Lock(er) of Memory: Memorial to the victims of the Jungfernhof concentration camp (2019).

Digital drawings.  Artist: Karen Frostig

Locker of Memory: Memorial to the victims of
the Jungfernhof concentration camp in Riga.

The Jungfernhof concentration camp was in operation between 1941-1944. Eighty five years since crimes of imprisonment and murder were committed on this land, a memorial is now in progress to mark the history and memory of the site. Integrating art with history, science, and new technologies, the memorial will represent recovered evidence to create a contemporary model of remembrance.

Karen Frostig, Founder and Artistic Director for memorial project,
creating concept and design
Architect/ fabrication artists and engineers: TBD

וְיָנוּחוּ בְשָׁלוֹם עַל מִשְׁכָּבָם
V’yanuchu b’shalom al mishkavam
May they rest in peace in their resting places.

—El Malei memorial prayer

In 2019, I launched the Locker of Memory memorial project. The history of this project began in 2002, when I directed the Earth Wounds project dedicated to the destruction of a small community forest in Newton, Massachusetts. For a short discussion about the intervening years of my work as a public memory artist, I’ve posted a video “What happens when we forget to remember” to this website, highlighting projects specific to my family’s Holocaust history.

The title “Locker of Memory” was prompted by the history of this forgotten camp. The title stirs a variety of associations, such as: private, public, hidden, revealed; locked in / locked out; protected memory, safeguarded, preserved; holding memory as an idea, a social construct informing individual and collective identities; a holding vessel containing ambivalent, forbidden, and repressed memories or even cherished memories; and complex feelings about trust, distrust, loss, freedom, and the unknown. 

The memorial project is about murder and memory, obliteration and survival. The project has a broad arc. Developed in stages, the project encompasses research, an online virtual memorial containing an interdisciplinary presentation of the research, multiple partnerships, and numerous public presentations to include the Day of Remembrance event at Brandeis University (2024). The project will conclude with a permanent memorial installed at the site of the Jungfernhof concentration camp.

Each phase is funded independently, allowing the project to progress in a steady and cumulative fashion. In some instances, these phases will overlap, accelerating project development. —Karen Frostig

Site-Specific Location

What is grief? Is collective grief different from personal grief? How do memorial artists make grief visible?

Site-specific memorial projects mark specific sites of significance. Site-specific memorials transform an abstract idea about memory into a concrete plan based on historic evidence in relation to time and place. The Locker of Memory project is steeped in research and evidence gathering.

Working closely with historians and scientists for five years, the Locker of Memory project was based on a specific goal, to recover and preserve the history and memory of the Jungfernhof concentration camp and search for the lost mass grave containing more than 800 bodies. Using non-invasive ground penetrating radar, a scientific breakthrough took place in July 2024. Scientists found historic evidence in the form of recovered stones marking the foundational structure for the barracks containing Nazi-style “bunkbeds” for imprisoned Jews. The barracks were built by Jews for Jews in the spring 1942 following the Dünamünde Action, when 1800 prisoners were shot on a single day into mass graves in the Bikernieki Forest. Made from crudely constructed wooden planks, prisoners who were confined to these overcrowded sleeping arrangements were exposed to typhoid, dysentery, lice, and other contagious diseases. Sleeping in damp and corrosive environments, the barracks lacked privacy, heat, interior toilets, and washing facilities. Armed guards patrolled these spaces creating a mood of terror and intimidation. While darkness provided some protection, each night became a personal fight for survival.

The barracks contained rows of low, three-story rudimentary bunkbeds for sleeping and nighttime imprisonment. The physical presence of these beds constructed by Jewish prisoners at the camp for Jewish slave laborers at the camp, became a form of evidence that Jews inhabited this land. In this light, the historic “bunkbed” serves as an anchor, literally and figuratively, for a large-scale memorial project. The story-telling nature of the bunkbed as a place of confinement and sleep deprivation personifies the perpetual nature of deception that was present at every phase of Jungfernhof’s history. The site was initially characterized as a place of “resettlement” and then as an “agricultural farm” for slave laborers. In 2017, the land belonging to the camp was repurposed by Latvian authorities as a recreation park for leisure and relaxation. The language of murder and reference to the lost mass grave was omitted from the park’s placard addressing the history of the site. As a descendant of murdered victims, I broke the silence surrounding the camp, insisting that the camp be properly identified. I created the Locker of Memory memorial project committed to representing the full story of this camp’s history, moving from murder to obliteration.

