Between 30 April and 2 May 1945, at the end of World War II, at least 1,200 people took their own lives in the town of Demmin—most of them by drowning themselves with stones in the waters of the three rivers surrounding the town—in what became the largest mass suicide in German history. In the final days of the war, the Nazi army destroyed all the bridges connecting Demmin to the outside world, leaving its inhabitants completely isolated, surrounded by water, and unable to flee the advance of the Red Army. The institutional silence imposed during the era of the German Democratic Republic (GDR) prevented any form of meaningful reparation and forced many families into decades of silence. A painful secret was shared only within small circles and took far too long to be publicly acknowledged. Today, although most of those who lived through the tragedy have passed away, they have left behind traces of their wounds for future generations to carry.
Through a series of images that combine landscape, architecture, and portraiture, A River Without Bridges offers a visual journey centered on the construction of both individual and collective identity in a place marked by stigma and silence.
This work focuses on the perspective of local young people, aiming to explore how subjectivity is shaped within a context burdened by a traumatic legacy. From this viewpoint, highlighting younger generations makes it possible to counteract stigmatizing narratives and create a space for reflection, symbolic reconstruction, and dialogue with the present.
Through a series of images that combine landscape, architecture, and portraiture, A River Without Bridges offers a visual journey centered on the construction of both individual and collective identity in a place marked by stigma and silence.
This work focuses on the perspective of local young people, aiming to explore how subjectivity is shaped within a context burdened by a traumatic legacy. From this viewpoint, highlighting younger generations makes it possible to counteract stigmatizing narratives and create a space for reflection, symbolic reconstruction, and dialogue with the present.















Within the sensorium is a transcriber, or a synthesizing faculty, using synonymous intangibles where association and experience fail: as the capacity of certain sounds to induce colour images, certain arabesque forms may find aesthetic truth.
Austin Osman Spare
Anathema of Zos: The Sermon to the Hypocrites
Language: English
ISBN-10: 1872189261
SBN-13: 978-1872189260
Anathema of Zos: The Sermon to the Hypocrites
Language: English
ISBN-10: 1872189261
SBN-13: 978-1872189260

Anathema quadrivial: the dark obliques from zodiacal signs, the evolutionary-parental chains, the environmental matrix, the obsession from foiled appetitive urges: thus are we born prehensive to, and slaves of, inheritances.
Austin Osman Spare
The Logomachy of Zos
BCM Fulgur, London
WC1N 3XX
United Kingdom
The Logomachy of Zos
BCM Fulgur, London
WC1N 3XX
United Kingdom

There is no greater evidence of weakness and inferiority than that of greed. The creative man gives much and desires little, while the bankrupt, decaying and diseased, needs every privilege and the world to succour him.
Austin Osman Spare
Automatic Drawing
Language: English
ISBN-10: 1872189644
ISBN-13: 978-1872189642
Automatic Drawing
Language: English
ISBN-10: 1872189644
ISBN-13: 978-1872189642





