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

Solo exhibition, Künstlerhaus Büchsenhausen, Innsbruck (AT) 2013
Curtain, four videos, 9 panels 1x50 x 2m with digital prints, two vitrines

Somewhere a curtain.

Motionless in its representation.

Captured in its own immobility.

The curtain, functionless, is just the décor for a model to be entered.

Smothering every tone and stifling all images that come and go.*

In foreword (language in the darkness of the world through inverse images) Dominique Hurth creates a model for an exhibition in which images and their captions flicker and resist in an attempt at retinal persistence. Subjective readings and authorship merge into a display that interlaces both visual and textual information, static and moving instances, in a strobe effect, a flipping through the pages of a written foreword for a dream book of history.

Her research on the physical manifestation of a book, collective readings and séances, creates a backdrop, a background color, for an oscillatory movement in which images vacillate between their endless (written) imprints.

The title of the exhibition refers to both her artist’s book (2012) and the structure and writing of a foreword in the format of an exhibition. Here, and in research during her stay at Büchsenhausen, she questions authorship, images, captions, the flipping of pages and images, the framing of each one (in terms of space, geography and language) and the imagery (and gaps) of one’s own personal memory. She quotes exhibition history and early collective reading séances while interlacing images with an infinite loop of captions that can be attached subjectively.

One particular object of investigation is a curtain that exists both in the infrastructure of Künstlerhaus Büchsenhausen, in Hurth’s installation, and also as an echo in the group exhibition Collectivity Matters at the Kunstpavillon. By echoing it, repeating it and so repositioning it, Dominique Hurth investigates the haptical manifestation of an object that functions as a filter, backdrop, division and partition or as an element of décor that is about to open, hide or simulate. She reflects on the feel and the opacity of the folds as her own punctuation with which to enter a model of thought; the curtain becoming a backdrop to the viewer’s own staging, entering the exhibition as a model for a set in which each and every move influences the trajectory of the narration.

*from : language in the darkness of the world through inverse images, 2012, p. 158.