Printed Matter

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 own personal history with the Smithsonian 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.

Dominique Hurth Born in France (1985), Dominique Hurth is a visual artist working with sculpture and installation, and within the relationship between sculptural matter and printed matter. Even though her installations are often concentrated on the form, a long and detailed research is strongly embedded in the development of this same form. It is by ways of archival research, journalistic investigation, writing and material experiments that the works develop, and it is by way of editing that the installation operates in the exhibition space. Her work was exhibited in several museums, galleries and institutions internationally (a.o. Palais de Tokyo, Paris; Hamburger Bahnhof, Berlin; Fundacio Tapies, Barcelona; Memorial of Ravensbrück, Fürstenberg/Havel; Württembergischer Kunstverein, Stuttgart) and is part of several collections. She is the recipient of several awards and residencies such as the Pollock-Krasner Foundation Grant (2016-17) and Prize of the Berliner Senate / Governing Mayor of Berlin at ISCP, New York (2014).

2014年,Hurth遇到了Thomas W. Smillie的四箱蓝晒版画,他是史密森学会摄影收藏的第一位保管人和馆长(活跃于1868年至1917年)。在她的新作品《Stutters》中,Hurth以几年的研究为基础,将原始的蓝晒版画重新制作成视觉蒙太奇,对图像进行排序,提供了博物馆生活的记录,因为它记录了一个正在形成的 “国家 “收藏。该作品展示了史密森尼博物馆内空的展示柜和摆放的物品的照片,沿着摄影历史、展览和收藏制作的不同线索,以及19世纪末和20世纪初各种技术设备的发展。

通过细致的复印和印刷复制过程,Hurth扩大了每张图片的世界,并追溯了摄影的脉络,这个过程本身就得益于蓝晒法。艺术家的两组重叠的标题提供了对照片的主观和科学的看法,吸引了对 “官方”(即使是不完整的)书目记录的交叉引用,而这种交叉引用更自由地跨越了历史的时间线,作为反思档案中的空白的一种方式。

《Stutters》包括三个新的文本,Hurth考虑了这本书的利益纠葛,以及她自己与史密森尼博物馆的个人历史和Smillie的工作。作者和策展人Ruth Noack和Kari Conte的其他贡献,考虑了像Stutters这样的艺术家项目可以悄悄地打破档案的暴力分类,而是利用这种不断变化的碎片化来设想新的意义,使被排除在历史之外的声音成为焦点。

Dominique Hurth于1985年出生于法国,是一位从事雕塑和装置艺术的视觉艺术家,并在雕塑物质和印刷物质之间的关系中工作。尽管她的装置作品经常集中在形式上,但长期和详细的研究被强烈地嵌入到这种相同形式的发展中。正是通过档案研究、新闻调查、写作和材料实验的方式,作品得以发展,也正是通过编辑的方式,装置在展览空间中运作。她的作品在国际上的一些博物馆、画廊和机构展出(如巴黎东京宫、柏林汉堡火车站、巴塞罗那塔皮斯基金会、弗斯滕伯格/哈维尔拉文斯布吕克纪念馆、斯图加特符腾堡艺术协会),并成为一些收藏的一部分。她是几个奖项和居住地的接受者,如波洛克-克拉斯纳基金会资助(2016-17)和纽约ISCP的柏林参议院/柏林市长奖(2014)。