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	<title>dominiquehurth.com</title>
	<link>https://dominiquehurth.com</link>
	<description>dominiquehurth.com</description>
	<pubDate>Wed, 06 May 2026 11:48:16 +0000</pubDate>
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		<title>Double-Exposure(s) - (Stutters) copy</title>
				
		<link>https://dominiquehurth.com/Double-Exposure-s-Stutters-copy</link>

		<pubDate>Wed, 06 May 2026 11:48:16 +0000</pubDate>

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					“Double Exposure(s) –
(Stutters)” (2024) is an installation that expands from Dominique’s research
and the material that created her artists’ book&#38;nbsp;Stutters (Printed Matter Inc.; NYC, 2021). 
It was shown again in 2026 at the Akademie der Künste, Berlin.
The title refers to the photographic
process of superimposition of two or more exposures on one image, and
serves as a metaphor for the artist: as a way of looking at the history of the
institution through the subjects of the photographs, and at the same time at
the institution historicising its own history through the infrastructure of the
archives.

In a series of colorful prints of various scales, techniques and surfaces and
a limited edition of silkscreens, she looks at the technological aspect of the
cyanotypes and its connection to photographical and printing history.
Thinking of the cyanotypes as holders and carriers of information, she
wonders in those prints how to talk about photography without showing
any photographs and how to think through image making within the printing
technologies and photographic processes that were developing fastly when
the Smithsonian photography collection was being built. Some prints serve
as backdrops for some others, enhancing moments of zooming out or in the
image, looking at the image as a whole or at what is to be seen on it, and
serving as an environment for the installation. Image-making and image
reproduction are thus at the core of the wallpapers that translate microscopic
images of “autochrome” and “dufay” color photographic process into large-scale patterns. The silkscreens on the other hand enhance the notion of
image reproduction: Hurth’s images of the cyanotypes she looked at in the
archives and worked anew through photography, photocopy, scanning and
offset printing, are here disappearing one more time in the reproduction
technology itself of the silkscreen and through eight different hues of black
pigments. The raster of the screen meets the raster of the image, while
actually showing or rather exposing in the images themselves apparatuses
for photographic reproduction from the late 1880s.

In a set of sculptural settings, she focuses on dynamics and hierarchies
of archiving (and gaps) in the framework of a so-called “national” collection,
focusing on the infrastructures of display. Central to the installation is
a replica of a vitrine from the 1880s that Hurth looked for and chased in
the storage of the Smithsonian Institution after seeing it represented on
a cyanotype in the archives. The replica of the vitrine (used in the first
Photography Exhibition at the Smithsonian in 1913) is both object and
subject of attention: while it used to be the site to hold and exhibit artefacts, it becomes in the installation the object on display, reversing and
thus questioning the systemics of exhibiting. 

	Double-Exposure(s)
– (Stutters)

List of works
Also Known As

8 high pigmented Silkscreen prints on Bank Creams 300g/m” paper,
each 76 x 112 cm, in MDF frames 90 x 124cm, edition of 4, 2024.

Produced with Handsiebdruckerei, Berlin.

Pigment list: Bone Black (created by grinding and sieving bone charcoal, which is
produced by the dry distillation of animal bones); 
Aniline Black (the
oldest black synthetic pigment in the chemical industry); Peach Black
(made by charring peach kernels); Cherry Black (made by charring
cherry kernels); Iron Oxide Black; Grape Seed Black (made by
charring grape seeds);&#38;nbsp; Carbon/Industry Black; Spinel Black
(only “true” black in the pigment industry)

Digital print on wall-paper, dimension variable and reflection digital
print on textile (woven cotton 50g/m2), each 140 x 250cm, 2024

(Production assistance: Jakob Urban)

Empty Exhibit Case

MDF (dimension 160 x 130 x 50cm), moving blanket, 2024
(Production assistance: Sina Ahmadi)
Installation views: Group exhibition “Vessel and Voyager”, March 10th - May 10th 2026 at Akademie der Künste, Berlin (DE).
Photo Credits: CHROMA, André Carvalho, 2026.


