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.
Her latest book entitled “Stutters”, published and commissioned by Printed Matter Inc. (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.
You find an overview of her published work below.
For further enquiries and purchase: info(at)dominiquehurth(dot)com
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.
Her latest book entitled “Stutters”, published and commissioned by Printed Matter Inc. (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.
You find an overview of her published work below.
For further enquiries and purchase: info(at)dominiquehurth(dot)com
Stutters
2021
Sewn-bound paperback with foldout dust jacket (A2) and postcard insert (A5)
Offset printed on Munken Lynx Rough 100g and Salzer EOS 1.3 70g and Cromolux cover
2 Pantones color and black
368 pages
16 cm x 24 cm
Edition of 1.200 copies
In 2014, Hurth encountered four boxes of cyanotype prints by Thomas W. Smillie, the first custodian and curator of the Smithsonian Institution’s collection of photography (active 1868 to 1917). In her new work Stutters, Hurth builds on several years’ research to rework the original cyanotypes into visual montage, sequencing images that provide a record of Museum life as it documents a "national" collection in the making. The work presents photographs of empty display cabinets and staged objects within the Smithsonian’s holdings, following divergent threads of photographic history, exhibitionship and collection-making, as well as developments in various technological apparatuses across the late 19th and early 20th century.
Through a meticulous process of xerox and printing reproduction, Hurth enlarges the world of each image and traces a photographic lineage, a process itself indebted to the cyanotype. Two overlapping sets of captions from the artist offer a subjective and scientific view of the photographs, inviting a cross-referencing of the “official,” if incomplete, bibliographic record with one that moves more freely across a historical timeline as a way to reflect on gaps in the archive.
Stutters includes three new texts, with Hurth considering the book’s entwined interests, as well as her personal history with the Smithsonian collection and the work of Smillie. Additional contributions by authors and curators Ruth Noack and Kari Conte consider the ways in which artists’ projects like Stutters can quietly break apart the violent taxonomy of an archive, and instead use this shifting fragmentation to envision new meaning and bring into focus voices that have been excluded from history.
Mixtape
2020
Each of the booklet (96pp each; 6,9 x 10,9 cm) was printed on offset (4c + Pantone, Munken paper) by Gallery Print (Berlin). The tapes were produced by T.A.P.E Muzik (Leipzig), with a pad-printing in gold on the tape.
Edition of 300.
Edition of 300.
Entitled Mixtape, this catalogue brings together works by Dominique Hurth from 2008 to 2020. It comprises one text booklet with contributions by Daniela Cascella, Sonja Lau and the artist herself; one image booklet with 136 images from installation shots of Hurth's work and one audio-tape (45-min each side) with recordings, music and sound material inherent to the research behind the works. The chosen format reflects on her interest in object-biography, technology and its history.
soundless voices, bitten tongues, haptic hands2019
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-cleaning house
2020
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.
too drunk to see
2018
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
2016
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
to my dearest father
2014
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 on an Iphone in libraries, and an accompanying subjective text.
the problem of serial order in behavior
2014
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
2014
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)
2014
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
2012
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.
2011
language in the darkness of the world
through inverse images
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 and Dominique Hurth
*SOLD-OUT*
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
2011
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
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)
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
2011
English, 8 pages, A5
Printed on risograph
Edition of 100
*SOLD OUT*
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
2011
A2 poster cut and folded in A5 publication offset print, edition of 250
A reading in eight steps of an event yet to happen.