Alice Lok Cahana, Whirlwind, 54 × 62 inches, acrylic and watercolor on canvas, ca 1980. Courtesy Cahana family archives #WomenArtusts, thanks to Peter Stebbins and the Lily and Earle M. Pilgrim Foundation. Peter has introduced me to so many forgotten and wonderful artists. |
Alice Lok Cahana (1929-2017) was a Hungarian Jew from Sarvar, Hungary, who survived four different concentration camps in the last year of WWII, losing every member of her extended family except for her father and beloved older sister, Edith, who survived only to perish from illness immediately after liberation. She entered a hospital, and Alice never saw her again. Loss is an enduring pain that informed Alice's life and her art. How could it not be?
"At Guben, the Nazis challenged the children to decorate the barracks for Christmas. "Can you imagine what it was like?" Cahana said in an interview with art historian Barbara Rose. "There were no paper or pencils to make decorations; we practically had nothing except one broom to sweep the floor with. We were about 24 children in our barrack. I decided we should choreograph ourselves into a living candelabra and hold the pieces of the broom as a part of this sculpture. We won a prize - each of us a little can of snails." https://cla.purdue.edu/Ressler/artists/cahanabio.
She was liberated from Bergen-Belsen on April 15, 1945. Her memories of that camp, documented in testimony preserved at the US Holocaust Memorial Museum, in Washington, DC, is heartbreaking.
"Bergen-Belsen was hell on earth. Nothing ever in literature could compare to anything what Bergen-Belsen was. When we arrived, the dead were not carried away any more, you stepped over them, you fell over them if you couldn't walk. There were agonizing...people begging for water. They were felling...falling into planks that they were not pulled together in the barracks. They were crying, they were begging. It was, it was hell. It was hell. Day and night. You couldn't escape the crying, you couldn't have escaped the praying, you couldn't escape the [cries of] "Mercy," the, it was a chant, the chant of the dead. It was hell."
The Cahana transcript at the Holocaust Museum also records one of the most harrowing tales any one could have, a horror survival story. At one point, Alice was selected for the gas chamber. Yes, "selected for the gas chamber." This was at Auschwitz. I shudder to even try to imagine it. Crowded into a small, dark, cold "shower" room with a group of naked, terrorized, horrified, traumatized women. Nothing but terror. Sheer terror. Moans of anquish. Waiting. Waiting. Waiting for the end. The women are dazed, but nothing happens. Nothing happens. The women are let out, into the light of day, and marched back to their barracks. The terror is indescribable. Saved, they later learn, because of a malfunction. A malfunction! A malfunction in a Nazi death "shower" saved Alice and the women she was with.
The war was ending, Allied forces were approaching the camps, Nazis were fleeing. Things were falling apart. Things were being destroyed, evidence of evil. Things were malfunctioning. As Allied forces came closer, in shock at what they were seeing, witnesses to the death camps, Alice and her other inmates were evacuated to the Guben labor camp. Alice, her sister, and another girl escaped during a forced march from the camp but were found and sent on to Bergen-Belsen, the hell on earth.
Alice's courage is almost beyond understanding. Here she was, a teenager defying Hitler's evil, with her sister Edith, trying to run away. And this after suffering the most haunting experiences any human can endure, the same teenager whose art project at the Guban concentration camp was a human menorah, a Jewish symbol of light and hope.
That Alice Lok lived to tell her story is a miracle. It's a miracle she channeled with care, so that the world would never forget.
Arrival, at Auschwitz |
After the war, wounded emotionally, exhausted from work, hunger, fear, but determined to make a life, she lived in Sweden for a while, the home of Raoul Wallenberg, an ambasador who had saved many Jews on their way to the camps, including Lok Cahana's father.
A few years later, in 1959, she emigrated to the US, where she settled in Houston, Texas, with her husband Moshe Cahana, a Rabbi she had met in Israel right after liberation, and their first-born son.
Her years in Houston were filled with family life and with art classes and painting. This is when her art studies, which had begun in Sarvar at her Jewish high school (Jews were not allowed in public schools), took off in earnest. At the University of Houston and at Rice University she was introduced to the art of Helen Frankenthaler, Kenneth Noland and the "color field painters," a dominant style at the time. She painted colorful American canvases, honing her skills and voice.
Fascinating figures embedded in this incredible painting, in the artist's collection. |
After this traumatic visit, Cahana's artwork changed.
"The lyrical abstractions she had made in Houston became the ground for a new kind of mark-making, employing collage, along with an abstract visual language, that could more directly express her memorial to the dead." Moreover, she created a series of works dedicated to Raoul Wallenberg, the Swedish diplomat who handed out fake Swedish passports to Jews targeted for the death camps. These schutzpassen, some of which are pasted as collage elements in Raoul Wallenberg - Schutz Pass, were passes to life. Wallenberg's daring efforts saved more than 20,000 people, including Cahana's father." https://cla.purdue.edu/Ressler/artists/cahanabio.
As she told art historian Barbara Rose in an interview for the catalog of her exhibit From Ashes to the Rainbow, "I started to paint only about the Holocaust as a tribute and memorial to those who did not return, and I am still not finished."
Cahana in front of a collage/painting that included portraits of Holocaust victims, In Memorium. |
"In an effort to make certain that no one could explain her imagery as simply fantasies of an artistic imagination she used literal photographs and documents: factual evidence that could not be disputed. It was during this period that she created a series dedicated to Raoul Wallenberg, the Swedish diplomat who handed out fake passports to Jews targeted for the death camps....Some of these faded passports were incorporated into the series as collage elements. Additional works include newspaper clippings, photographs, pages from her mother's prayer book, and yellow stars. The "surface of her carefully structured compositions are subject to various processes: burned, scratched, stained with blood red pigment; the images are grafted, buried, partially eaten away." Wikipedia and www.RaoulWallenberg
Remembering, a collage/painting including photographs. |
Just as her "living candelabra" at Guben defied the Nazis by honoring a Jewish symbol, the Chanukka menorah, her later artwork celebrated Judaism and those who perished in the Holocaust. She transformed the horror of their deaths into a testament to their lives.
Sabbath in Auschwitz |
"Several days later we arrived to Bergen-Belsen. And Bergen-Belsen was hell on earth. Nothing ever in literature could compare to anything what Bergen-Belsen was. When we arrived, the dead were not carried away a'ny more, you stepped over them, you fell over them if you couldn't walk. There were agonizing...people begging for water. They were felling...falling into planks that they were not pulled together in the barracks. They were crying, they were begging. It was, it was hell. It was hell. Day and night. You couldn't escape the crying, you couldn't have escaped the praying, you couldn't escape the [cries of] "Mercy," the, it was a chant, the chant of the dead. It was hell."The Museum notes: Alice was deported to Auschwitz in 1944, the year Hitler invaded Hungary. At one time she was selected for the gas chamber, but survived because of a malfunction. Imagine. As Allied forces approached the camp, Alice and other inmates were evacuated to the Guben labor camp. Alice, her sister, and another girl escaped during a forced march from the camp but were found and sent on to Bergen-Belsen. Alice's sister was taken to a Red Cross hospital, but Alice never saw her again.
a haunting painting by Edith Hoffman Birkin, a Holocaust surviver.
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