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		<title>Private Handbags may not be carried when on duty - WKV</title>
				
		<link>https://dominiquehurth.com/Private-Handbags-may-not-be-carried-when-on-duty-WKV</link>

		<pubDate>Fri, 07 Nov 2025 13:49:32 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

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		<description>
	

	
		
		
	
	
		
			
				
					Artist Dominique Hurth has developed her long-term artistic research project on female perpetrators of Nazi crimes into a new presentation for the Württembergischer Kunstverein. The starting point is the figure of the female guard at the Ravensbrück Women’s Concentration Camp. The title refers to an order issued by camp commandant Max Koegel in 1942.Between 1939 and 1945, around 3.340 mostly young women worked as guards at Ravensbrück, which also served as the central training site for female camp guards for all concentration camps. They were contractually subordinate to the SS and received privileges and a certain degree of independence in return for their often violent work.In the exhibition, Hurth focuses on three central aspects: the uniforms of the female concentration camp guards, textile production in Ravensbrück, and the Nazi war crimes trials in Lüneburg (Belsen Trial, 1945), Hamburg (Ravensbrück Trials, 1947–1948), and Düsseldorf (Majdanek Trial, 1976-1981).The uniforms are examined in terms of their representation of gender and status, as well as their interrelationships with contemporary fashion and the fashion industry. These, along with prisoner clothing and frontline uniforms, were produced in Ravensbrück under conditions of forced labor, which Hurth explores in terms of their economic, logistical, and violent dimensions. Finally, the Nazi trials immediately after the Second World War and again in the early 1980s provide insights into both society’s treatment of and the self-representation of female Nazi perpetrators—a topic that remains largely taboo to this day. Hurth approaches the court proceedings through language, architecture, and photographic documentation.Designed as an overall installation, the exhibition presents both existing elements and new works. It includes textile and architectural installations that reference, among other things, a loom or courtroom, drawings, texts, slide and video projections, and historical documents. It also displays a selection of drawings and paintings by Violette Lecoq and Ceija Stojka, who were prisoners in Ravensbrück. Together, these elements form a multi-layered narrative about female perpetrators, enabling an empathic yet critical engagement with the subject.

	Private Handbags May Not Be Carried When On Duty. (“Privathandtaschen dürfen zum Außendienst nicht mitgetragen werden”)Solo Exhibition at Württembergischer Kunstverein, Stuttgart
October 18th 2025 - March 22nd 2026

Funded by:
 Ministerium für Wissenschaft, Forschung und Kunst des Landes Baden-Württemberg; Kulturamt der Stadt Stuttgart; Wüstenrot Stiftung; Büro für Bildende Kunst des Institut français Deutschland; Kulturstiftung der LBBW; Pro Lab, Stuttgart

Loaners:
 Bundesarchiv Berlin
Imperial War Museum

Mahn- und Gedenkstätte Ravensbrück, Stiftung Brandenburgische Gedenkstätten
Staatsbibliothek zu Berlin
Staatstheater Stuttgart

Stiftung Kai Dikhas, Sammlung Kai DikhasTheater Kunst Berlin
Württembergische Landesbibliothek Stuttgart
Installation Views: Hans D. Christ, WKV


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	<item>
		<title>Private Handbags may not be carried to the field</title>
				
		<link>https://dominiquehurth.com/Private-Handbags-may-not-be-carried-to-the-field</link>

