Alles komt goed in de ochtend (Everything will be okay in the Morning)- Kamp Westerbork
In ‘Everything will be okay in the Morning’ poses a number of questions about the situation of Kamp Westerbork. This is achieved through a process of immersion into the archives and history of the camp, identifying and responding to what is uncovered to establish a position that addresses the past whilst alerting the audience to possible the futures. This is achieved through a combination of media-based artworks, installation and curatorial strategies.
‘3D Barracks’ uses a 3D print of a model barracks; the recreation faults and glitches announce the limits of digital technologies in grasping and recreating the past. Situated within a clear display case the light fitting from the gallery invades the sacrosanct space of the display, adding a further layer of meaning to the work as the 3D prints primacy as an object is challenged. The research behind the work focuses on the realm where truth and digital interpretation merge, overlap and ultimately become fused with neither holding a supreme hierarchal position in human physic.
‘ Cattle Car: 3 minutes’ uses a technique often deployed by Safaric Branthwaite where lens-based media is used to stretch, contain and expand on mediations of key historical events. Here the closing of the ubiquitous cattle car door is spread over 3 minutes, one minute for each year Westerbork was used to transport Jews, Roma and Sinti to the Nazi Concentration and Death camps. The length of time to watch the whole video indexically connects the images with a period of time, whilst almost freezing a commonly used image for contemplation rather than consumption. The work is presented as a domestic setting, mimicking the screen-based consumption of imagery in the home environment.
‘Everything will be okay in the Morning’ from which the exhibition gets its name uses neon light, once synonymous with representing the World of Tomorrow but now often associated with decline. This brings the different groups that have been in Kamp Westerbork into proximity with one another. Underneath these signs is an artefact from each group giving a physical and human presence underneath the neon glow. The lights themselves are timed to be on for the length of time each group was in the camp, offering an aesthetic interpretation of historical fact whilst creating the aesthetic of both a new tomorrow and decline. With the living memory of the camp becoming less and less prominent, the work intends to question if everything will really be okay in the morning, and what role future generations may have in building lasting memories of these people. Will the camps across Europe competing with other visitor attractions be compelled to use more and more novel methods to attract visitors and engage audiences, and what might this mean for the moral and ethical task of making authentic memories/histories.
As a background to the exhibition Safaric Branthwaite has included free coffee, this presents the visitor with a conundrum of just how much they should be enjoying their time in Westerbork and raises notions of just how much we should enjoy themselves when encountering camps such as Westerbork. Is the consumption of other traumatic historical events a moral, ethical experience or gazing at other people’s misery?
November 2023 - March 2024
Supply/Request- Uniqube and Stockport War Memorial Art Gallery
Between 19 June and 7 July 1942, the Camp Commander of Treblinka wrote letters to the Chairman of the Warsaw Ghetto asking for supplies. This exhibition deconstructs the letters and uses surrogate items to illustrate how mundane objects became part of the apparatus of mass murder. In comparison it also presents some of the items excavated during archaeological investigations at Treblinka, bringing the found and unfound into close proximity and interrogating how we ascertain truths though the museum experience.
The objects force us to confront the choices made by the perpetrators, bystanders and victims who encountered Treblinka.
January- May 2023.
Made in Collaboration with Caroline Sturdy Colls, Professor of Conflict Archaeology and Genocide Investigation, Staffordshire University, UK.
The objects force us to confront the choices made by the perpetrators, bystanders and victims who encountered Treblinka.
January- May 2023.
Made in Collaboration with Caroline Sturdy Colls, Professor of Conflict Archaeology and Genocide Investigation, Staffordshire University, UK.
Contemporary Witness- Surrogations and Passages
Exhibition opening in the Commander's house on April 8, 2022 at 5pm:
In 2020, British artist Michael Safaric Branthwaite undertook an online virtual residency on the Falstad Centre's web pages. While the pandemic stood in the way of physical encounters across national borders, Branthwaite investigated the real and conceptual distances between his studio in Britain and the Falstad memorial site in Norway. In Spring 2022, Branthwaite continues his exploration of Falstad in an on-site artist residency based in the Commander's house.
