Dreyblatt's project "Ich war in Braunschweig..." won first prize in the invited competition: "Software of Memory" ("Software des Errinnerung") which was initiated by the Kulturinstitut Stadt Braunschweig in 2006. The project is as yet unrealized.

The book on the project was published by Appelhans Verlag Braunschweig in 2008 under the title: "Software der Erinnerung Künstlerischer Wettbewerb zur Markierung von Orten in Braunschweig mit nationalsozialistischer Vergangenheit, Braunschweiger kulturwissenschaftliche Studien", Veröffentlichungen des Kulturinstituts der Stadt Braunschweig, Bd. 3 (ISBN 978-3-941737-06-8).

Mit Beiträgen von: Arnold Dreyblatt, Prof. Stefanie Endlich, Prof. Michael Fehr, Dr. Anja Hesse, Pia Lanzinger und Barbara Straka

Herausgegeben von: Goor Zankl, Kulturinstitut im Auftrag des Oberbürgermeisters der Stadt Braunschweig; Lektorat: Gustav Mechlenburg; Konzept und Gestaltung: Joana Katte; Bildbearbeitung: Anne Mignon Doré; Herstellung: Ruth Printmedien GmbH, Braunschweig; Herzlicher Dank an: Dr. Annette Boldt-Stülzebach, Frank Ehrhardt, Nina Franz, Wilhelm Lehmann, Christine Linne, Prof. Ernst-August Roloff, Frank-Michael Rösch; Mit freundlicher Unterstuützung durch BBR - Baudis Bergmann RöschVerkehrstechnik GmbH; Künstlerischer Wettbewerb zur Markierung von Orten in Braunschweig mit nationalsozialistischer Vergangenheit


   Software der Erinnerung-pdf

Language: English, Norwegian
ISBN: 3936636915

Hardcover, 96 Pages, 40 color and black and white photographs, 270 mm x 220 mm

This book is published on the occasion of the installation of Arnold Dreyblatt's permanent work, "Innocent Questions" in front of the Center for Studies of Holocaust and Religious Minorities in Oslo, Norway in 2006

The Publication has been supported by Fritt Ord (The Freedom of Expression Foundation), Oslo; Norsk kulturråd, Oslo (Norwegian Council for Cultural Affairs) and HL-senteret, Oslo. .

"Arnold Dreyblatt's sculpture Innocent Questions raises a set of unpleasant questions about the relationship between the rationalism that characterizes modernity and genocide. The art work is installed at the entrance of what was previously Vidkun Quisling's residence in Oslo during the German occupation of Norway. [...] The seemingly neutral and objective categorization underlying the gathering of personal information is not just passive registration but produces identity. It chisels out subjects that may be identified and quantified in the next round." - Jan Ove Steihaug

Table of Contents:
Arnold Dreyblatt's installation at Villa Grande: Dr. Jan Brockmann (Art Historian, former director of Contemporary Art Museum, Oslo)

Center for Studies of Holocaust and Religious Minorities (HL senteret): Odd-Bjorn Fure, Research Director, HL-senteret

Within Memory: Dr. Eugen Blume, Director, Hamburger Bahnhof Museum of Contemporary Art, Berlin

Description of "Innocent Questions": Arnold Dreyblatt"

Photo Series: Photos by Jiri Havran

The Collection of Personal Data: Arnold Dreyblatt

Powerful Information: Jon-Ove Steihaug, Art Historian, Oslo

Historical Background and Some Current Concerns: William Seltzer, Honorary Professor, Fordham University, New York

Issued on the occasion of the solo exhibition by Arnold Dreyblatt, Inscriptions at the Judengasse Annex; Jewish Museum, Frankfurt am Main, 2005.

ISBN 3-9809814-2-8
96 Pages, 23 Color Photographs.

Contents:
Forward, Georg Heuberger
The Great Archive, Arnold Dreyblatt
Arnold Dreyblatt's T Projects, Jeffrey Wallen
Text Selections from: Platon, Theaetetus; Sigmund Freud, A Note upon the Mystic Writing Pad
The Wunderblock, Arnold Dreyblatt
Inscriptions and Fragments, Erik Riedel
Concordance, Arnold Dreyblatt
The Text Writes Itself, Arnold Dreyblatt
The Missing Letters, Arnold Dreyblatt
Text Selections from Maurice Halbwachs, The Collective Memory
Replica, Arnold Dreyblatt
Attention! Archive, Wolfgang Ernst
Evening Reading Event
Appendices

ISBN: 393325731X
Hardcover: 120 pages, 70 Color Photos, DVD, German and English
Dimensions: 25.25 x 16.81 x 1.35 centimetres

Authors: Dreyblatt, Arnold, Editor Uthemann, Ernest W., Fechner-Smarsly
Publisher: Kehrer Verlag, Heidelberg

The New York-born artist deals with our conception of a complex world increasingly dominated by mass media.
Asking the question, if human perception and memory can live up to the information offered, his video art plays games with our curiosity and will to decipher the unknown. Our limits of apprehension are being tested, for example, by keeping the pace of displayed words and images constantly too fast, so that the attempt to make sense of a ?ood of information is bound to fail.


Table of Contents:

Images for Memory, Ernest W. Uthemann
Catastrophe, Memory, Archive. Arnold Dreyblatt's Media- and Archive-Supported Work in Cultural Remembrance, Thomas Fechner-Smarsly

Installations, Stadtgalerie Saarbrücken, Arnold Dreyblatt
Recovery Rotation 2003
The Wunderblock 2000
Artifical Memory 1999
The ReCollection Mechanism 1998
T-Mail 1998, T-Docs 1993
The Great Archive 1993

Without the presence of the past, we are without consciousness, Interview, Claudia Banz

The Reading Projects, 1991 - 2001, Arnold Dreyblatt
Who's Who in Central & East Europe 1933
Memory Arena, The Memory Project, The Reading Room
Readers
Administration
The Archive
The Reading Hall

Remnants and Surviving Traces, Jeffrey Wallen

Appendix

ISBN Number: 3-928942-11-5
Hypertext in Book Form by Arnold Dreyblatt

Published by Gerhard Wolf Janus Press Berlin, 1995 (In German), 230 pages, 130 photographs

With Essays by:
Jan Faktor, Jeffrey Wallen, Heiko Idensen, Arnold Dreyblatt
Software Design, Database: Jost Muxfeldt
Publication supported by VG Bild Kunst, Bonn; Kunstfonds e.V. Bonn.

"One could speak perhaps of a rescuing of the ordinary and of the bureaucratic in Dreyblatt's work, even as these are taken to a further extreme through their own logic of fragmentation, listing, juxtaposition, and leveling. But "rescue" would be the wrong word, since there is no real recovery here, either of the individual, of a culture, or of Central and East Europe. What we are given, through these traces, is a far more haunting glimpse of an absence. But to only say this would be to ignore the fascination of all that we can now see in these fragments, as they are released from serving solely as the standard elements for constructing accounts of a life, and become the pieces of an exceptionally challenging new book." - Jeffrey Wallen, Hampshire College