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| M., W., M.+W.
lenticular image, 2008
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| Speak Stones
lenticular image frieze, panels in 25 cm x 120 cm sections, 2007
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| Ephemeris Epigraphica
15 lenticular images, 120 cm x 75 cm, 2006
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| Memory Lost
C-Print mounted on alubond, 70 cm x 47 cm, edition of 3, 2007
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| Index
collection of italian visiting cards, framed, individual mounts, 1998
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| Eight Paths
C-Prints, wall text, 2003
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| Replica
wood frame, plexiglass, microfiche, lens, 2005
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| The T Documents
84 facsimile archival documents, 1992
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| The Church and the Machine
digital prints suspended from a wire track, 1993
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| The Party Celluloid
lino-print, 1992
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| M., W., M.+W.
lenticular image, 2008 |
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Created for the Exhibition, Sex Brennt - Magnus Hirschfled's Insitute for Sexual Science and the Book Burning, in the Berlin Medical Museum of the Charite
An enlargement of an entry card which Magnus Hirschfled used in collecting information on sexual preferences for a statistical analysis of homosexuals in society. The cards were handed out to metal workers and students in the Technical University of Berlin.
Lenticular technology was chosen for this work as an interactive means of display. The work contains up to five text layers, which are viewable from varying viewing positions.
Source: Hirschfeld, Magnus: Das Ergebnis der Statistische Untersuchungen über den Prozentsatz der Homosexuellen, Verlag von Max Spohr, 1904
Dank an Alstercolor Bild + Medienservice GmbH & Co. KG
Exhibited: Berlin Medical Museum of the Charite; 2008
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| Speak Stones
lenticular image frieze, panels in 25 cm x 120 cm sections, 2007 |
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"Speak Stones” is presented as a high-tech frieze in three sections
and is intended to be experienced in lateral movement by the viewer. The fragmentary
stone inscriptions are given a "voice" in our perceptions as we navigate
the space.
Lenticular technology was chosen for these works as an interactive means of
display. Each work contains up to five text layers, which are viewable as text
fragments from varying viewing positions, and which "overwite" each
other as in a "palimpsest".
Texts are derived from ancient roman epigraphic inscriptions and an anonymous
early latin text on memory-technics, “Rhetorica ad Herennium”, often
atributed to Cicero (1st Cent. B.C.).
Exhibited:
Gallery e/static, Torino
Artissima 14 Art Fair, Torino |
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| Ephemeris Epigraphica
15 lenticular images, 120 cm x 75 cm, 2006 |
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These fifteen lenticular text images refer to Benjamin's famous essay, "Ausgraben
und Erinnern" (Walter Benjamin, Ausgraben und Erinnern, in: ders., Gesammelte
Schriften, Bd. IV.1, hg. von Tillmann Rexroth, Frankfurt a.M. 1972, S. 400 f.)
The texts are derived from online epigraphic databases of ancient inscriptions
maintained by European and North American Archaelogical research institutions
(list below). Commentaries to thousands of papyrus, stone, clay and wax inscriptions
were collected from these databases, specifically chosen for content refering
to readability and fragmentation.
Lenticular 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".
Sources:
Die digitale Papyrus-Sammlung der Universitäten Halle - Jena - Leipzig;
Papyrussammlung Universität Trier; Catalogue of Paraliterary Papyrus, Katholieke
Universiteit Leuven; The Egypt Exploration Society und Center for the Study
of Ancient Documents, Oxford University; Epigraphische Datenbank Heidelberg,
Heidelberger Akademie der Wissenschaften; Achaemenid Royal Inscriptions Database,
University of Chicago; Cuneiform Inscriptions Database, University of Minnesota;
Cuneiform Digital Palaeography Project, University of Birmingham
Produced with support from Alstercolor Bild + Medienservice GmbH & Co.
KG, Hamburg.
Exhibited:
Hamburger Bahnhof Museum of Contemporary Art, Berlin
(as part of the exhibition; "Translation: Text as Image" within the
frame of the Walter Benjamin Festival, Berlin), 2006-2007
Photos: 1-4: Waldemar Kremser, 5: Arnold Dreyblatt |
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| Memory Lost
C-Print mounted on alubond, 70 cm x 47 cm, edition of 3, 2007 |
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A digital LED display in a Sicilian village square, loses access to it’s
memory chip. Photographed by the artist in 2002. Edition of three available at Gallery e/static, Torino
Exhibited:
Gallery e/static, Torino, 2007
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| Index
collection of italian visiting cards, framed, individual mounts, 1998 |
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Collection of 81 individual visiting cards, acquired in Venice, August, 1992; white frame, 140 x 105 x 4 cm., individual mounts.
Originally exhibited as "La Scalinate di Piazza d´Italia", 1994
Description of "La Scalinate di Piazza d´Italia" (1994):
A staircase in an decaying back house in East Berlin. A collection of one hundred Italian visiting cards from the turn of the centruy, which the artist discovered in a junk store in Venice, each with only one name and no address or phone number, are encased in individual transparent plastic envelopes and nailed to the underside of 100 steps, arriving to the highest landing in the attic. As the public ascends, each card gradually appears at eye level, a collection of 100 faceless vanities of Italian royalty.
Exhibited:
"Index", 1998:
Foreign Ministry, National Parliament, Oslo, Norway (Permanent Collection)
Galerie Bleibtreu, Berlin, 2004
Galerie Kai Hilgemann, Berlin, 2003
"La Scalinate di Piazza d´Italia", 1994
Galerie Ozwei, Berlin, 1994
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| Eight Paths
C-Prints, wall text, 2003 |
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25 Color Prints positioned in a grid and layered over a wall of text. The work was installed in the Galerie Anselm Dreher, Berlin in 2003.
