6 Lenticular Panels, 75 x 110 cm
Lenticular Text Installation in two exhibition rooms as part of the new permanent exhibition at the Women's Concentration Camp Ravensbrück Memorial.
Room I: Three works containing texts in the language of the perpetrators referring to reasons for admittance of female inmates into the camp. The fragments are based on documentation of the Gestapo and Criminal Police.
Room II: Three works containing quotations and reports from the years 1942-43 document the point of view of the SS Administration.
Dreyblatt has used lenticular technology as a perceptually interactive means of display. Each work contains up to five text layers, which are viewable as text fragmentas from varying viewing positions, and which "overwrite" each other as in a "palimpsest". As the viewer moves about the room, varying text content appears and disappears.
Commissioned by the Mahn- und Gedenkstätte Frauen-KZ Ravensbrück.
Data Projection, Permanent Installation, 2013
Commissioned by the Women's Concentration Camp Ravensbrück Memorial ( Mahn- und Gedenkstätte Ravensbrück) for the renovation of the main building and permanent exhibition.
The permanent work is installed in the main stairwell and entrance to the exhibition. Texts are based on documentation of the Camp SS and reports by former inmates. The work is chronological and continuous. As each month is selected, the dates on which information is known about events in the camp appear and scroll in German and English.
Newspaper cover was commissioned by the Berliner Zeitung for the Sunday Sept. 9, 2014 Special Edition
25,7 x 36,9 cm
Special Issue relates to the history of Jews in Berlin.
Series of 16 Lenticular Panels, 100 x 100 cm.
Permanently installed at the on the grounds of the Berlin-Hohenschönhausen Memorial (Gedenkstätte Berlin-Höhenschönhausen) the site of the main prison for internees of the former East German Ministry of State Security (MfS), or 'Stasi'. Dreyblatt won first prize in 2012 in an invited competition from the Berlin Senate for Cultural Affairs and the work was installed in 2013.
For 'Das Dossier', Dreyblatt chose four seminar rooms (used for video screenings and lectures) and the visitor cafeteria in which 16 related lenticular works are displayed. These newly renovated spaces are not burdened with historical associations and are openly navigated by the visiting public.
Dreyblatt has used lenticular technology as a perceptually interactive means of display. Each work contains up to five text layers, which are viewable as text fragmentas from varying viewing positions, and which "overwite" each other as in a "palimpsest". As the viewer moves about the room, varying text content appears and disapears.
The content texts were collected during a preliminary research phase in the extensive archive found on the groundsof the memorial. The final texts are derived from copies of secret police files and personal reminiscences.
This work was created especially for the 9/11 (September 11, 2011) Edition of the Berliner Zeitung. It is inspired by the scientific theory of "Flashbulb Memory."
"We have all had the experience that in exceptional moments when startling or shocking news has been heard, the brain seems to store permanently all temporal and visual information as vivid and lasting memories. The Assassination of JFK, the fall of the Berlin Wall, and 9/11 are all examples of this phenomenon. As a born New Yorker, transplanted to Berlin, the actual moment and following hours upon hearing the news of 9/11, remain frozen and imprinted, while the days before and after have long lost their significance." - Arnold Dreyblatt
Dreyblatt's work reflects on such themes as recollection and the archive, and he has created a number of artworks related to autobiographical memory: including the installations "Flashbulb Memory" (2002) and "Recovery Rotation" (2003).
A poster size translucent print version was shown at Galerie Oqbo, Berlin (2013) and in an exhibition curated by students at the Muthesius Kunsthochschule, Kiel.
Permanent installation: 16 Lenticular Panels, 110 x 110 cm
Permanently installed in four meetings rooms within the new Ministry of Agriculture, Nutrition and Consumer Protection (BMLEV), Wilhelmstrasse, Berlin, and dedicated in 2010. Winner, 1st Prize, Invited Competition, Federal Ministry for Buldings and Public Spaces (BBR) Berlin, 2008
Inscriptions is concieved as an interactive textual dialogue with the employees of the Ministirium who will pass through, meet and work in four meeting rooms. Lenticular printing technology was chosen as an perceptually interactive means of display. Each work contains up to five text layers, which are viewable as text fragments from varying viewing positions, and which seem to "overwite" each other as in a "palimpsest". As the viewer moves about the room, different text content appears and disapears, allowing one to 'create' one's own narrative about the history and workings of the BMELV Ministry. In this way the employee should become participants in a dialogue with the work, which can only be 'completed' through movement and reflection.
