Instance No. 7
Heide Hinrichs and second shelf
Saturday, Feb. 1, 2020 | 2–3 p.m.
On view until March 15, 2020
60 Cleveland Ave. (Entrance on E. Gay Street) | Columbus, Ohio
Join us for a gallery tour and conversation with Heide Hinrichs and Columbus artist Laura Larson. Complimentary coffee provided by Brioso Coffee.
Beeler Gallery is ALWAYS FREE and open to the public. Free parking available.
Download the Instance No. 7 poster designed by Vier5 on the work of Heide Hinrichs and second shelf here.
Second shelf, initiated in 2018 by Brussels-based German artist Heide Hinrichs, is a collaborative book acquisition project and multi-institutional, international effort to increase library holdings of publications by non-binary, female, and queer artists and artists of color. At the project’s core is the formation of a new collection of books in the library of the Royal Academy of Fine Arts, Antwerp, and simultaneously acquired through Beeler Gallery at Columbus College of Art & Design’s initiative with Packard Library, and at University of Bristol, United Kingdom.
As part of Season Two: Follow the Mud, Heide Hinrichs installs more than 100 drawings, Inscriptions (2006–2020), based on drawings by artists in second shelf: Anni Albers, Lutz Bacher, Silvia Bächli, Louise Bourgeois, Andrea Büttner, Ulises Carrión, Hanne Darboven, Mirtha Dermisache, Ulrike Grossarth, Eva Hesse, Hilma af Klint, Emma Kunz, Lee Lozano, Agnes Martin, Ana Mendieta, Ree Morton, Meret Oppenheim, Lygia Pape, Lily van der Stokker, Paul Thek, Cecilia Vicuña, Annette Weisser, and Rachel Whiteread. In dialogue with these drawings is a selection of Columbus artist Laura Larson‘s photographic series All the Women I Know. Larson’s book Hidden Mother (Saint Lucy Press, 2017) is part of second shelf.
The drawings are installed at varying heights for viewing in multiple bodily positions: sitting, standing, and lying, and further interpolate with other artists’ works in Season Two: Follow the Mud, such as Michael Stickrod’s camping cots in the installation for Michel Auder’s video May 68′ in 78‘, and Laëtitia Badaut Haussmann’s elongated silver floor cushions for the viewing of Julia Trotta’s Forget to be afraid: A portrait of Linda Nochlin. Columbus artist Ryland Wharton conceives a series of furniture pieces consisting of modular seating and a desk, that take the forms of letters and punctuations. The furniture will be used by visitors while viewing the drawings, and also by Beeler Gallery Ambassadors as permanent and flexible elements beyond Season Two.
For more info on second shelf, please visit www.second-shelf.org
Instance No. 7 – Heide Hinrichs and second shelf is supported by Royal Academy of Fine Arts, Antwerp and Flanders State of the Art.
Heide Hinrichs is an artist living and working in Brussels. Following her solo exhibitions, Borrowed Tails (curated by Marisa Sanchez) at the Seattle Art Museum in 2010 and Echoes (curated by Susanne Weiß) at the Heidelberger Kunstverein in 2012, she was awarded the Villa Romana Fellowship for 2013. In 2014, she was a fellow at the MMCA Seoul International Residency Program, where she continued work on her long-term project Silent Sisters / Stille Schwestern, an unauthorized translation in text and art works in conversation with Theresa Hak Kyung Cha’s book, DICTEE, brought to completion in 2018. For the first Kathmandu Triennial, 2017 she developed the project On Some of the Birds of Nepal (Parting the Animal Kingdom of the East) and was invited by Philippe van Cauteren to the project space of the White House Gallery in Lovenjoel with her exhibition red offering. Currently she works on the collaborative project second shelf located at the library of the Royal Academy of Fine Arts in Antwerp, where she also teaches. Hinrichs’ works are in the collection of Seattle Art Museum, Seattle; S..M.A.K., Ghent; and the ifa, Stuttgart.
Laura Larson has exhibited her work nationally and internationally, including Art in General, Bronx Museum of the Arts, Metropolitan Museum of Art, Museum of Fine Arts, Houston, SFCamerawork, Susanne Vielmetter/L.A. Projects, and Wexner Center for the Arts. Her exhibitions have been reviewed in Artforum, Hyperallergic, Th