Hendl Helen Mirra | |
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Education | Bennington College, University of Illinois at Chicago |
Hendl Helen Mirra [1] is an American conceptual artist. "[Like Henry David Thoreau, she is a] maximalist in a minimalist robe", with an idiosyncratic practice. [2] She is engaged with ideas common to buddhist [3] [4] [5] and pragmatist [6] [7] philosophies, and since 2008 her art practice has been integrated with walking. [8] She has said of walking: "It is an unskilled activity, and a modest activity, and a free activity, and an always-available activity, and an equipment-free activity, and an active activity." [9] In an essay on Mirra's work, Yukio Lippit described her engagement thus: "Mirra’s practice champions walking as a specific form of thinking that bypasses language. Indeed, one senses that she shares with Zen Buddhists in particular a deep skepticism towards language as an authentic mechanism of discovery." [10] At the same time, she has often worked with language as a primary material. [11] [12]
Hendl Mirra has worked in diverse media including weaving, [13] writing - particularly indexes, [14] [15] [16] experimental music, [17] [18] sculpture, 16mm film, and video. [19] "Environmental belonging" has been a persistent theme, [20] while keeping within a restricted palette. [21] Her first one-person institutional exhibition, Sky-wreck, at the Renaissance Society at the University of Chicago in 2001, was a indigo-dyed textile sculpture of a section of the sky, imagined as part of a geodesic structure. [22] [23] In addition to John Cage, [24] Stanley Brouwn, André Cadere, and Douglas Huebler are key influences. [9]
She has an exhibition history in North and South America, Europe, and Japan, [25] [26] and participated in broad international exhibitions such as the 11th Havana Bienal, the 30th São Paulo Art Biennial and the 50th Venice Biennial. A fifteen-year (1995-2009) survey of her work, Edge Habitat , was presented in 2014 at Culturgest in Lisbon, Portugal, and the corresponding publication Edge Habitat Materials was published by Whitewalls. [27]
She was a Senior Lecturer in Visual Art and Cinema & Media Studies at the University of Chicago (2001-2005) [28] and a Loeb Associate Professor of the Humanities in the department of Visual and Environmental Studies at Harvard University until 2013. [29] She has been an artist-in-residence at University of California at Berkeley, [30] and a guest of the DAAD Artists-in-Berlin Program. [31] She lives in Northern California. [32]
Marjetica Potrč is an artist and architect based in Ljubljana, Slovenia. Potrč's interdisciplinary practice includes on-site projects, research, architectural case studies, and drawings. Her work documents and interprets contemporary architectural practices and the ways people live together. She is especially interested in social architecture and how communities and governments can work together to make stronger, more resilient cities. In later projects, she has also focused on the relationship between human society and nature, and advocated for the rights of nature.
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Joan Mitchell was an American artist who worked primarily in painting and printmaking, and also used pastel and made other works on paper. She was an active participant in the New York School of artists in the 1950s. A native of Chicago, she is associated with the American abstract expressionist movement, even though she lived in France for much of her career.
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Shahla Aghapour, also known as Shahla Aghapour–Benakohell is an Iranian visual artist, author and gallery director living in Germany. She works both as a writer and poet, as well as a painter, sculptor, performance artist and director of Galerie-Benakohell.
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Carla Arocha and Stéphane Schraenen, also shortened to Arocha & Schraenen, are an artist duo that collaborates since 2006. Arocha & Schraenen work across media, producing paintings, drawings and prints. Large-scale mirrored and interactive sculptural installations are at the core of their collaborative project. Their abstract installations and sculptures stem from everyday objects. The artists strip such objects from functionality, thus reducing them to their basic essence and form. Engaging with the rich tradition of geometrical abstract and optical art, the artists’ works are often placed in a spatial context where light and reflection play a crucial role.
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