For some time now, Dominique Hurth has been investigating female Nazi perpetrators and in particular the figure of the female concentration camp guard. In doing so, she examines
and scrutinises the representation of female Nazi perpetrators and their stereotyping from the post-war period until today.
Her research is based on an object, the uniform of a female concentration camp guard, which is kept in the collection of the Ravensbrück Memorial (Fürstenberg/Havel).
In a series of installations, readings and textile experiments (weaving and dyeing), Hurth interweaves research, images and texts,
which she has collected over the past few years during numerous visits to memorial sites, state archives, military collections, costume and theatre depots in order to take a closer look at the textile history, production and object biography of the uniform and to shed light on the ideas of forced labour, violence and gender representation contained therein.
and scrutinises the representation of female Nazi perpetrators and their stereotyping from the post-war period until today.
Her research is based on an object, the uniform of a female concentration camp guard, which is kept in the collection of the Ravensbrück Memorial (Fürstenberg/Havel).
In a series of installations, readings and textile experiments (weaving and dyeing), Hurth interweaves research, images and texts,
which she has collected over the past few years during numerous visits to memorial sites, state archives, military collections, costume and theatre depots in order to take a closer look at the textile history, production and object biography of the uniform and to shed light on the ideas of forced labour, violence and gender representation contained therein.
Maschinen dröhnen,
Nadel schleppt den Faden,
scharfes Messer glänzt,
schneidet entzwei und sticht...
(Machines roar,
needle drags the thread, sharp knife shines,
cuts in two and stitches...)
(2023)
Fabric, 1500 x 100 cm, (warp: 100% cotton; weft: various linen qualities in different finenesses)
Weaver: Christina Klessmann
Produced thanks to the Berlin Funding Programme for Artistic Research (Berlin Senate Department for Culture and Social Cohesion).
The title of this work comes from the poem Noznaz miana [The Night Shift] from 1932/43 by Halina Golczowa.
The length of 15 metres corresponds to the amount of fabric that had to be woven by a woman in a 12-hour shift in the textile production site of Texled in the camp of Ravensbrück.
Installation shots: Villa Massimo, Rome, Italy (June 2024); Galerie Bernau, Bernau bei Berlin, Germany (August 2024; exhibition together with Susanne Kriemann)
Nadel schleppt den Faden,
scharfes Messer glänzt,
schneidet entzwei und sticht...
(Machines roar,
needle drags the thread, sharp knife shines,
cuts in two and stitches...)
(2023)
Fabric, 1500 x 100 cm, (warp: 100% cotton; weft: various linen qualities in different finenesses)
Weaver: Christina Klessmann
Produced thanks to the Berlin Funding Programme for Artistic Research (Berlin Senate Department for Culture and Social Cohesion).
The title of this work comes from the poem Noznaz miana [The Night Shift] from 1932/43 by Halina Golczowa.
The length of 15 metres corresponds to the amount of fabric that had to be woven by a woman in a 12-hour shift in the textile production site of Texled in the camp of Ravensbrück.
Installation shots: Villa Massimo, Rome, Italy (June 2024); Galerie Bernau, Bernau bei Berlin, Germany (August 2024; exhibition together with Susanne Kriemann)