Memorials are keepers of history. While an idea of rest extracted from the bunkbed motif created an initial illusion of closure, a memorial at Jungfernhof must address first and foremost the jarring memory of murder and the presence of a lost mass grave that continues to haunt the land. 3985 German and Austrian Jews were deported to Jungfernhof and murdered on a land and in nearby forests that was never regarded as home. The fundamental estrangement of this history must be grappled with by the three countries, Germany, Austria, and Latvia responsible for the camp’s forgotten history. I am working closely with Latvia’s Jewish community to ensure that a permanent memorial will be installed at the bunkbed site, to properly address the history of this camp. I have been commissioned to create the concept and design for a memorial project. Situated within the foundational framework of the barracks and surrounded by transparent panels containing the names of 3836 murdered victims, the memorial will embody a larger statement about the site as a place of truth and justice.

Memorials are not designed to provide closure. Achieving the appearance of a resolution about the devastating history of this camp produces a static outcome akin to forgetting. The goal is not to forget. We must ask, how will a memorial dealing with human remains at the site disrupt the tranquility of a recreational park?  How can these two concepts co-exist?

Contemporary memorials address lingering questions about moral responsibility. There is no expiration date on unaddressed issues of responsibility following genocide. Discomfort does not dissipate with time. The recovered stones of the barracks provide critical evidence that the Jungfernhof concentration camp with its history of murder existed on this land.

A memorial at the Jungfernhof concentration camp site also prompts new questions about community involvement and civic engagement. Memorials become gathering places, stimulating vibrant conversations about genocide, forgotten histories, and the purposeful role of remembrance as an active agent of memory. Memorials invite audiences to extract the lessons of history while striving to create a new world order based on the ideals of tolerance, compassion, and inclusion.  

Concurrently, an internationally acclaimed team of geospatial scientists, led by Prof. Philip Reeder, Geographer and Cartographer at the Center for Environmental Research & Education (CERE); and former Dean (07/13-06/21) Bayer School of Nat. & Envir. Sciences. Now: School of Science and Engineering, Duquesne University; and Prof. Harry Jol, Geographer and Anthropologist and Ground Penetrating Radar Specialist, University of Wisconsin-Eau Claire will lead an ongoing search to recover all the stones pertaining to the barracks. I am also working in partnership with Ilya Lensky, Director of the Museum Jews in Latvia and leading member of the Jewish Community in Latvia to establish a memorial at the site. Collaborations with Latvian architects and fabrication artists will begin in the fall, 2025.

Victims’ names inscribed into a permanent surface such as stone or metal, convey a sense of endurance, unity and identity, defiantly counteracting feelings of erasure and anonymity accompanying genocide. The names of victims also read as a stark for…

Victims and survivors names inscribed into a permanent surface such as stone or metal, convey a sense of endurance, unity and identity, defiantly counteracting feelings of erasure and anonymity accompanying genocide.

The names of victims and survivors also read as a stark form of evidence, disputing competing claims of genocide denial.

Earlier sampling of ideas for Memorialization

In 2020, I developed a memorial project to feature a blackened steel, vertical cubicle developed as a memory locker, inscribed with 3,836 victims’ names. Using chemical additives to hasten oxidization processes and enhance the locker’s patinated surface, the metal box was designed to change coloration over time. The names were organized alphabetically in four groups, corresponding to the four cities of origin.

Locker of Memory: Memorial to the victims of the Jungfernhof concentration camp (2019). Digital drawings.  Artist: Karen Frostig

Locker of Memory memorial proposal situated at the pond (2018). Submitted to Latvia’s municipality. Proposal was rejected by the committee.The pond, belonging to the recreation park was already in use with a decorative water fountain. Digital drawing, Karen Frostig.

Locker of Memory panels situated at the camp and in an exhibition space with virtual reality headgear, (2018). Digital sketches Karen Frostig

“Arbor of Remembrance” proposal for a site-specific memorial, cultural center and organic farm (2010). Digital sketch. Karen Frostig

Earth Wounds” (2002). Mourning Shroud and gravesite pegs as ritualized artifacts used to embellish a gravesite event; and digital print of neighborhood forest about to be demolished, containing my grandparents’ passport photos. I recently learned about the massacre of 1800 victims from the Jungfernhof concentration camp, bussed to the Bikernieki Forest and shot into mass graves.. Artist, Karen Frostig