Dominique Hurth is an artist working with installations,
sculptures, exhibitions and editions. The starting point for new works is often a narrative present in localities or images.
Even though her installations are often concentrated on the form, a long and detailed research is strongly embedded in the development of this same form.
It is by ways of archival research, journalistic investigation, writing and material experiments that the works develop, and it is by way of editing that the installation operates in the exhibition space.
The strategy of replicating (and per se questioning the authenticity of the original and of the document) follows a reading of images, and all are often concentrated in the relationship between sculptural work and printed matter, between the image and the caption, or the form and the word.
Even though her installations are often concentrated on the form, a long and detailed research is strongly embedded in the development of this same form.
It is by ways of archival research, journalistic investigation, writing and material experiments that the works develop, and it is by way of editing that the installation operates in the exhibition space.
The strategy of replicating (and per se questioning the authenticity of the original and of the document) follows a reading of images, and all are often concentrated in the relationship between sculptural work and printed matter, between the image and the caption, or the form and the word.
Born in Colmar, France (1985), Dominique Hurth received a BA in Fine Arts from the Saint Martin’s School of Art, London, 2005; and received her MA in Visual Arts (DNSAP) from the École Nationale Supérieure des Beaux Arts, Paris in 2009 (atelier C. Boltanski). 2010-11 she has been awarded a research and production bursary at the Jan Van Eyck Academie, Maastricht, NL. In 2012-13 she was recipient of the Fellowship in Art at Künstlerhaus Büchsenhausen, Innsbruck, AT. She had residencies at the Bauhaus Foundation (Dessau) in 2007, Triangle France (Marseille) and Can Xalant (Mataró) in 2011 and 2012, Østre (Bergen) in 2015, l’appartement 22 (Rabat) in 2022, Gate 27 (Istanbul) in 2023 and Villa Serpentera (Olevano) in 2024. In 2014-15, Hurth is awarded the Prize of the Berliner Senate / Governing Mayor of Berlin at ISCP, New York; as well as a research grant from the FNAGP (Paris). In 2015, she received the Research and Working Grant for Visual Artists from the Berliner Senate, followed by the Pollock Foundation Grant in 2016-17. In 2020 she received the catalogue funding from the Berliner Senate for “Mixtape”, followed by the Research Grant from the Berliner Senate in 2021.
Dominique was the recipient of the Berlin Artistic Research Grant in 2022-23, during which she focused on the textile history and cultural appropriation of the female guard uniform (of the former concentration camp of Ravensbrück).
She has exhibited at numerous museums, galleries, and off-site projects across the world, and has also contributed to several art and culturally related publications internationally. Recent projects include group shows at Palais de Tokyo, Paris; Fundacio Tapies, Barcelona; Villa Oppenheim – Museum Charlottenburg, Berlin; Tiroler Kunstpavillon, Innsbruck; LOOK 13 – Liverpool International Photography Festival; MAMO – Cité Radieuse, Marseille; Hordaland Art Centre, Bergen; after the butcher, Berlin; Hamburger Bahnhof, Berlin; Literature House, Aarhus; Weserburg Museum für moderne Kunst, Bremen; Fiebach-Minninger, Cologne; Arts Santa Monica, Barcelona; MABA Nogent-sur-Marne; Haeler Echo, NYC; CRIC, Nîmes; FRAC Bretagne; Paris Internationale; litost, Prague; IFP, Beijing; Cuenca Bienale 2018, Ecuador; Württembergischer Kunstverein, Stuttgart; IG Metall, Berlin; Memorial of Ravensbrück, Fürstenberg/Havel; Kunstraum Kreuzberg, Berlin; Künstlerhaus Bremen; solo shows at Souterrain and clockwork gallery Berlin; Künstlerhaus Büchsenhausen, Innsbruck; Wildtsches Haus, Basel; Die Raum, Berlin; Joy Forum, Bergen; BDP, Berlin; T AT Tieranatomisches Theater, Berlin; Neuer Kunstverein Gießen; Page Not Found, The Hague; l’appartement 22, Rabat; a commissioned work on the Ku’Damm, Berlin, and a series of readings in Marseille, Rotterdam, Barcelona, Innsbruck, Paris and Berlin.
