One of some one hundred figures made during Althamer’s project Almech at the Deutsche Guggenheim. From his father’s plastics-manufacturing company, the artist transferred some machines to the gallery. The exhibition space was turned into a sculptor’s studio, where factory machines and molten plastic poured over a metal frame replaced chisel and marble.
The Exakta Varex VX camera, version 4.3.1, was produced between July 1953 and June 1955 in the Ihagee Kamerawerk plant in Dresden. It is a single-lens reflex camera with a roll-film. 39 thousand units were produced of this version of the model.
The work is an accurate replica of Yasser Talal al Zahrani’s prison cell at the American detention camp for terrorist suspects at Guantanamo Bay, Cuba. The Saudi prisoner died in 2006. The official cause of death was given as suicide. However, an examination by an independent pathologist showed traces of repeated beating, which could be indicative of torture. The work can be interpreted as a commentary on the abuse of human rights by imperialist powers, and the individual’s helplessness in the face of such behavior.
The series of photographs is a record of one of numerous actions that the two artists carried out in their own flat. It took place in August 1975, with the participation of Przemysław Kwiek’s sister Zofia Kulik and the artists’ son – Maksymilian Dobromierz. A cardboard tube was the centre of the action. It had been made to order as an advertising prop; after the action it went to the client.
Historical conspiracy theories – the Muhlenberg legend, spectral time hypothesis, the Protocols of the Elders of Zion – have occupied the minds of a large group of scholars and lovers of the past for centuries, being also one of the most controversial and, at the same time, interesting elements of contemporary culture. For Hubert Gromny and Xavery Wolski, they became an inspiration to create the installation Crystal skulls are modern fakes? Adventure Movie. Starting from the eclectic nature of conspiracy theories, drawing randomly from historical science, pop culture, and futurology, the creators tested their typical determinants and created a new conspiracy narrative. It questions the official theories referring to the origins of the Slavic peoples. In this attempt to mediate conspiracy theories, the artists created the character of Janusz “Johnny” Bzibziak PhD – a Polish Indiana Jones – associated with the Archaeological Museum of Kraków. The protagonist is a specialist in the field of research on nomadic peoples and a proponent of a theory postulating links between the ancestors of Slavs, Cimmerians, and Scythians.
The starting point for the performance Rocket, was the text of a futuristic poem by Anatol Stern, Europe, published in 1929. It was processed by the members of the Strupek Group, using a modern internet tool — Google translate — to obtain an absurd, mechanized form of language. However, what survived is the essence of the original poem and its embedded story of the brutality of the 20th century history, the traps of totalitarianism, and the triumph of violence, whose horror was highlighted by ghostly sounds extracted from a theremin (an electroacoustic musical instrument constructed in the 1920s by a Soviet physicist Lev Termen). The oppressiveness of the situation increased the audience’s involvement in the space of the show itself and confronted them with characters shouting out consecutive lines: Priest, Altar Boy, Mother, Rocket, and the Sacrificial Lamb, conducting the action. The play, which was recreated three times, was an adequate conclusion of the public activity of the Strupek Group — from then on, the fates of its members were to go down their individual paths.