0000
charcoal from Ukraine, aluminum, epoxy
exhibition "Diagonal", Kunstpavillon München, curators Florian Pumhösl and Vera Lutz
2024
During World War II, Ukraine was a vital industrial hub for the Soviet Union, supplying various materials crucial for the
war effort. Aluminum, with its lightweight and corrosion-resistant properties, was in high demand for aircraft
production, weaponry, and other military applications. Ukraine's abundant natural resources and industrial
infrastructure made it a strategic source for aluminum production.
Charcoal, on the other hand, played a pivotal role in the metallurgical industry, serving as a reducing agent in the
smelting of metals like iron and aluminum. Ukraine's rich forests provided ample raw material for charcoal production,
which was utilized in the region's metallurgical plants to refine aluminum and other metals essential for wartime
manufacturing.
The artist delves into the intricate tapestry of history, posing questions about the interplay between cultural memory
and the military economy of the Third Reich. With a keen focus on understanding the nuances of wartime dynamics,
she explores the utilization of resources, including the significance of occupied Ukraine in the context of World War II.
By scrutinizing historical narratives and archival sources, the artist seeks to unravel the complex mechanisms through
which the Nazi regime harnessed resources and wielded power. They interrogate the role of Ukraine as a strategic
node in the wartime economy, delving into the utilization of materials and labor within the region.
The work was shown as a part of group exhibition «Diagonal» in Kunstpavillion Munich. The Kunstpavillon building is a relic of the Nazi era, much like the layout of the Old Botanical Garden, a topographical remnant of the NS regime in general. Hitler's preferred architect, Paul Ludwig Troost, redesigned the facility originally planned by Ludwig von Sckell, constructing the Park Café on the ruins of the Glass Palace, which had burned down in 1931. In 1936, architect Oswald Bieber erected the exhibition building as part of the redesign of the Old Botanical Garden, replacing the Glass Palace. The pavilion served multiple purposes throughout its history, including being used as a studio by Hitler's favored sculptor, Joseph Thorak.
photo by Erika Vas