In "Contemporary witness: Surrogations and Passages", Branthwaite uses audio and lens-based media to explore the way we form surrogate experiences and passages to the past. Although these experiences are shared, they are also unique and personal. Outside of living memory we all must construct our own interpretations of historical events. Branthwaite’s work aims to facilitate and open up debate on these surrogate histories, creating links between the material culture of the past and contemporary conditions.
The exhibition April 8 – June 5, 2022.
You can also experience the project in Social Media (Facebook/Twitter/Instagram) via the hashtag #contemporarywitness.
The residency and exhibition are financially supported by the Arts Council England British Arts Council, Staffordshire University and the Falstad Centre.
In 2020, British artist Michael Safaric Branthwaite undertook an online virtual residency on the Falstad Centre's web pages. While the pandemic stood in the way of physical encounters across national borders, Branthwaite investigated the real and conceptual distances between his studio in Britain and the Falstad memorial site in Norway. In Spring 2022, Branthwaite continues his exploration of Falstad in an on-site artist residency based in the Commander's house.
In "Contemporary witness: Surrogations and Passages", Branthwaite uses audio and lens-based media to explore the way we form surrogate experiences and passages to the past. Although these experiences are shared, they are also unique and personal. Outside of living memory we all must construct our own interpretations of historical events. Branthwaite’s work aims to facilitate and open up debate on these surrogate histories, creating links between the material culture of the past and contemporary conditions.
The exhibition April 8 – June 5, 2022.
You can also experience the project in Social Media (Facebook/Twitter/Instagram) via the hashtag #contemporarywitness.
The residency and exhibition are financially supported by the Arts Council England British Arts Council, Staffordshire University and the Falstad Centre.
Contemporary Witness
From mid-August to December 2020, British artist Michael Safaric Branthwaite explored the place of Falstad and the layers of history from a distance using online archives and the specialist skills and knowledge of the staff at Falstad. He worked on creating links between the material culture of the past and contemporary debates, alongside sharing his reflections in weekly blog posts.
Permanent Departures.
Smiljana/ Michael Safaric Branthwaite.
The notion of the journey is explored in this exhibition that addresses the transcendental by examining how we are always in a state of departing. Through drawing, photography, video and sound the artists have created a semi-biographical installation that features manipulated imagery from physical and mental departures.
Videos: Each video uses footage of physical journeys manipulated to suggest the contemplative nature of travel in both the mental and physical realms.
Photographic Prints: These prints are abstractions of children’s toys; they represent starting points in both life and on a child’s journey. Taken on a smart phone they convey the urgency of meaning captured in the moment, alluding to fleeting moments of meditative contemplation during the raising of a child.
Drawings: The drawings here represent the physical motion of a journey by car using coloured pencils and felt-tip pens in a ‘drawing machine’ Made using the motion of the car they represent underlying patterns and properties only visual when the ego is circumnavigated in favor of direct influence of universal rather than self-determined forces.
Videos: Each video uses footage of physical journeys manipulated to suggest the contemplative nature of travel in both the mental and physical realms.
Photographic Prints: These prints are abstractions of children’s toys; they represent starting points in both life and on a child’s journey. Taken on a smart phone they convey the urgency of meaning captured in the moment, alluding to fleeting moments of meditative contemplation during the raising of a child.
Drawings: The drawings here represent the physical motion of a journey by car using coloured pencils and felt-tip pens in a ‘drawing machine’ Made using the motion of the car they represent underlying patterns and properties only visual when the ego is circumnavigated in favor of direct influence of universal rather than self-determined forces.
Accessing Campscapes: ( Inclusive Strategies for Using European Conflicted Heritage IC-ACCESS)
Accessing Campscapes explored synergistic transdisciplinary methodologies that go beyond one-directional approaches that see artists serving archaeologists or vice versus. Here practice based research explores the ways in which artworks made in conjunction with archaeological investigations at Holocaust sites can facilitate discussions in various communities about difficult histories.
