Un cop d’ull*

Un cop d’ull (in Catalan) refers to un coup d’œil (in French), literally an eye’s knock, a stroke of the eye.

Three rolls of black and white film, a prism and filters.

In un cop d’ull Dominique Hurth offers a wander at the edges of the 19th and 20th centuries, reading three images and offering a glimpse at the capture of a created object.

The gaze threads from a smile, to an eye, towards a voice, in the backdrop of representation and mechanical reproduction. The subjective, non-linear, investigation takes places only in the format of the publication, in a free movement between text, image and object, in the manipulation by the reader of those three elements as an echo for the three caracters moving within the margins. 

2012, Limited edition of 100, printed on offset and inkjet, handbound
8 pages A6 (b/w), 4 pages A5 (color)

language in the darkness of the world through inverse images*

Flipping through her personal archive, Dominique Hurth investigates in language in the darkness of

the world through inverse images  historical events and their medial representation, their imprint in the eyes and the voice, and their inherent presence in one’s personal memory.

The subjective voice of the editor accompanies a capture of images and their captions, an iconographical data base for a dreambook of history, where the sound of a piano meets Edison, France Gall, Orwell or Pavlov. This same sound resonates in the syntax of the book that operates through its physical manifestation and the multiple directions of the reading itself, oscillating between visual and textual vocabularies. Underlined by the texture and materiality of the images, the missing comma becomes marker for Hurth’s non-linear thread of narration.

2012, English, 224 pp, 16 x 24cm, Handbound limited and numbered edition of 100.

Printed on Risograph, softcover and dustjacket on Offset

Published by the Jan Van Eyck Academie, Maastricht, NL and Dominique Hurth

throw the cobwebs from your eyes*

throw the cobwebs from your eyes is a work in the format of a sculptural installation, a translation and a reading. This limited edition contains the translation into Basic English of the four last pages of the chapter Anna Livia Plurabelle, of James Joyce’s Finnegans Wake, as reconstructed by the artist based on the encounter of the linguist C.K. Ogden and James Joyce in 1929.

2011, 8 pages, A6, 2c

Limited edition of 100; designed by Emilio Macchia

printed on risograph by Alexander Negrelli

produced with the support of Triangle, Marseille (F) and the Jan Van Eyck Academie (NL)

close your eyes of flesh to contemplate first the image with your mind’s eye

A capture of images and their captions from the archive of a Dutch designer; in the form of a reading, an exhibition and a publication, where the condition of the male sculptor, the golem and the representation of a woman merge through the act of opening, re-editing and manipulating the materials.

2011, English, 44 pages, 19 x 25 cm and A6 insert

Numbered edition of 60, Xerox and Inkjet print

a reading in three movement of the same in perspective

Dominique Hurth investigates the possible narrative enclosed in a particular form in space. From the oscillation of perspectives offered by a viewing device that manually shifted from a paper sketch from the 1930s into a three-dimensional replica, she questions the multiplication of images given by the sculpture, and the autonomy of the displayed artefact in relation to its caption. Avant-gardist iconography and modernist exhibition displays by architect and designer Herbert Bayer are being actualised by the passing of a form into the reader’s eye: the investigation in words (text and material) of the grey area behind the reference.

2011, English, 8 pages, A5
Edition of 100, printed on risograph, Berlin

failed suprematist futures

A reading in eight steps of an event yet to happen.

A2 poster cut and folded in A5 publication

offset print, edition of 250


foreword (language in the darkness of the world through inverse images)*

foreword (language in the darkness of the world through inverse images) first materialized

in an exhibition setting, a reading, several recordings and a series of séances, in the framework of the International Fellowship for Visual Art at Künstlerhaus Büchsenhausen, Innsbruck (AT) in 2012 and 2013.