		<pubDate>Fri, 05 Sep 2025 11:43:02 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Private-Handbags-may-not-be-carried-to-the-field</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					A central element of the exhibition “Machines roar, needle drags the thread, sharp knife shines, cuts in two and stabs” (Ravensbrück Memorial Museum) is the essay film “Privathandtaschen dürfen zum Außendienst nicht mitgetragen werden” (Private Handbags May Not be Carried When On Duty), which summarizes Dominique Hurth’s long-standing research on the history of textiles at the Ravensbrück Concentration Camp. The film’s title comes from an order issued in 1942 by the camp commandant, Max Koegel, outlining instructions for the female guards on the proper way to wear their uniforms — and underscoring how the uniform serves to identify a person with the role assigned to them. From one such guard’s uniform, held within the Ravensbrück Memorial Museum’s collection, Hurth developed a multi-year artistic research project into textile production in the Women’s Concentration Camp. Since 2017 she has spent several years conducting archival work at the Ravensbrück and Dachau memorial sites; undertaking visits and extended research stays at the Federal Archives, whereTexled’s company reports are kept; and engaging with the collections of the Military History Museum in Dresden, theatre costume depots, international fashion archives, and military museums in Paris and London. Hurth examined Texled’s company reports, pored over testimonies and witness protocols from post-war trials, and explored objects within the collections of memorial sites and other museums. Integral to her artistic research, too, have been her hands-on experiments with weaving practices and fabric-dyeing, leading subsequently to an intensive engagement with the materiality of textiles. Her research into the uniforms of the female guards and their production led the artist to become increasingly occupied with female perpetration under National Socialism, particularly within the figure of the female concentration camp guard. She investigated there presentation of the female Nazi perpetrator, pursuing questions of their portrayal, stereotyping, and trivialization from the post-war period to the present day. This opened up further areas for research, such as the omnipresence of uniforms within Nazi Germany; how the arms industry and the clothing industry, war and fashion, intersect; and economic continuities within textile production after 1945. In the film, the artist interweaves thematic constellations to shed light on textile history in relation to the economics of production, work processes, tools of labour,and mechanisms of violence, as well as its entanglement with both civilian and military clothing industries up to the present day. (Text: Anne Fäser)

	Private Handbags May Not Be Carried When On Duty. (“Privathandtaschen dürfen zum Außendienst nicht mitgetragen werden”)
96 minutesGerman and English with subtitles2025

Text, concept, editing: Dominique HurthVoice-over: Omar Nicolas, Dominique Hurth
English text editor: Aslan
 German translation: Norbert Witzgall
Sound mastering: Titus Maderlechner
Color grading: Alexander Beyer
 Media installation: vision b (Bert Günther &#38;amp; Björn Matzen)
Coordination: leo
Ravensbrück Memorial Museum, in the weaving mill of the former industrial yard (August 24th - October 31st, 2025).
A project by the Ravensbrück
Memorial Museum, Brandenburg
Memorials Foundation. Funded
by the German Federal Cultural
Foundation. Funded by the Federal
Government Commissioner for
Culture and the Media. 
Supported
by the Fondation Tour du Monde.The research behind the film was commissioned by the Berliner Programm Künstlerische Forschung (Fellow 2022/23). The long version of the script was written during the Villa Serpentera Stipend in Olevano (2024, Akademie der Künste, Berlin / Villa Massimo, Rome).&#38;nbsp; 


					
				
			
		
	
&#38;nbsp;Installation photographs: André Carvalho CHROMA&#38;nbsp;



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	<item>
		<title>Machines roar, needles drags the thread - main copy</title>
				
		<link>https://dominiquehurth.com/Machines-roar-needles-drags-the-thread-main-copy</link>

		<pubDate>Fri, 05 Sep 2025 11:34:35 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Machines-roar-needles-drags-the-thread-main-copy</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					Textile production at Ravensbrück Concentration Camp began as early as 1939. With the establishment of Texled, an SS-owned company, and its relocation from Dachau to Ravensbrück in 1941, the textile workshops on site became a leading center of production for&#38;nbsp;weaving, cutting, sewing, and repairing. Prisoner clothing for all concentration camps was produced there, together with Wehrmacht and SS uniforms and the uniforms of the female guards of the concentration camp. Although the production of prisoner clothing was discontinued by 1943, the production of uniforms for the ongoing war increased. Testimonies and company reports document the increasingly&#38;nbsp;violent working conditions&#38;nbsp;in the workshops. Dominique Hurth has been researching the history of the Ravensbrück Women's Concentration Camp for many years. Through encounters in archives, collections, historical sites, and in dialogue with experts, objects, and documents, she has developed an artistic research practice that lays bare the traces of this history of forced labor and its wider social legacy. In 2025, the Ravensbrück Memorial Museum presents a new installation by the artist about the textile history of the concentration camp, a subject previously seldom researched.