‘of species’ ( Czehia) is based on R Weikart arguement that Darwin’s “evolutionary ethics drove him [Hitler] to engage in behavior that the rest of us consider abominable. (Weikart 2009). And is a response to an iC-ACCESS visit to the site of the Lety concentration camp where a now disused pigfarm stands on part of the site of the former camp. The connotations in this work are challenging and, in some ways, transgressive. The idea that Humans developed hierarchical ideology’s that designated some members of the human race as sub-human is very hard to ignore given that the Pig Farm built predominately on the former camp site enacts this notion with the animals been farmed for slaughter. ‘of species’ takes videos taken from the site and former pig farm and then over lays this with text derived from Charles Darwin’s ‘On the Origin of Species’. The text scrolls from left to right never fully revealing each sentence in its entirety. Intentionally drawing a narrow line between scientific fact and Nazi ideology the work is intended to invite the viewer to experience difficult and uncomfortable associations whilst never fully been given a clear connection between what is being offered, 2 sites that are simultaneously relevant to historical discourse and a scientific study that could be misused or abused in the name of genocidally based racial acts.
“Total Station” ( Treblinka, Poland)utilizes video and split screen editing to create a moving collage where the the control and flow of images pertaining to the specific nature of the site. In this case the notion of investigating and discovering a site is alluded to by airborne LiDAR data that pans from top to bottom as a backdrop, offering an aerial and topographic view of the region in which Treblinka is located. This work highlights the paradoxical juxtaposition of beauty and horror at Holocaust sites via the selection and manipulation of footage and imagery. Many camps and killing sites were situated within tranquil, remote fields and forests that ultimately became scarred by the events that took place therein.
‘The Approach’ ( Croatia/Republika Srpska) deals with the politics of ‘remembering’ and ‘forgetting’ (Beech 2002) centers on former concentration camp at Jasenovac in Croatia where a monument - the ‘Stone Flower’ created by architect Bogdan Bogdanović – deliberately used ambiguous symbolism as part of an attempt to move beyond the conflicted history of the site towards the ideals of brotherhood and unity, socialist revolution, and sacrifice of the new Yugoslav state (Pavlakovic and Perak 2017) The artwork uses handheld footage that deliberately hinders a clear view of the monument, thus reflecting its aforementioned ambiguity and the difficulties involved in mentally and physically navigating the site. These difficulties are caused by the competing narratives that surround the site, the absence of original material remains and the imposing presence of the stone flower. Much like Neme’s film ‘Son of Saul’, omission or absence is often the only way to deal with that which cannot be dealt with (Bradshaw 2016). The work also acknowledges the changing borders of the region by filming the approach to the monument from different angles , the multiple views offered mimics the various agencies wishing to forget and rehabilitate either the victims or perpetrators of the site and its history (Byford 2014).
“Ground Radar” ( kamp Westerbork, Netherlands) responds to taboo topics such as involvement of the Dutch Police, the afterlife post-Holocaust as it became a temporary accommodation for Moluccan Royal Netherlands East Indies Army (KNIL) soldiers and their families before being transformed by the presence of radio telescopes after 1970 when the Mollucan camp closed. Using video footage of Westerbork mixed with several primary sources to create a video collage of remnants, reconstructions and material culture from when the camp was in use and after. A divided screen acts as mimetic for the way in which multiple truths exist in relation to the site (which are explored within IC-ACCESS), whilst the multiplicity of information presented is designed to provoke debate about the various functions Westerbork in the past and the present, as well as the nefarious ways some narratives have been created. The mixture of imagery refers also to the fractured, incomplete nature of the site, which is comprised of few original traces and a few reconstructed elements to indicate the camp’s former presence alongside modern interventions such as the radio telescopes (van Ooijen& Raaijmakers, 2012; van der Laarse, 2013b). alludes to some of the problematic discourse that surrounds the site; sections include footage of archaeologists conducting a Ground Penetrating Radar (GPR) survey at Heidelager camp as well as material culture such as dysfunctional gates and sheds. The GPR seen in the video is being used by archaeologists to find and identify where buildings once stood, indicating a willingness (within IC-ACCESS) to address hitherto untold stories.