Text excerpts are chosen as content for the work from the following themes:
a) the history of the BMELV Ministry; b) the historical and architectural context of the building; c) descriptions of activities and goals relating to the work of the BMELV Ministry; d) historical and contemporary quotations from literature and science on subjects such as agriculture, nutriton, etc.
A theme has been concieved for each of the four meeting rooms:
1. Wilhelmstr. Nr. 54, history of the building housing the Ministry; 2. Agriculture: texts from Marcus Porcius Cato (234 v. Chr. - 149 v. Chr.), Albrecht Daniel Thaer, (1752 - 1828), Johann Heinrich von Thünen, (1783 -1850) ; 3. Agricultural Politics and Policy in Germany; 4. Consumer Protection
Permanent Installation, Privalite Glass, Data Projections, Mirror
One arrives at the site at the end of a journey through German Jewish History representing the last section of the permanent historical exhibition at the museum. This site depicting the "Shoah" is situated at the intersection of pre- and post- war exhibition areas.
Historical documents have been selected from the Museum archives from two sources:
a. Letters from burocratic offices to individuals about preparations for deportation and eventual transports to the east.
b. The last correspondance from Ghettos and extermination camps.
One approaches a glass barrier made up of vertical sections which are either transparent or opaque when data messages begin writing on them. One has the feeling that one cannot proceed further, yet one can see through the panels, revealing a hint of what follows. The visitor is intrigued by the dynamic rhythm of the panels appearing and disapearing, and by the pace of the digital writing on the glass. Along a line in the floor which transverses the space at an angle (and which represents lines which intersect the original architecture), a glass barrier is built in eight sections, each 1 meter wide and 3 meters high. Four data projectors are mounted from the cieling behind the glass barrier and are connected to a computer. A section of mirrored glass is mounted on the right diagonal wall, opening up the space and reflecting the wall of glass and the dynamic movement of the displays and changing panels.
The barrier is composed of eight "Privalite" glass panels, each 2.5 x 1 meters mounted in steel frames. When electricity is applied to the glass, it is transparent; when the current is turned off, the glass is opaque, thereby functioning as a projection surface.
The glass panels and the projectors are synchronized. There is one projector each for two panels, representing one document fragment. When a document pair are 'active', the glass becomes opaque, and the document information (left side) and content information (right side) begin 'writing', letter by letter, simultaneously, at eye level.
The four projection pairs are either in an 'active' (projection, opaque) or 'inactive' (transparent) state. From one to four active states may be happening at any one time. The patterns of active and inactive panels is changing all the time, creating a sense of dynamic rhythm in the space. At the same time, sections of the wall seem to disapear and reappear at other locations. The selection and display of the texts is random.
Text Preparation and Project Coordination: Maren Krüger
Media Design: Thomas Buck
Media Realization: White Void, Berlin
Photos: Copyright Jüdisches Museum Berlin; Foto: Jens Ziehe
Installed Permanently at and commissioned by The Jewish Museum, Berlin, 2008
Permanent Installation - "Unsaid": >>>
Permanent Installation, Sandblasted Two-Way Glass, LED Displays
'Innocent Questions' was the winner of a closed competition initiated by the The National Foundation for Art in Public Buildings, Oslo (Utsmykkingsfondet for offentlige bygg) in 2004 for a permanent artistic work in front the Villa Grande, a villa occupied by Vidkun Quisling from 1941-1945. The Villa is currently the site of the "HL Senteret", The Center for Studies of Holocaust and Religious Minorities.
In developing a concept for an artistic intervention for the Villa Grande Dreyblatt preferred not be limited by the particular historical circumstances associated with this site. He chose rather to focus on the use of the 'personal questionnaire' in population registration systems as the defining element that thematically connects the Holocaust in Norway with other genocides of the twentieth century and with the administration of foreigners and other minorities in contemporary society.
In Dreyblatt's concept for a permanent installation at the site, a list of 'Innocent Questions,' derived from historical and contemporary sources and representing a composite collective questionnaire, is contrasted with the image of a historical 'punch card.' Together, this is a representation of the collection, archiving and application of personal data by political systems for administrative and often questionable use.
The winter snow and the dramatic approach up the hill to the site call for a vertical installation as a transformation of the imposing and grotesque historical building facade. In renovating and reconstructing the 'Villa Grande,' fire and safety regulations required an external stairwell to be fixed on the facade to the left of the main entrance. I proposed to utilize the structure of the stairwell in order to physically support the installation of "Innocent Questions."