She also publishes frequently in the format of artist editions and pamphlets. Her first book “language in the darkness of the world through inverse images” was published in 2012, followed by “séance de lecture” in 2016. Her first monographic catalogue “Mixtape” was published in 2020 with the support of the Berliner Senate. Her new book entitled “Stutters”, published and commissioned by Printed Matter (NYC) was launched in July 2021. It focuses on several years of archival research in the photography collection of the Smithsonian Institution, Washington, D.C.
From September 2012 until December 2013, she was Assistant Professor at the Bauhaus University, Weimar - Media Faculty. From January 2014 until December 2015, she was professor for sculpture and installation at Bergen Academy of Art and Design, Norway, where she initiated the series “chewing gum, stones and crystals”, investigating current sculptural and installation practices through a series of conversations and performative encounters between women artists.
She has intervened at a.o. the Aarhus School of Architecture; Jutland Art Academy, Aarhus; KHIO, Oslo; Bauhaus University Weimar; Sandberg Institute, Amsterdam; Werkplaats Typografie, Arnhem; UdK Berlin; Studentenwerk Berlin; John Moores University, Liverpool; Umea Art Academy; Muthesius Academy of Art and Design, Kiel (Vertretungsprofessur, Visiting Professor WS 2020/21); and taught regularly exhibition practices (Prof. II) at Bergen Academy of Art and Design until 2022.
She initiated and conceived several exhibitions and art projects (a.o. “day for night” with Susanne Bürner, 2021; “re. frau anders” with Franziska König-Paratore, 2022; “the reading room” with Ciaràn Walsh, 2010-12). She was the artistic director of the project “The Female Guards of the Ravensbrück Women’s Concentration Camp - Artistic Interventions at the Memorial of Ravensbrück” (with the support from the German Federal Cultural Foundation, 2019-2020), on view since September 2020.
Her work is part of the collections of the FRAC Normandie-Rouen; FRAC Lorraine; MATHAF (Arab Museum of Modern Art); Kunstbibliothek Sammlung, SMB Berlin; as well as several privately-owned collections while her artist’ books are in the collections of the MOMA (NYC); MACBA (Barcelona) and Joan Flasch Artists Books Collection (Chicago).
Dominique was a member of The Watch from 2017 until the end of 2022. During this time, The Watch received a project funding from Bezirksamt Treptow (2020), the Project Prize Award 2020 from the Berliner Senate, a research grant for project spaces in 2021 and a grant for historical and commemorative projects 2022 of the Berlin Senate for “re.frau anders”.
Dominique was the recipient of the Berlin Artistic Research Grant in 2022-23, during which she focused on the textile history and cultural appropriation of the female guard uniform (of the former concentration camp of Ravensbrück).
She has exhibited at numerous museums, galleries, and off-site projects across the world, and has also contributed to several art and culturally related publications internationally. Recent projects include group shows at Palais de Tokyo, Paris; Fundacio Tapies, Barcelona; Villa Oppenheim – Museum Charlottenburg, Berlin; Tiroler Kunstpavillon, Innsbruck; LOOK 13 – Liverpool International Photography Festival; MAMO – Cité Radieuse, Marseille; Hordaland Art Centre, Bergen; after the butcher, Berlin; Hamburger Bahnhof, Berlin; Literature House, Aarhus; Weserburg Museum für moderne Kunst, Bremen; Fiebach-Minninger, Cologne; Arts Santa Monica, Barcelona; MABA Nogent-sur-Marne; Haeler Echo, NYC; CRIC, Nîmes; FRAC Bretagne; Paris Internationale; litost, Prague; IFP, Beijing; Cuenca Bienale 2018, Ecuador; Württembergischer Kunstverein, Stuttgart; IG Metall, Berlin; Memorial of Ravensbrück, Fürstenberg/Havel; Kunstraum Kreuzberg, Berlin; Künstlerhaus Bremen; solo shows at Souterrain and clockwork gallery Berlin; Künstlerhaus Büchsenhausen, Innsbruck; Wildtsches Haus, Basel; Die Raum, Berlin; Joy Forum, Bergen; BDP, Berlin; T AT Tieranatomisches Theater, Berlin; Neuer Kunstverein Gießen; Page Not Found, The Hague; l’appartement 22, Rabat; a commissioned work on the Ku’Damm, Berlin, and a series of readings in Marseille, Rotterdam, Barcelona, Innsbruck, Paris and Berlin.