Focusing on the strobe-like effect of images, pausing during the act of reading and seeing the images while emerging into them, Hurth proposes a subjective narration between histories of technology, fiction, perception and exhibition, in which Rodin’s wife meets von Braun carrying a V-2 rocket on his shoulder like a boom box or Melies' lunar landscapes.

Her personal voice becomes the mechanism for the model for an exhibition, where the curtain is backdrop to enter a work of a fiction, so as to allow the audience to oscillate between back-stage and on stage.

2014, Limited edition of 100

Printed on offset, xerox and inkjet, Berlin, January 2014

to my dearest father*

Anna Atkins dedicated her book «Photographs of British Algae: Cyanotype Impressions» – the first book to be photo- graphically printed and illustrated – to her father.

to my dearest father is based on an encounter in the study room of the Department of Photographs, Metropolitan Museum of Art, and at the Hans P. Kraus collection in New York during the summer of 2013.

It is the first printed moment of a subjective atlas of new and old worlds, that is developing in words, images and objects under the title «...with those crystal balls that contain no nightmares

but small wonders, like an atlas held in the palm of your hand».

2014, Limited edition of 100, printed on offset
French and English
one recto and one verso, 26 x 20 cm (color)

the problem of serial order in behavior

Produced by the Charles Nypels Lab as a special commission
and part of the exhibition Magic Riso, November 2014, Maastricht (NL)

2014, Limited edition of 20,
RISO print
A2, b/w

to my dearest father

Anna Atkins dedicated her book «Photographs of British Algae: Cyanotypes Impressions» - the first book to be photographically printed and illustrated, 1843 - to her father.

to my dearest father is based on encounters in the study rooms of the Department of Photographs, MET and at the Hans P. Kraus collection in New York during the summers 2013-14, as well as visits to the Smithsonian Institution Archives, Washington DC and ICP, New York, in 2014. My interest in Anna Atkins’ legacy started during my preparation for a class on the scientific gaze in the fall of 2012.

It unfolds in a series of objects, sculptures, prints, drawings and words, mostly realised during a 6-month residency at ISCP, New York, in 2014 with the generous support of the Governing Mayor of Berlin - Foreign Exchange Grant. The printed matter focus on studio shots together with a collection of material gathered during trips to Texas and New Mexico, images captured by my Iphone in libraries, and an accompanying subjective text.

Printed on xerox, A5, 28 pages, English

addendum to un cop d’ull*

Newspaper print, English, 8 pages



séance de lecture

Loosely assembling the voices, materials and presences around the work «séance de lecture», together with documentation material of exhibitions and performances, a book in an edition of 250 unfolds throughout 224 pages along some parts of the research, material experiments, earlier physical manifestations, documentation of past exhibitions and séances. It also includes earlier contributions by Jack Fisher, Dave Tompkins, Vasilis Marmatakis and Rachel Valinsky’s commissioned text from 2016, as well as some of Hurth’s own writings and script of the performance.

Printed in offset, it comes with a numbered insert printed in Riso.

Offset, English, 224 pages
Edition of 250

séance de lecture

From 2011 until 2016, Dominique Hurth investigated the physical manifestation and the performativity of a book. Looking subjectively at the never-realised project of French poet Stéphane Mallarmé’s Le Livre (The Book), séance de lecture explores the relationship between text and word, speech and act, the materiality of writing and reading, as well as the expansion of pages that are manipulated, re-read and spoken anew.

Operating as a partial reconstruction of Mallarmé’s project, and arising out of Hurth’s thorough research of his manuscript, séance de lecture consists of a performance in an architectural setting and a large printed sheet that encloses four instances of printed matter. Produced in a limited edition of 10, each folder within the edition investigates a specific printed materiality (silkscreen, offset, riso and digital printing). The edition comes in a custom-designed archival box, embossed with text, and contains additionally the script for the performance (in English and French), and a text by author Rachel Valinsky on collectivity and séances.
Offset, Riso, Silkscreen, Digital Print, English&French
2016,  Edition of 10 + 1 AP, signed