Dominique Hurth frequently publishes in the format of artist editions and pamphlets. Her editions often emerge from within her installations yet are not per se illustrating the works nor documenting them. 

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 catalogue “Mixtape” comprising works between 2008 and 2020 has been published in 2020 thanks to the support of the Berliner Senate.

You find an overview of her published work below.
For further enquiries and purchase: info(at)dominiquehurth(dot)com

the model, the dollhouse, the self-speaking house
Offset Print on 55gsm Newsprint, English and French, 8 pages
28,9 x 38 cm
Edition of 10.000

One component of the installation “the model, the dollhouse, the self-cleaning house” (2018-20) is a text printed on newsprint that is both wallpapered on one part of the 1:1 architectural scale model of the self-cleaning house and available for the viewer to take with them. In the text the scale model overlays and merges with the voices and inventions of Josephine Cochrane, Frances Gabe, Margarete Schütte-Lihotsky, Minette de Silva and the Barbie doll. The dollhouse encounters the dream house, the full-equipped kitchen, the dishwasher and the self-cleaning house and looks back at the tension between the model and the role model and the emancipatory potential that architecture contains.

soundless voices, bitten tongues, haptic hands
Offset print black and silver pantone
A1 (open format) folded in A5
Edition of 500
Accompanying pamphlet to this installation

the model, the dollhouse, the self-speaking house
Newspaper print, English, 4 pages
Edition of 100

“Just think pink, and you’ll be fine.”
In a new installation that brings together copper and textiles elements, a cardboard model and written words, Dominique Hurth investigates the original purpose of Joy Forum’s architecture and offers her own cultural history of the scale model. Per se feminist and polyphonic, she offers three movements within, about and through architecture, where the scale model overlays and merges with the voices and the inventions of Josephine Cochrane, Frances Gabe, Margarete Schütte-Lihotsky and the Barbie doll. The architecture encounters the dollhouse, the dreamhouse, the fully equipped kitchen, the dishwasher and the self-cleaning house and looks back at the tension between the model and the role model and the emancipatory potential that architecture contains.

too drunk to see
digital print, 24 pages, A5
Apis Press, Bergen
Edition of 100

From watercolors (since 2010), with Chris Marker, the TMS 9900 microprocessor, Elisabeth Flickenschildt, the Cessna 173, Buddy Holly, the V2 rocket, the countdown to zero, Sergei Eisenstein, the Kodak carousel slide projector, Poison Ivy and Lux Interior, the Last Futurist Exhibition of Paintings 0.10, Louis Wolfson, the landing on the moon, the Lipstick Killer, an unknown radio-man, the Analytical Engine, the Algerians killed during the bloody repression of the peaceful demonstration of 1961, the Los Angeles Dodgers, the Black Panther Party, the tape recorder, Bob Dylan, a crucial newspaper headline, the first split-flap display, car crashes, Teddy Kennedy and Mary Joy Kopechne, Stefan Zweig, Joan Didion, Grace Kelly, Jackson Pollock , Johnny and Sylvie, Mark E. Smith and Una Baines.
séance de lecture
offset print and insert in riso, 224 pages
Edition of 300

Loosely assembling the voices, materials and presences around her piece séance de lecture (2011-2016), together with documentation material of exhibitions and performances. This book unfolds throughout 224 pages along some parts of the research, material experiments, earlier physical manifestations, documentation of past exhibitions and séances.
It also includes 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 the script of the performance.
See limited edition here
addendum to un cop d’ull
Newspaper print, English, 8 pages
Edition of 100
to my dearest father
Printed on xerox, A5, 28 pages, English
Edition of 100

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. 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 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.
the problem of serial order in behavior
RISO print, A2 format
Limited edition of 20

Produced by the Charles Nypels Lab as a special commission and part of the exhibition Magic Riso, November 2014, Maastricht (NL)
to my dearest father
printed on offset, 24 x 32cm
Limited edition of 100

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».
foreword (language in the darkness of the world through inverse images)
Printed on offset, xerox and inkjet
Limited edition of 100

This work 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 backstage and on stage.
Un Cop d’Ull
printed on offset and inkjet, handbound,
8 pages A6 (b/w), 4 pages A5 (color)
Limited edition of 100

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.
Voix off - de nous il s’en fout pas mal le langage
Scriptings #26 - Together with Achim Lengerer
Translation from French to German of the voix-off of Deligny, in Ce Gamin-là.
language in the darkness of the world
through inverse images
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 and Dominique Hurth

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.
close your eyes of flesh to contemplate first the image with your mind’s eye
English, 44 pages, 19 x 25 cm and A6 insert Numbered Xerox and Inkjet print
Edition of 60 (2nd edition 20)
*SOLD-OUT* (both editions)

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.
throw the cobwebs from your eyes
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)

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.
a reading in three movement of the same in perspective
English, 8 pages, A5
Printed on risograph
Edition of 100

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.
failed suprematist futures
A2 poster cut and folded in A5 publication offset print, edition of 250

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