Looking at film history with a special focus on censorship and controversy, Hurth shows a series of recent aquarelles (April 2021) on two DIN A1 posters in the showcase of cinema Kino Central.
On them, the viewer may recognise Charlotte Rampling in “The Night Porter” (dir: Liliana Cavani, 1974, I), Monica Belluci in Dobermann (dir: Jan Kounen, 1997, FR), Hildegard Knef in “The Sinner” (Die Sünderin, dir. Willi Frost, 1951, BRD) and Brigitte Bardot in “And God Create Woman” (dir: Roger Vadim, 1956, FR).
The films were either cut down (to more than 20min for West German audience in the case of Vadim’s film), banned (Die Sünderin), put on the “index” and forbidden for DVD release in Germany (until 2011 for Dobermann), or heavily ripped off by the press and the audience (The Night Porter). Having seen both Rampling in the role of Lucia, Belluci in the role of Nat or the animalesque Bardot (in her only good filmic act in my opinion) as a teenager, they also all play an important role in Hurth own film/image history.
The aquarelles play a central role in Hurth’s practice of reading anew historical events and historical material. The aquarelles are however rarely shown as such in her exhibitions but appear instead as companion to her installations or in the format of a printed edition.
On them, the viewer may recognise Charlotte Rampling in “The Night Porter” (dir: Liliana Cavani, 1974, I), Monica Belluci in Dobermann (dir: Jan Kounen, 1997, FR), Hildegard Knef in “The Sinner” (Die Sünderin, dir. Willi Frost, 1951, BRD) and Brigitte Bardot in “And God Create Woman” (dir: Roger Vadim, 1956, FR).
The films were either cut down (to more than 20min for West German audience in the case of Vadim’s film), banned (Die Sünderin), put on the “index” and forbidden for DVD release in Germany (until 2011 for Dobermann), or heavily ripped off by the press and the audience (The Night Porter). Having seen both Rampling in the role of Lucia, Belluci in the role of Nat or the animalesque Bardot (in her only good filmic act in my opinion) as a teenager, they also all play an important role in Hurth own film/image history.
The aquarelles play a central role in Hurth’s practice of reading anew historical events and historical material. The aquarelles are however rarely shown as such in her exhibitions but appear instead as companion to her installations or in the format of a printed edition.
day for night
(Charlotte, Monica, Hildegard, Brigitte)
2021
Posters developed for “day for night”, an exhibition conceived by Susanne Bürner and Dominique Hurth that brings together 22 artists displaying posters in the showcases of 4 different cinemas in Berlin-Mitte starting April 22nd, 2021.
The posters of all the participating artists are available for sale under: www.indiegogo.com/projects/day-for-night#/
(Charlotte, Monica, Hildegard, Brigitte)
2021
Digital print, two posters (each DIN A1).
Posters developed for “day for night”, an exhibition conceived by Susanne Bürner and Dominique Hurth that brings together 22 artists displaying posters in the showcases of 4 different cinemas in Berlin-Mitte starting April 22nd, 2021.
The posters of all the participating artists are available for sale under: www.indiegogo.com/projects/day-for-night#/