Accompanied by textiles, text, and images, Dominique Hurth's site-specific installation addresses not only forced labor and the violent history of uniform production, but also the economy behind these structures and their consequences for the present day. Objects from the memorial's collection, which have never been exhibited before are embedded in the exhibition. The weaving mill in the former “Industriehof” (“industrial yard”), one of the few remaining buildings on the former camp site, will become an exhibition space; the history of forced labor will be addressed directly at the very place where it occurred.From May 2nd until August 17th 2025, this space was activated in the form of a preamble to the&#38;nbsp; main installation from August 24th until October 31st 2025. The project is accompanied by a series of events&#38;nbsp;scheduled in the fall 2025.


	

	
		
		
	
	
		
			
				
					










"Maschinen dröhnen, Nadel schleppt den Faden, scharfes Messer glänzt, schneidet entzwei und sticht."&#38;nbsp;(‘Machines roar, needle drags the thread, sharp knife shines, cuts in two and stabs.’)

Hand-dyed drill (each 75 x 425cm), dyed a.o. with birch, pomegranate, nettle; Inkjet Prints (100 x 130cm and 84 x 119cm); Aluminium, Print on Plexiglas, Mirrors, Sewing Machines and Buttonhole Machine from the collection of the memorial of Ravensbrück; MDF, Steel, Glass, Hand-dyed drill, Inkjet Prints, Text on Vinyl and Riso prints (2 tables each 118 x 124 x 75cm); silkscreen on glass and textile (pigments: Prussian blue and black), each 118 x 124cm; Text on Vinyl and Glass (each 118 x 124cm); Digital jacquard weaving, wool (produced by Innvik), 1500 x 150cm on platform 268 x 407cm; Film, 96 min

2025



Ravensbrück Memorial Museum, in the weaving mill of the former industrial yard (August 24th - October 31st, 2025).
Project coordination: leo
Production assistance: Jakob Urban, Madeleine Duflot

A project by the Ravensbrück
Memorial Museum, Brandenburg
Memorials Foundation. Fundedby the German Federal Cultural
Foundation. Funded by the Federal
Government Commissioner for
Culture and the Media. Supported
by the Fondation Tour du Monde.

					
				
			
		
	
&#38;nbsp;Installation photographs: 
André Carvalho CHROMA&#38;nbsp;

&#60;img width="8481" height="5654" width_o="8481" height_o="5654" data-src="https://freight.cargo.site/t/original/i/e411604a562753f6fd148e6b6a80e378f28ba8849ff1fe2aa6bdfb9eb25639af/CHR_8037-copy.jpeg" data-mid="237858954" border="0"  src="https://freight.cargo.site/w/1000/i/e411604a562753f6fd148e6b6a80e378f28ba8849ff1fe2aa6bdfb9eb25639af/CHR_8037-copy.jpeg" /&#62;

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</description>
		
	</item>
		
		
	<item>
		<title>Machines roar, needles drags the thread - main</title>
				
		<link>https://dominiquehurth.com/Machines-roar-needles-drags-the-thread-main</link>