‘of species’ ( Czehia) is based on R Weikart arguement that Darwin’s “evolutionary ethics drove him [Hitler] to engage in behavior that the rest of us consider abominable. (Weikart 2009). And is a response to an iC-ACCESS visit to the site of the Lety concentration camp where a now disused pigfarm stands on part of the site of the former camp. The connotations in this work are challenging and, in some ways, transgressive. The idea that Humans developed hierarchical ideology’s that designated some members of the human race as sub-human is very hard to ignore given that the Pig Farm built predominately on the former camp site enacts this notion with the animals been farmed for slaughter. ‘of species’ takes videos taken from the site and former pig farm and then over lays this with text derived from Charles Darwin’s ‘On the Origin of Species’. The text scrolls from left to right never fully revealing each sentence in its entirety. Intentionally drawing a narrow line between scientific fact and Nazi ideology the work is intended to invite the viewer to experience difficult and uncomfortable associations whilst never fully been given a clear connection between what is being offered, 2 sites that are simultaneously relevant to historical discourse and a scientific study that could be misused or abused in the name of genocidally based racial acts.
“Total Station” ( Treblinka, Poland)utilizes video and split screen editing to create a moving collage where the the control and flow of images pertaining to the specific nature of the site. In this case the notion of investigating and discovering a site is alluded to by airborne LiDAR data that pans from top to bottom as a backdrop, offering an aerial and topographic view of the region in which Treblinka is located. This work highlights the paradoxical juxtaposition of beauty and horror at Holocaust sites via the selection and manipulation of footage and imagery. Many camps and killing sites were situated within tranquil, remote fields and forests that ultimately became scarred by the events that took place therein.
‘The Approach’ ( Croatia/Republika Srpska) deals with the politics of ‘remembering’ and ‘forgetting’ (Beech 2002) centers on former concentration camp at Jasenovac in Croatia where a monument - the ‘Stone Flower’ created by architect Bogdan Bogdanović – deliberately used ambiguous symbolism as part of an attempt to move beyond the conflicted history of the site towards the ideals of brotherhood and unity, socialist revolution, and sacrifice of the new Yugoslav state (Pavlakovic and Perak 2017) The artwork uses handheld footage that deliberately hinders a clear view of the monument, thus reflecting its aforementioned ambiguity and the difficulties involved in mentally and physically navigating the site. These difficulties are caused by the competing narratives that surround the site, the absence of original material remains and the imposing presence of the stone flower. Much like Neme’s film ‘Son of Saul’, omission or absence is often the only way to deal with that which cannot be dealt with (Bradshaw 2016). The work also acknowledges the changing borders of the region by filming the approach to the monument from different angles , the multiple views offered mimics the various agencies wishing to forget and rehabilitate either the victims or perpetrators of the site and its history (Byford 2014).
“Ground Radar” ( kamp Westerbork, Netherlands) responds to taboo topics such as involvement of the Dutch Police, the afterlife post-Holocaust as it became a temporary accommodation for Moluccan Royal Netherlands East Indies Army (KNIL) soldiers and their families before being transformed by the presence of radio telescopes after 1970 when the Mollucan camp closed. Using video footage of Westerbork mixed with several primary sources to create a video collage of remnants, reconstructions and material culture from when the camp was in use and after. A divided screen acts as mimetic for the way in which multiple truths exist in relation to the site (which are explored within IC-ACCESS), whilst the multiplicity of information presented is designed to provoke debate about the various functions Westerbork in the past and the present, as well as the nefarious ways some narratives have been created. The mixture of imagery refers also to the fractured, incomplete nature of the site, which is comprised of few original traces and a few reconstructed elements to indicate the camp’s former presence alongside modern interventions such as the radio telescopes (van Ooijen& Raaijmakers, 2012; van der Laarse, 2013b). alludes to some of the problematic discourse that surrounds the site; sections include footage of archaeologists conducting a Ground Penetrating Radar (GPR) survey at Heidelager camp as well as material culture such as dysfunctional gates and sheds. The GPR seen in the video is being used by archaeologists to find and identify where buildings once stood, indicating a willingness (within IC-ACCESS) to address hitherto untold stories.
