Large-format digital print on coated paper, 3 x 600 cm x 100 cm, sex toy in a bowl, short film about the trip and exhibition

In 2008, the Omkamra artists’ collective presented a group exhibition in The Hague that would later become one of the defining moments in the history of the community. On this occasion, the exhibition’s conceptual point of departure was shaped by an artistic proposal by Ferenc Kondász, who introduced the title and thematic framework, Terror of Peace, to the group.

At first glance, the title appears paradoxical: how can peace be associated with the experience of horror? Yet this proposition sought precisely to draw attention to a fragile condition in which peace is understood not as a permanent order, but as a vulnerable equilibrium — a state carrying within itself its own tensions, absences, and unspoken anxieties.

Rather than building upon the direct representation of war, the curatorial theme focused on the psychological, social, and political layers concealed beneath the surface of peace: silences, invisible conflicts, and the uncertainties operating beneath the appearance of normality. Responding to this shared conceptual field, the artists of Omkamra, myself included.