Instance No. 7

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.

Instance No. 7 – Heide Hinrichs and second shelf is supported by Royal Academy of Fine Arts, Antwerp and Flanders State of the Art.

DRAWINGS FROM LEFT: Heide Hinrichs, inscription SB 4, 2019. inscription HK 4, 2013. inscription AM 6, 2013. inscription LB 6, 2006. inscription AM 3, 2013. inscription RW 7, 2019. inscription AA 4, 2018. WALL: Laura Larson, Gina, 2019. ALONG THE WALLS (shelf, curtain, light): Laëtitia Badaut Haussmann, WATER, 2019. BANNER: Vier5 for Season Two: Follow the Mud. LEFT (screen, wooden furniture): Michel Auder and Michael Stickrod, Staples and Rubber Bands, 1967-2019.

FROM LEFT: Heide Hinrichs, AM 6, 2017. Laura Larson, Gina, 2018.

Heide Hinrichs, inscriptions, 2006-2020. Around the works of Laëtitia Badaut Haussmann and Michael Stickrod.

Heide Hinrichs, second shelf, 2020, installation from Beeler Gallery to CCAD Packard Library.

Heide Hinrichs, inscriptions, 2006-2020

Fabric banner announcing the Instances: Vier5. Printed at Columbus Printed Arts Center.

Heide Hinrichs, second shelf, 2020, installation from Beeler Gallery to CCAD Packard Library.

Heide Hinrichs, inscriptions, 2006-2020. With Ryland Wharton, Figure 16, An Alphabet for Beeler (Anarchy, Community, Politics, Liberation, Resistance), 2020

Heide Hinrichs, inscriptions, 2006-2020. Laura Larson, Ellie, 2019.

Ryland Wharton, Figure 16, An Alphabet for Beeler (Anarchy, Community, Politics, Liberation, Resistance), 2020

Heide Hinrichs, inscriptions, 2006-2020. Within the work of Laëtitia Badaut Haussmann.

Heide Hinrichs, inscriptions, 2006-2020

Heide Hinrichs, inscriptions, 2006-2020

Heide Hinrichs, inscription PT 6, 2019

Season Two: Follow the Mud, Instance No. 7, installation view.

Season Two: Follow the Mud, Instance No. 7, installation view.

Heide Hinrichs, inscriptions, 2006-2020

Laura Larson, Gadisse, 2019. Laura Larson, Lexi, 2019.

Heide Hinrichs, inscriptions, 2006-2020. Around the work of Laëtitia Badaut Haussmann and Julia Trotta.

Heide Hinrichs, inscription SB 10, 2019

WALL: Heide Hinrichs, inscriptions, 2006-2020. CUSHIONS: Laëtitia Badaut Haussmann, L'Amour est plus froid que la mort VII, VIII (Love is colder than death). Poster: Vier5

Heide Hinrichs, inscriptions, 2006-2020. With work by Michael Stickrod.

Heide Hinrichs, inscriptions, 2006-2020. Around the work of Michael Stickrod.

Heide Hinrichs, inscriptions, 2006-2020. Around the work of Michael Stickrod.

Heide Hinrichs, inscriptions, 2006-2020

Heide Hinrichs, inscriptions, 2006-2020

WALL: Heide Hinrichs, inscriptions, 2006-2020. Laura Larson, All the Women I Know, 2018-2019. Around the work of Michael Stickrod.

BIO
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, The New York Times, The New Yorker, and Time Out New York, and she has published artist projects in Cabinet, Documents, and The Literary Review. Her first book, Hidden Mother (Saint Lucy Books, 2017), was shortlisted for the Aperture/Paris Photo First Book Prize. She is the recipient of grants from Ohio Arts Council and the New York Foundation of the Arts, and of residency fellowships from MacDowell Colony, Santa Fe Art Institute, and Ucross Foundation. Since 2002, she’s presented four one-person exhibitions with Lennon, Weinberg Gallery in New York. Larson teaches photography in the School of Art + Design at Ohio University in Athens, OH.