		<pubDate>Fri, 05 Sep 2025 11:01:00 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Machines-roar-needles-drags-the-thread-main</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					Textile production at Ravensbrück Concentration Camp began as early as 1939. With the establishment of Texled, an SS-owned company, and its relocation from Dachau to Ravensbrück in 1941, the textile workshops on site became a leading center of production for&#38;nbsp;weaving, cutting, sewing, and repairing. Prisoner clothing for all concentration camps was produced there, together with Wehrmacht and SS uniforms and the uniforms of the female guards of the concentration camp. Although the production of prisoner clothing was discontinued by 1943, the production of uniforms for the ongoing war increased. Testimonies and company reports document the increasingly&#38;nbsp;violent working conditions&#38;nbsp;in the workshops. Dominique Hurth has been researching the history of the Ravensbrück Women's Concentration Camp for many years. Through encounters in archives, collections, historical sites, and in dialogue with experts, objects, and documents, she has developed an artistic research practice that lays bare the traces of this history of forced labor and its wider social legacy. In 2025, the Ravensbrück Memorial Museum presents a new installation by the artist about the textile history of the concentration camp, a subject previously seldom researched.

Accompanied by textiles, text, and images, Dominique Hurth's site-specific installation addresses not only forced labor and the violent history of uniform production, but also the economy behind these structures and their consequences for the present day. Objects from the memorial's collection, which have never been exhibited before are embedded in the exhibition. The weaving mill in the former “Industriehof” (“industrial yard”), one of the few remaining buildings on the former camp site, will become an exhibition space; the history of forced labor will be addressed directly at the very place where it occurred.From May 2nd until August 17th 2025, this space was activated in the form of a preamble to the&#38;nbsp; main installation from August 24th until October 31st 2025. The project is accompanied by a series of events&#38;nbsp;scheduled in the fall 2025.&#38;nbsp;

	

	
		
		
	
	
		
			
				
					










"Maschinen dröhnen, Nadel schleppt den Faden, scharfes Messer glänzt, schneidet entzwei und sticht."&#38;nbsp;(‘Machines roar, needle drags the thread, sharp knife shines, cuts in two and stabs.’)

Hand-dyed drill (each 75 x 425cm), dyed a.o. with birch, pomegranate, nettle; Inkjet Prints (100 x 130cm and 84 x 119cm); Aluminium, Print on Plexiglas, Mirrors, Sewing Machines and Buttonhole Machine from the collection of the memorial of Ravensbrück; MDF, Steel, Glass, Hand-dyed drill, Inkjet Prints, Text on Vinyl and Riso prints (2 tables each 118 x 124 x 75cm); silkscreen on glass and textile (pigments: Prussian blue and black), each 118 x 124cm; Text on Vinyl and Glass (each 118 x 124cm); Digital jacquard weaving, wool (produced by Innvik), 1500 x 150cm on platform 268 x 407cm; Film, 96 min

2025



Ravensbrück Memorial Museum, in the weaving mill of the former industrial yard (August 24th - October 31st, 2025).
Project coordination: leo
Production assistance: Jakob Urban, Madeleine Duflot

A project by the Ravensbrück
Memorial Museum, Brandenburg
Memorials Foundation. Fundedby the German Federal Cultural
Foundation. Funded by the Federal
Government Commissioner for
Culture and the Media. Supported
by the Fondation Tour du Monde.

					
				
			
		
	
&#38;nbsp;Installation photographs: 
André Carvalho CHROMA


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	<item>
		<title>Machines roar, needles drags the thread</title>
				
		<link>https://dominiquehurth.com/Machines-roar-needles-drags-the-thread</link>

		<pubDate>Wed, 14 May 2025 00:21:03 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Machines-roar-needles-drags-the-thread</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					Textile production at Ravensbrück Concentration Camp began as early as 1939. With the establishment of Texled, an SS-owned company, and its relocation from Dachau to Ravensbrück in 1941, the textile workshops on site became a leading center of production for&#38;nbsp;weaving, cutting, sewing, and repairing. Prisoner clothing for all concentration camps was produced there, together with Wehrmacht and SS uniforms and the uniforms of the female guards of the concentration camp. Although the production of prisoner clothing was discontinued by 1943, the production of uniforms for the ongoing war increased. Testimonies and company reports document the increasingly&#38;nbsp;violent working conditions&#38;nbsp;in the workshops. Dominique Hurth has been researching the history of the Ravensbrück Women's Concentration Camp for many years. Through encounters in archives, collections, historical sites, and in dialogue with experts, objects, and documents, she has developed an artistic research practice that lays bare the traces of this history of forced labor and its wider social legacy. In 2025, the Ravensbrück Memorial Museum presents a new installation by the artist about the textile history of the concentration camp, a subject previously seldom researched.

