In foreword (language in the darkness of the world through inverse
images) Hurth creates a model for an exhibition in which images
and their captions flicker and stand firm in their attempt for
retinal persistence. Subjective readings and authorship merge into a display that interlaces visual and textual information, and static and moving instances in a strobe effect, flipping through the pages of a written foreword to a dream book of history. Her research on the physical manifestation of a book, collective readings and séances, creates a backdrop, a background color to 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.
retinal persistence. Subjective readings and authorship merge into a display that interlaces visual and textual information, and static and moving instances in a strobe effect, flipping through the pages of a written foreword to a dream book of history. Her research on the physical manifestation of a book, collective readings and séances, creates a backdrop, a background color to 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.
foreword (language in the darkness of the world through inverse
images)
2013
1 curtain (cotton and iron) 2,50 x 2m
4 digital prints, each DIN A1
Installation Views:
Tiroler Kunstpavillon, Innsbruck (AT)
![]()
2013
1 curtain (cotton and iron) 2,50 x 2m
4 digital prints, each DIN A1
Installation Views:
Tiroler Kunstpavillon, Innsbruck (AT)