The photographs were taken in an east european botanical garden. Plants are marked by a labyrinth of small signs, from which the text has been removed or is unreadable.
The wall text is an excerpt from the "Preface" to Stages on Life's Way" (1845), Søren Kierkegaard, an essay on memory.
The work addresses quesions of readablity through interruptions created by image as a reflection on the attempts of the mind to access and navigate fragments from the past.
Exhibited:
Galerie Anselm Dreher, 2003 |
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| Replica
wood frame, plexiglass, microfiche, lens, 2005 |
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12 works, 90 x 70 x 5 cm. are hung in a series on a long wall. Each work contains
a wooden frame, a wooden panel, a layer of reflective plexiglass, a miniature
lamp, a magnifying optic, and an adjustable microfiche/microfilm holder. The optics
have been adapted from the “Pentakta HL100 microfiche hand reading apparatus”
(“Mikrofilm-Handlesegerät im Taschenformat”) which were produced by Pentacon Dresden
for use in scientific research and by the State Security System (the STASI).
In the center of the plexiglass-covered wood panel, one finds
a small hole with a lens, from which light is emanating. One peers into the „peephole”
lens which magnifies a small circular image of documents from the full collection
of 98 pages which have been printed on Microfiche in miniature. One’s eyes gradually focus
on an illuminated miniaturized text which has been magnified to the limit of perceptual
readability.
The twelve texts are derived from the German and Austrian Bureau of Standards
for data destruction: „Vernichten von Informationsträgern“, Deutsches Institut
für Normung, Berlin, and „Aktenvernichtung“, Österreichisches Normungsinstitut,
Vienna
While much of Dreyblatt’s work often reflects on the process of collecting, storing
and archiving information, here the text speaks of the technical and planned disapearance
and destruction of our collective memory by institutions and governmental agencies.
Exhibited:
Jewish Museum Frankfurt am Main, 2005 |
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| The T Documents
84 facsimile archival documents, 1992
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84 chronological archive documents, plastic envelopes, format DIN A4, nails with spacers
“The T Documents” is one of a number of related works derived from over 4,000 intelligence documents from State Archives in Europe and North America from the inter-war period which have been collected by the artist.
These documents reveal the life of “T”., (b. 1879 Paks, Hungary – d. 1943 Shanghai, China), a forgotten Central European historical figure whose multiple identities span three continents (Europe, North America and Asia) and touch on many of the most important events of the pre-war period.
The collection contains daily reports and correspondances between 1915 and 1943, forming a vast communication network in which the official traces and observations of the individual are cross-referenced to historical events, international personalities and geographic locations.
In the installation “The T Documents”, the artist’s personal selection of 84 original archive documents have been digitized and faked by specially developed printing techniques applied to the reverse side of postwar East German archival pages, posing question about the identity of both the subject’s personality and the authenticity of the documents themselves. The documents are displayed in chronological order in transparent envelopes hanging on metal hooks. Selected excerpts are translated and typed in German on small strips of paper which has been inserted into the envelopes.
In related works, thousands of documents have been entered into a database and are displayed by computer projection. A realization for the World Wide Web has been prepared in collaboration with the University of Lüneburg, Department of Cultural Studies.
Sources: The Public Record Office and The British Library, London; The National Archives, Washington, D.C.; Bundesarchiv Koblenz; Politisches Archiv des Auswärtigen Amts, Bonn, etc.
Exhibited:
Galerie Ozwei, Berlin, 1992
Kulturfabrik Kampnagel, Hamburg, 1995
Bayerisches Staatsschauspiel; Marstall, Munich, 1995
Arken Museum for Modern Art, Cultural Capital of Europe, Copenhagen, 1996
Hudobné simulakrá. Jozef Cseres, Bratislava 2001
Jewish Museum, Frankfurt am Main, 2005
Gallery e/static, Torino, 2007
Related Web Project: http://www.leuphana.de/tmail
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| The Church and the Machine
digital prints suspended from a wire track, 1993 |
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Digital prints, format DIN A1, laminated, moveable and suspended on wire track.
Texts on the subject of a robotic mass storage system in which files are ordered and physically moved by a robot monk/librarian and an American church-sect which is pursuing an extensive worldwide archiving project collecting and storing personal data.
Data is presented on a track containing large hanging plastic cards which can be moved back and forth at will, containing information on an international “high-tech” computer frm and an American church-sect which is pursuing an extensive worldwide archiving project.
“The Church” has been collecting and storing the personal data from over 15 Million persons from around the world for over 50 years in 1.6 million rolls of microfilm which are stored in Utah in the Western United States in a cave safe from nuclear attack. Each year 30,000 new rolls are added and the material is made accessible to the public at Family History Centers worldwide. This project is the largest of its kind ever conceived, and as its goal seeks to collect store, and digitize all genealogically useful information which can be located before eventual disappearance.
Exhibited:
Galerie Ozwei, Berlin, 1992
Kulturfabrik Kampnagel, Hamburg, 1995
Arken Museum for Modern Art, Cultural Capital of Europe, Copenhagen, 1996
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| The Party Celluloid
lino-print, 1992
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Colors: Green and Red; 60 x 120 cm
Images selected from "Home Movie" stills from Dreyblatt's multi-media performance, Die Luftmenschen
Exhibited:
Galerie Shin Shin, Berlin, 1992 |
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