second shelf is a project devised by Heide Hinrichs, and developed collaboratively with Elizabeth Haines, (historian, Bristol), Marisa Sanchez (art historian / lecturer Emily Carr, Vancouver), Jo-ey Tang (artist / curator / writer / director of the Beeler Gallery, Columbus, Ohio), Ersi Varveri (artist, Antwerp, Athens) and Susanne Weiß (curator, Berlin).



Heide Hinrichs is an artist living and working in Brussels. She currently teaches at the Royal Academy of Fine Arts in Antwerp. Following the 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. She participated in 2017 at the Kathmandu Triennale and was invited by Philippe van Cauteren to the project space of the White House Gallery in Lovenjoel with her exhibition red offering. See also:



Elizabeth Haines is a historian of science and Vice-Chancellor’s Fellow at the University of Bristol. Her interdisciplinary interest in the materiality of knowledge production draws strongly on her education in Fine Arts. One strand of her research focuses on mapping and the lived experience of land rights in postcolonial Africa. In another strand of research she has been exploring what scholars can learn about the past by using objects as a historical source. Elizabeth is currently working on projects with the Science Museum Group, Bristol Museums Archives and Galleries, and National Museums, Kenya.”


Marisa C. Sánchez is a PhD Candidate in Art History, Visual Art and Theory at the University of British Columbia, Vancouver, Canada. Her dissertation, The Beckett Effect: The Work of Stan Douglas, Paul Chan, and Tania Bruguera examines the uses of Beckett’s discursive reverberations within these artists’ visual practices, locating the “Beckett Effect” as politically and artistically significant in contemporary art. Prior to her doctoral studies, Marisa was Associate Curator of Modern and Contemporary Art at the Seattle Art Museum, where she curated exhibitions, including love fear pleasure lust pain glamour death – Andy Warhol Media Works, and solo projects with artists Sandra Cinto, Trenton Doyle Hancock, Corin Hewitt, Heide Hinrichs and Mika Tajima.


Sánchez holds an MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago, where she wrote her thesis Globe Trotting: Gabriel Orozco’s Global Nomadism. Her writing and criticism have appeared in exhibition catalogues and journals, including a recent interview with Stan Douglas in Samuel Beckett and Contemporary Art (2017). Marisa has taught art history as Sessional Faculty at Emily Carr University of Art + Design, Vancouver. She serves as Chair on the Public Art Committee for the City of Vancouver. She is currently a member of Doryphore Independent Curators Collective, Vancouver.



Jo-ey Tang is a Hong Kong-born, American artist, curator, and writer, living and working between Paris, France and Columbus, USA. He is a former curator at Palais de Tokyo, