In her three-part intervention in the house of the female guards, Dominique Hurth addresses the brutal ‚cosiness‘ of the accommodation for the female concentration camp personnel. The point of departure for her investigation are private photographs of the apartments, which provide insights into details of the domestic furnishings. Curtains, upholstered corner benches, tablecloths, drawers with glass figures, cushions, carpets, and other objects suggesting a comfortable living situation were examined more closely by the artist and, together with research in women‘s and interior decoration magazines of the 1930s and early 1940s, placed in an expanded socio- historical context.

Together with a textile designer, several curtains were woven anew with intentional weaving faults and running stitches, which frame (or block) the view to the outside, which respectively discloses the idyllic settlement of the warden‘s houses, the Lagerstraße and the entrance gate of the concentration camp. Furthermore, collages in the bathroom deal with the everyday life and hygiene culture of women informed by the motif of the bathtub. Not far from there is an installation masquerading as a visitors‘ bench that combines the traditional female craft of embroidery with fragments from Irma Grese‘s court transcripts from the Bergen-Belsen trial (1945).

Two of those curtains were temporarily taken out of the house for the exhibition at Kunstverein Graftschaft Bentheim in 2026.