Accompanied by textiles, text, and images, Dominique Hurth's site-specific installation&#38;nbsp;addresses not only forced labor and the violent history of uniform production, but also the economy behind these structures and their consequences for the present day. Objects from the memorial's collection, which have never been exhibited before, will be embedded in the exhibition. The weaving mill in the former “Industriehof” (“industrial yard”), one of the few remaining buildings on the former camp site, will become an exhibition space; the history of forced labor will be addressed directly at the very place where it occurred.From May 2nd until August 17th 2025, this space will be reactivated in the form of a preamble to the forthcoming main installation (24.08.-31.10.2025), with a focus on the observation of artifacts from the memorial's collection and reports on forced labor that deal with textile production. The project will be accompanied by a series of events&#38;nbsp;scheduled for the fall.


	

	
		
		
	
	
		
			
				
					










"Maschinen dröhnen, Nadel schleppt den Faden, scharfes Messer glänzt, schneidet entzwei und sticht." (Präambel)(‘Machines roar, needle drags the thread, sharp knife shines, cuts in two and stabs.’ Preamble)

Hand-dyed drill (each 75 x 425cm), dyed a.o. with birch, pomegranate, nettle; Inkjet Prints (100 x 130cm and 84 x 119cm); Aluminium, Print on Plexiglas, Mirrors, Sewing Machines and Buttonhole Machine from the collection of the memorial of Ravensbrück; MDF, Steel, Glass, Hand-dyed drill, Inkjet Prints, Text on Vinyl and Riso prints (8 tables each 118 x 124 x 75cm)

2025



Ravensbrück Memorial Museum, in the weaving mill of the former industrial yard (May 2nd - August 17th, 2025).
Project coordination: leo
Production assistance: Jakob Urban, Madeleine Duflot

A project by the Ravensbrück
Memorial Museum, Brandenburg
Memorials Foundation. Fundedby the German Federal Cultural
Foundation. Funded by the Federal
Government Commissioner for
Culture and the Media. Supported
by the Fondation Tour du Monde.

					
				
			
		
	
&#38;nbsp;Installation photographs: 
André Carvalho CHROMA&#38;nbsp;



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	<item>
		<title>Normengenau</title>
				
		<link>https://dominiquehurth.com/Normengenau-1</link>

		<pubDate>Sat, 11 Jan 2025 11:06:55 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Normengenau-1</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					In her site-specific installation, Dominique Hurth deals with the architecture of the Neuer Kunstverein Gießen. The starting point is the kiosk's natural stone façade and the building's date of origin: built in 1937, one year after the publication of Ernst Neufert's Bauentwurfslehre (a manual on architecture that is still considered an international standard work). In a 19-metre-long architectural drawing on fabric, a light installation and a publication, the artist questions the problematic history of standardisation and rationalisation of architectural buildings, and sharpens the eye for details that don't quite fit when it comes to architecture. In doing so, she makes it possible to cast new perspectives on what deviates from the expected norm.
	

	
		
		
	
	
		
			
				
					










Accurate to Standards,Well-proportioned,Finely structured

2021

Digital print on fabric1931 x 205 cm (in 7 sections)
2021
Originally exhibited and produced for Neuer Kunstverein Gießen, 2021 (Solo Exhibition).

