 13 tombstones dating to the Umayyad and Abbasid periods. Some finds originated from the Levant, Egypt, and Ethiopia, reflecting the diverse origins of pilgrims who passed through this miqat, SPA reported.

Al-Juhfah Miqat is located 187 kilometers northwest of Makkah and has been an established miqat since the early Islamic period, associated with the Prophet's migration, and is known to have flourished in the second Hijri century, with water facilities and shops serving pilgrims.

These works are part of the Heritage Commission's efforts to survey and document archaeological sites along the Hijrah route between Makkah and Madinah, using advanced technologies to reveal the historical and civilizational depth of the Kingdom.


Makkah Museum Displays Rare Quran Manuscript Dating Back to 1843

The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
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Makkah Museum Displays Rare Quran Manuscript Dating Back to 1843

The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA

The Holy Quran Museum in the Hira Cultural District in Makkah showcases a collection of rare Quranic artifacts and collectibles that document Muslims’ care for the Holy Quran throughout the ages. Among the most notable exhibits is a rare Quran dating back to 1259 AH, corresponding to 1843 AD, which stands as a historical testament to the beauty of Quranic manuscript writing and ornamentation.

The manuscript is distinguished by its precise script written in black ink with full diacritical marks. Its pages are adorned with gilded borders, golden verse separators, and intricate floral decorations that highlight the advanced craftsmanship achieved in the gilding and embellishment of Quran manuscripts during that historical period, SPA reported.

Information accompanying the artifact indicates that the Quran later underwent restoration and rebinding to protect it from deterioration. This step helped preserve this rare Quranic treasure and maintain it as a witness to a cultural and civilizational legacy spanning more than a century and a half.

The display of this Quran is part of the educational and cultural content presented by the Holy Quran Museum, which enables visitors and pilgrims to explore diverse examples of historical Qurans and rare manuscripts and to learn about the various stages of writing, copying, and decorating Quranic manuscripts across different Islamic eras.

The museum serves as a prominent cultural and educational destination in Makkah, highlighting the historical efforts of Muslims in serving and preserving the Holy Quran. It also promotes awareness of the value of Islamic heritage associated with the Holy Quran through modern museum displays and interactive educational experiences that enrich visitors’ experiences and enhance their connection with the history of the Holy Quran.


Nigerian Museum Revamp Brings Treasures within Reach

Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
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Nigerian Museum Revamp Brings Treasures within Reach

Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP

Gazing at two large engraved 16th-century elephant tusks on display at Nigeria's National Museum Lagos, a guide surprised visitors by telling them: "You can touch them gently".

One of the three galleries at the museum in Nigeria's cultural and entertainment hub has been remodeled to allow visitors to interact with some artefacts, reversing the typical ban on touching exhibits, as well as take unrestricted photographs in an effort to engage younger audiences, curator Nkechi Adedeji told AFP.

As the group felt the texture of the elephant tusks to the tune of Afrobeats softly playing on overhead speakers, a young photographer was busy snapping away, likely for a social media post.

According to Tinuke Odunfa, the interior designer of the gallery, the plan was to modernize the space and present Nigerian history in an "intentional" and "immersive" environment.

"Everything was intentional in terms of how the space should be experienced, in terms of the colors, how the space leads you," Odunfa told AFP.

The gallery holds one of the country's most extensive collections, including major archaeological and ethnographic artefacts such as 5th-century terracotta by indigenous Nok people.

Its white walls are lined with artefacts encased in glass, arranged chronologically from the oldest to the newest, each accompanied by brief notes.

A few other items of the permanent exhibition, "Echoes of the Past", especially those made of wood and metal, are laid out in such a way that visitors can touch and "feel them", the museum's head of exhibition Olusegun Adeleye, 51, said.

Low ambient lighting casts a soft glow across the gallery, giving the space a quiet, reflective atmosphere.

Lagos, the vibrant mega city of more than 20 million people, and often described as Nigeria's melting pot, inspired Odunfa's design.

- 'Coming in droves' -

Since the renovated gallery opened to the public in April, it has been drawing more visitors than before, Adedeji said, without giving figures.

Its Instagram-ready spaces are drawing more schoolchildren and young adults, with pictures and videos increasingly shared online, making it a popular destination among "content creators".

"They come here, do content and before you know it, it is all over the place," Adedeji said. "Youths are coming in droves now".

"I love the way the artefacts are displayed," Oyin Isioye, a 25-year-old photographer, visiting the museum for the first time, told AFP. "I learned a lot of things... where the artefacts are from, what they represent."

- Repatriation calls -

In one corner of the gallery, three empty cases contain a sheet of paper bearing the inscription "British museum, how far??" (meaning "what's up?" in Nigerian Pidgin).

The installation sends a message to foreign museums that Nigeria is ready to pursue the repatriation of its looted artefacts.

Western museums, including those in Britain, the Netherlands and Germany, have in recent years returned several hundred artefacts, but countless more remain in galleries in Europe and America.

"This renovation shows that we can protect and preserve our objects ourselves, we do not need any other country to do it for us," said Adedeji.

The remodeling, funded by a private entity, also aimed at creating more display areas for the collection, the bulk of which are kept in storage.

More projects are in the works. Another gallery at the Lagos museum has been shut for renovation, along with other sites nationwide.

And Nigerian authorities are seeking partners to support future upgrades in preparation for more repatriated artefacts.