She also publishes frequently in the format of artist editions and pamphlets. Her first book “language in the darkness of the world through inverse images” was published in 2012, followed by “séance de lecture” in 2016. Her first monographic catalogue “Mixtape” was published in 2020 with the support of the Berliner Senate. Her new book entitled “Stutters”, published and commissioned by Printed Matter (NYC) was launched in July 2021. It focuses on several years of archival research in the photography collection of the Smithsonian Institution, Washington, D.C.
From September 2012 until December 2013, she was Assistant Professor at the Bauhaus University, Weimar - Media Faculty. From January 2014 until December 2015, she was professor for sculpture and installation at Bergen Academy of Art and Design, Norway, where she initiated the series “chewing gum, stones and crystals”, investigating current sculptural and installation practices through a series of conversations and performative encounters between women artists.
She has intervened at a.o. the Aarhus School of Architecture; Jutland Art Academy, Aarhus; KHIO, Oslo; Bauhaus University Weimar; Sandberg Institute, Amsterdam; Werkplaats Typografie, Arnhem; UdK Berlin; Studentenwerk Berlin; John Moores University, Liverpool; Umea Art Academy; Muthesius Academy of Art and Design, Kiel (Vertretungsprofessur, Visiting Professor WS 2020/21); and taught regularly exhibition practices (Prof. II) at Bergen Academy of Art and Design until 2022.
She initiated and conceived several exhibitions and art projects (a.o. “day for night” with Susanne Bürner, 2021; “re. frau anders” with Franziska König-Paratore, 2022; “the reading room” with Ciaràn Walsh, 2010-12). She was the artistic director of the project “The Female Guards of the Ravensbrück Women’s Concentration Camp - Artistic Interventions at the Memorial of Ravensbrück” (with the support from the German Federal Cultural Foundation, 2019-2020), on view since September 2020.
Her work is part of the collections of the FRAC Normandie-Rouen; FRAC Lorraine; MATHAF (Arab Museum of Modern Art); Kunstbibliothek Sammlung, SMB Berlin; as well as several privately-owned collections while her artist’ books are in the collections of the MOMA (NYC); MACBA (Barcelona) and Joan Flasch Artists Books Collection (Chicago).
Dominique was a member of The Watch from 2017 until the end of 2022. During this time, The Watch received a project funding from Bezirksamt Treptow (2020), the Project Prize Award 2020 from the Berliner Senate, a research grant for project spaces in 2021 and a grant for historical and commemorative projects 2022 of the Berlin Senate for “re.frau anders”.
Contact:
Am Flutgraben 3, 12435 Berlin
info(at)dominiquehurth(dot)com
Am Flutgraben 3, 12435 Berlin
info(at)dominiquehurth(dot)com
Copyright
© Dominique Hurth, 2019-24All rights reserved. The contents of the website are protected under copyright law. Copy, pictures, graphics, texts on this website may not be used or reproduced in any form without the previous written consent by Dominique Hurth.
© Dominique Hurth, 2019-24All rights reserved. The contents of the website are protected under copyright law. Copy, pictures, graphics, texts on this website may not be used or reproduced in any form without the previous written consent by Dominique Hurth.