Installation shots: To want the world in a glass hat. Duo Exhibition with Bethan Hughes at Neun Kelche with Display (Marie Dupasquier), 13.12.2024 - 02.03.2025
Photo Credits:&#38;nbsp;Dorothea Dittrich, 2024



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</description>
		
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	<item>
		<title>in unseen caves publication</title>
				
		<link>https://dominiquehurth.com/in-unseen-caves-publication</link>

		<pubDate>Wed, 30 Oct 2024 12:28:31 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/in-unseen-caves-publication</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					


















Following her artist residency and two trips to the Eastern
Rif in 2024, Dominique Hurth has developed a new installation accompanied by a
publication conceived
for L'appartement 22 in Rabat.




 This installation, which embodies both the ecological and
historical dimensions of Dominique Hurth's work, is the artist's first chapter
on the history and repercussions of the war in the Rif. The walls of the hut
also echo the bamboo twins that will be installed in the long term in the
heights of the Rif for the Rif Résidences project - a sculpture, shelter and
artist's studio in one. Both the publication and the sculpture follow a process
of linguistic, material and visual research - asking questions and imposing
them on others.
More information about the installation here
	

	
		
		
	
	
		
			
				
					










dans des caves inacessibles
(in unseen caves)

2024

Publication of 64 pages (148 x 210cm) and 2 inserts (105 x 148cm) printed on offset in Germany and Morocco, Languages: French and EnglishFirst edition of 250 copies
 Published by Éditions Hors’champs, 2024



 Thanks to: Abdellah Karoum, Sanaa Zaghoud
(curatorial coordination and research), Soukaina Joual (member of the Artistic
Direction and cooperative of L'appartement 22), Farida Elazzouzi of the Maison
de l'Artisanat de Rouadi and the women of the cooperative. Many thanks to Omar Nicolas for lending his voice in the essay film and for the arabic translation.&#38;nbsp;The exhibition, research and
travels have been supported by the Institut Français de Rabat, the Fondation
Almayuda, the Institut für Auslandsbeziehungen (IFA), and the Gwaertler
Stiftung.




	


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</description>
		
	</item>
		
		
	<item>
		<title>in unseen caves</title>
				
		<link>https://dominiquehurth.com/in-unseen-caves</link>

		<pubDate>Thu, 12 Sep 2024 18:54:08 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/in-unseen-caves</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					


















Following her artist residency and two trips to the Eastern
Rif in 2024, Dominique Hurth has developed a new installation accompanied by a
publication conceived
for L'appartement 22 in Rabat.



 Taking as her starting point the landscapes and soils that
function as archives of the region's history, the artist explored during her
travels the memory of the Rif War (1921-1927), the traces of latent violence in
the landscapes and the notions of emancipation in the colonial past. Through a
reading of landscapes, but also through narratives, the superimposition of
language on images and the impossibility of visualising certain events, she
revisits this violent war that marked a decisive stage in the history of
resistance and anti-colonialism. The installation in the exhibition space
echoes the artist's own experience of travelling through the countryside,
meeting people who are still alive in the Rif, and those who have fled to
Europe or Morocco's major cities. This relationship between place of experience
and exhibition space is continually integrated into the artist's production
process.



 The exhibition is built around two central elements, one
chosen as a deconstructed and reconstructed ready-made, the other produced by
the artist in collaboration with a group of Rifian women. The first element is made up of several walls of
bamboo huts found on the Mediterranean coast between Al Hoceima and Nador, and
operates in the installation as a support object (or infrastructure). The other
objects made by the artist combine materials and shapes gleaned from her
observations in the Rif: elements in ceramic, clay and terracotta, the shapes
echo various everyday objects from the region or elements of the landscape: at
once leaf, scale, bread, spoon, cactus, fruit, tools, they are several things
at once, sculptures or objects in abeyance, waiting to be used. In the case of
the terracotta sculptures, they directly evoke the history and strata of the
mountains through the very material in which they were made: the clay was
harvested directly from the mountains, worked by hand, shaped and then fired by
hand using the skills of craftswomen from the women's cooperative of the Maison
de l'Artisanat de Rouadi in the Rif. The colours and gradations are a direct
reference to the mountains from which they flow: eroded,
oxidised and exhausted. 