Finding Treblinka
During research at the site of Treblinka Extermination and Prison Camp carried out by the Centre or Archaeology at Staffordshire University a number of discoveries led to an opportunity to confirm and challenge the history of the extermination camp, and demands (from the public) to view the objects. In order to address these challenges and to ensure that a successful dissemination strategy was developed, between myself and archaeologist (Caroline Sturdy Colls) formed a collaboration. During this next stage of the Finding Treblinka project we explored how archaeology and art could enhance public knowledge about sensitive and traumatic events, and raise awareness of the historically important, but barely known, crimes perpetrated within the camps via the material culture relating to them. Branthwaite’s role in this collaboration was to assist in two initiatives: (1) the development of a factual exhibition centred on the newly discovered remains at Treblinka. (2) lead the production of the commissioning of artworks that responded to the archaeological findings. The former centred first on a permanent exhibition at the Museum of Struggle and Martyrdom at Treblinka in Poland, which aimed to provide visitors with a new history of the crimes perpetrated in both camps, Any dissemination strategy needed to provide public access to these complex findings in an effective and innovative way. The Lead Artist role involved the production of artists briefs which outlined the key strategy behind the exhibition of each artist following a personalized methodology that allowed them to explore the Interactions between information, idea and aesthetics. It was important during this process to find a balance between engaging visitors and opening up possibilities ‘without feeding people’s propensity to glorify war, stoking their macabre or voyeuristic fascination with terror, trivializing the event, and, above all, sacrificing the victim’s dignity – essentially making them victims for a second time’( Ehrenreich and Klinger 2014:113)
Following this exhibition we produced another show at the Weiner Library London which brought both Archaeological evidence and Artistic responses together in the same exhibition ( At Treblinka the exhibitions’ were separate). We then disseminated the findings of our experience working together in a co-authored book where I was responsible for describing the Artists Responses and Journal Paper where I took the same role. In August/September 2017 I submitted and was accepted to deliver our paper at the European Association or Archaeologists, where we jointly presented our work.
Following this exhibition we produced another show at the Weiner Library London which brought both Archaeological evidence and Artistic responses together in the same exhibition ( At Treblinka the exhibitions’ were separate). We then disseminated the findings of our experience working together in a co-authored book where I was responsible for describing the Artists Responses and Journal Paper where I took the same role. In August/September 2017 I submitted and was accepted to deliver our paper at the European Association or Archaeologists, where we jointly presented our work.
Vessel/ 3D GlitchThe work was triggered by an invite to take part in an exhibition titled 3D Glitch, with the curatorial imperative being to address an age obsessed with digital perfection it seems appropriate to make an exhibition, which explores the anti-perfect. ( Hutchinson 2016)The work focused on exploring access to technology and how consumer access via ASDA Supermarkets 3DME could be used by artists to further explore digital surrogates as alternatives to material culture and how objects may be received via alternative means.
Exploring authenticity as a notion of art(Benjamin 1939) the work sets out to use the artist as a ‘vessel’ to carry a handmade object, another vessel created by the artist in clay. Both objects are combined both into one original work constituted of both artist and object within one. The outcome, a colour 3D Print is intended to draw scrutiny to the idea of the authenticity and how an original artwork might be presented as ersatz ( Adorno 1956). The dissemination takes the form of a colour 3D print. The artist and object are both presented as one composite item, rendering both equal. This combination puts the authenticity of both into question within one figurine like work. The display of the work also instigates a curatorial imperative to display the work on a shelf at height, the reasons for this are twofold: first to bring about a heightened fragility in the work akin to the way both elements are undermined by the means of their dissemination and secondly to mimics how digital files can be easily moved around on a screen, quickly making impossible situation likely, and vis versa. These methods are chosen specifically as they have the particular attributes needed to address the conceptual imperatives of the work- handmade original, reproduction and display that dislocates the object from the conventions of exhibitions. ‘Vessel’ offers a critique of originality via the intervention of a handmade object as a direct to reproduction original |
