‚Questions to Heaven‘ took place in Theresienstadt, it was a hybrid concentration camp and ghetto established by the SS during World War II in the fortress town Terezín, it served two main purposes: it was simultaneously a waystation to the extermination camps and a “retirement settlement” for elderly and prominent Jews to mislead their communities about the Final Solution. Its conditions were deliberately engineered to hasten the death of its prisoners, and the ghetto also served a propaganda role. About 33,000 people died at Theresienstadt, mostly from malnutrition and disease. Through a series of obscure rituals, the performer uses her body gesture and voice to commemorate the people who suffered in genocide.
Jiří Sozanský was born in the Czech Republic, he is one of those artists whose work immediately resonates with the pulse of the time in which they live. He entered the Czech art scene in the mid-1970s, during the peak of normalization and creative disaffection. and an ideological dictate that trampled on human rights and human dignity. He is known as a non-conformist artist and a man of strong opinions and attitudes, expressing himself through extensive multimedia projects tied to a specific place. His activities in unusual places and spaces revived the subdued art scene of the 1970s. His actions spoke to the conscience of a normalizing” society, even at the expense of considerable personal risk.
Talks with South African Artist Peter Mammes. The political figures Peter used in this exhibition are all related to Communism or authority, Stalin, Lennin, Mao. He has used the image of the guillotine to symbolize the power the state holds but at the same time it is a threat the people can wield against the state. It is a fine balance between these powers. He thinks the communist propagandists have been successful in utilizing the images of their political heroes for far too long without any effective counter propaganda. His intention is making images that counter their message that is more visually intensive than the propaganda itself.