 This ‘material’ sculpture houses a 20-minute video essay (in
French, English and Arabic) by the artist. In a montage of images supported by
two voice-overs, the artist poses questions on these landscapes and imposes them on the various
researches she has carried out (in archives, in literary traces or collected on
the sites) in an
attempt to capture the histories of the region, an attempt to materialise or
visualise them, often without succeeding, inaccessible.



 This installation, which embodies both the ecological and
historical dimensions of Dominique Hurth's work, is the artist's first chapter
on the history and repercussions of the war in the Rif. The walls of the hut
also echo the bamboo twins that will be installed in the long term in the
heights of the Rif for the Rif Résidences project – a sculpture, shelter and
artist's studio in one. Both the publication and the sculpture follow a process
of linguistic, material and visual research – asking questions and imposing
them on others.







	

	
		
		
	
	
		
			
				
					










dans des caves inacessibles
(in unseen caves)

2024Installation with hand-crafted bamboo walls, ceramic and clay objects, terracota sculptures, video (French, English, Arabic, 19:43 min)





















The exhibition, research and
travel have been supported by the Institut Français de Rabat, the Fondation
Almayuda, the Institut für Auslandsbeziehungen (IFA), and the Gwaertler
Stiftung.



 Terracota sculptures produced
in collaboration with Farida Elazzouzi and Khaddouj Ichouikhen of the Rouadi
Women's Cooperative, Maison de l'artisanat de Rouadi, August 2024.


Arabic translation
(essay-film): Omar Nicolas.
Publication of 64 pages (DIN A5) and 2 inserts (DIN A6) printed on offset in 250 copies (French and English)



 Thanks to : Sanaa Zaghoud
(curatorial coordination and research), Soukaina Joual (member of the Artistic
Direction and cooperative of L'appartement 22), Farida Elazzouzi of the Maison
de l'Artisanat de Rouadi and the women of the cooperative, Omar Nicolas. Intern: Paul Kerma










Installation shots: 
Solo Exhibition at L’Appartement 22, Rabat (MA)
07.09-05.10.2024

				
			
		
	





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</description>
		
	</item>
		
		
	<item>
		<title>Private Handtaschen</title>
				
		<link>https://dominiquehurth.com/Private-Handtaschen</link>

		<pubDate>Thu, 20 Jun 2024 07:53:04 +0000</pubDate>

		<dc:creator>dominiquehurth.com</dc:creator>

		<guid isPermaLink="true">https://dominiquehurth.com/Private-Handtaschen</guid>

		<description>
	

	
		
		
	
	
		
			
				
					

	
		
		
	
	
		
			
				
					For some time now, Dominique Hurth has been investigating female Nazi perpetrators and in particular the figure of the female concentration camp guard. In doing so, she examines
and scrutinises the representation of female Nazi perpetrators and their stereotyping from the post-war period until today. 
Her research is based on an object, the uniform of a female concentration camp guard, which is kept in the collection of the Ravensbrück Memorial (Fürstenberg/Havel).

In a series of installations, readings and textile experiments (weaving and dyeing), Hurth interweaves research, images and texts,
which she has collected over the past few years during numerous visits to memorial sites, state archives, military collections, costume and theatre depots in order to take a closer look at the textile history, production and object biography of the uniform and to shed light on the ideas of forced labour, violence and gender representation contained therein.
	

	
		
		
	
	
		
			
				
					










„Private Handbags may not be carried to the field.“

Notes on the Aufseherin Uniform

2022-24

hand-dye drill (birch and nessel, each 400 x

500cm), Riso prints on Favini: Shiro Echo 120, C-Prints (dimension variable); Digital Print on DIN A0, ropes and clips


Produced thanks to the Berlin Artistic Research Programme, Institut Français Berlin, Akademie der Künste, Berlin



Installation shots: 
Villa Massimo, Rome, Italy (June 2024); 
Galerie Bernau, Bernau bei Berlin, Germany (August 2024; exhibition together with Susanne Kriemann)

				
			
		
	





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