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Catalogue 3 Publications in Random Order


Dominique Hurth


45 min each side with a pad-printing in gold on the tape
2 Booklets
each 96pp and 6,9 x 10,9 cm, printed on offset (4c + Pantone, Munken paper)
1 Poster
DIN A1, printed on offset, 4c + Pantone gold
Dominique Hurth
Indre Klimaite, KlimaiteKlimaite, Berlin
Daniela Cascella, Sonja Lau, Dominique Hurth
R Aslan
Colour Grading
Dante Busquets
Sound End-Editing
Jo Zahn
Photograph Poster
Maurice Weiss
Tape Production
T.A.P.E Muzik, Leipzig
Printer Booklets
Gallery Print, Berlin
Printer Poster
Pinguin Druck, Berlin

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.

“We listened to historical recordings and futurist sounds, to tracks taking in everything from minimal wave and Detroit techno to hip-hop and chansons. We listened to the voices of the first speaking dolls that sounded like little monsters, to the voices of Sarah Bernhardt and Serge Gainsbourg as he burned a 500 Franc note on French TV. To Clarice Lispector as she lit a cigarette while being asked why she continued to write. We listened to music created in laboratories, music that was sent into outer space. We listened to lyrics and then languages and voices w couldn’t understand. Machine-generated sounds. Sounds created on celluloid. James Joyce reciting four pages of Finnegans Wake to Charles Ogden in the late 1920s. We listened to advertisements for vocoders and to music with vocoders as the primary transmitter of voice and the main musical instrument. We listened to France Gall singing — or rather, screaming — into the microphone at the Eurovisio Song Contest at the age of nineteen about being a doll made of wax and a doll made of sound. To a litany of okays sung by The Destroyer in a song by the Residents. To the breathing of Pauline Oliveros’s accordion. To the Holy Ghost in the Machine. To Minnie Riperton’s voice in the background, to atonal music, and to computer-generated hand claps. Electronic communication with the dead. Jazz.
A countdown to zero. We listened to beats.

The several hours of sound that we listened to eventually became two side of forty-five minutes each — Side A and Side B. Condensed and edited in this way, this mixtape actually conceals and contains several other mixtapes, recalling all the other tracks that burst out of the edges of the magnetic band.” (”Mixtape(s)”, D. Hurth, 2020)


Art of the Sixties

Publishing House
Wallraff-Richartz Museum
Fifth revised edition
209 tipped-in color plates by 92 artists
30 x 25 cm.
Colour and Black & White photographs
Text in German and English
@Andrea Pazos

A very special book published in 1971. An iconic an gorgeous catalogue that contains art work from major Sixties artists, including Beuys, Caro, Hamilton, Lichtenstein, Oldenberg, Paolozzi, Rauschenberg, Stella, Twombly, Warhol, among others. Many reproductions of Pop Art and Op Art works collected by Peter and Irene Ludwig.

With a wonderful design by Wolf Wostel <3 Soft cover with embossed flexible plastic covers and a hard acrylic spine, bound with stainless steel bolts. Multiple paper stocks and printing effects, brown fabric paper with color plates, printed transparent slipsheets with a portrait of each artist, fold-outs… and more

And this is the fifth edition. The final edition, updated and expanded! An exceptionally and well preserved copy for you.



The 70´s- The Zone

Francisco Ortega + per(r)ucho
Federal Blue, Bright Red, Black
13 cuadernos | 4 poster A3
Francisco Ortega + per(r)ucho

Que los años 70 fueron un momento psicotrópico colectivo glorioso para la cultura occidental es algo de sobra conocido, las grandes obras cinematográficas, musicales y conceptuales que se generaron entre los habitantes de esos años están en el límite de lo comprensible, son extraordinarias.

Desde per(r)ucho nos hemos propuesto investigar algunas de ellas desde una óptica un tanto demencial: usar como foco La Zona de Stalker, utilizarla como vínculo metafórico y guía para el descubrimiento de algunas estructuras subyacentes que dominaron las mentes creativas de esos años.

Investigar la presencia de Tarkovski en occidente, su percepción entre la bruma que supuso el telón de acero, las implicaciones que tuvo su presencia entre aquellos que supieron de él, entre aquellos que vieron sus películas, ha supuesto un reto fantástico del que no sé si hemos salido airosos.

Por suerte o por desgracia, a medida que avanzaba la investigación, también lo hacía nuestra memoria. Los recuerdos que almacenábamos no de esa época pero sí de un pasado que, de alguna manera, se iba entrelazando, no sólo con las hipnóticas imágenes de Tarkovski, sino también con el rugido de los Zeppelin y la bruma de un Londres fantasmagórico que, durante un tiempo en el que aún había rastros evidentes de los 70 en sus calles, tuvimos la suerte de habitar.

The 70’s The zone son muchos libros fragmentarios que se unen en un mapa situacionista, zonas que se conectan en la metazona gigante que fueron los 70, una zona formada por conexiones imposibles entre secuencias de El Espejo y No Quarter de los Zeppelin, entre libreros oculistas de Manhattan y magos improbables de las montañas de Georgia. Un laberinto atestado de ingenieros de sonido, fotógrafos atormentados, escultores muy serios, cineclubs infestados de humo, revistas gloriosas, conciertos multitudinarios, punks, heavies y cinéfilos. Toda una multitud incoherente que, sin embargo, habitaba bajo la misma frecuencia vital, bajo un mismo y brillante rugido.