Attached to the structure of the stairwell is an array of twelve panel-boxes, mounted within a steel frame. These panels are designed to form one unified image (size: 8330 x 4070 cm.), which is perceived in three distinct optical layers:
Non-Reflective Image: Sandblasted onto the hardened surface of the outermost glass layer of each panel is a reconstruction of a historical 'punch card' , representing the reduction of the individual to number and category. This image is perceived as non-reflective, creating a heightened contrast to the reflectivity of the underlying mirrored surface.
Reflected Environment: The work functions as a mirrored wall that reflects the natural environment: the trees and sky, and the visiting public. The face of the historical building is thereby opened and partially erased.
Illuminated Texts: Mounted onto the rear of each panel within the punch card image, are words and phrases written in fixed light-emitting diodes (LED's). This textual content has been derived from historical and contemporary personal questionnaires.
The rear of the work is sealed, and the illuminated red LED texts appear as an ephemeral image, suspended in the reflecting mirror. Only the illuminated LED texts are seen through the mirrored glass, which is otherwise fully reflective of the environment. The words and phrases appear and disappear within a slow and randomly generated temporal composition perceived within the virtual punch card image. Because the appearance of illuminated words and phrases is continually changing, new combinations of words and phrases arise, igniting unexpected associations from the questionnaire entries as one passes the work. During the hours of daylight, the mirror glass reflects the trees and sky. The information layers (non-reflective image, reflected environment and illuminated text) are clearly visible. In the hours of darkness, artificial side lighting illuminates the non-reflecting sandblasted surfaces of the outer glass layer, which would otherwise be imperceptible.
Permanent Work, Inscribed Text in Stone
A granite plaque, permanently mounted with brass bolts into cement and permanently installed in a school courtyard. The work was dedicated in December, 2004 on the occasion of the art project "Leerstelle", curated by Galerie Ozwei. A large flower wreath was installed on the stone for the dedication ceremonies and was left to dry for some days before being stolen. The location of the work simulated an isolated grave or memorial area, being framed by a wire fence of DDR-Vintage allowing an unexpected discovery and functioning as a site for contemplation and recollection.
After the GLS Language School moved into the property in Berlin-Prenzlauer Berg in 2005, the work was reinstalled to a nearby location, near to ruins from the Berlin Castle. The work was cracked in the process of re-installation.
The stone is engraved with the phrase:
Si Monumentum requiris,
MDCCCLXVII - MMIV
This latin phrase, "If you require a monument, look around you", was inscribed by the son of the architect Sir Christopher Wren at his gravesite in St. Pauls Cathedral in London upon his death in 1723. The dates refer to the lifespan of the schoolyard area, one of the oldest in Berlin.
GLS Language School (formerly Gustav-Eiffel-Schule) in Berlin-Prenzlauer-Berg, 2005.
Workshop and Permanent Installation, 2004
Participation: Art Students from Kunsthochschule Berlin-Weissensee in collaboration with Galerie Ozwei, Berlin
Glass Wall Vitrine, Main Building, First Floor Landing, GLS Language School (formerly Gustav-Eiffel-Schule) in Berlin-Prenzlauer-Berg, 2005.
This workshop and Installation considered as basic material the personal archive of the artist Peter Müller, one of the workshop participants. The archive contains documents, images and artifacts pertaining to the history of the Gustav-Eiffel-Schule and the surrounding historical school property. We were interested in developing an artistic form in which the last inhabitants (teachers, administrators and students) of the soon-to-be abandoned school would be confronted with memory of the surrounding school buildings and property, which has been used for educational purposes since 1867.
As an exhibition space, we had been given a now-empty vitrine (approx. 4 m x 1 m) permanently built into a wall in a prominent site on the first floor landing of the main school building. Rather than create a pure historical exhibition, I proposed to mix fact and fiction in creating a pseudo-historical narrative which would be made plausible through the traditional methods of museum-like display, and which would reflect the complex emotions and expectations of both an east and west public as well as an east location.
The group decided on the theme of a school class which was reported to have completely disappeared, possibly for political reasons, in 1961. Great care was taken to support the narrative within the realm of plausibility, utilizing a great reserve of real and fabricated archival material from the time period. Possible resolutions of the narrative were imagined but left open to interpretation. In, December 2004, a small dedication ceremony was held as the work was permanently sealed behind an enormous glass window. Other than a reference to the installation as a result of a workshop under my direction, no indication was given as to the truth or falsity of the display. When the installation was on view during the art project, a minority of outside visitors were greatly irritated by the imagination that a school class had actually disappeared in the GDR.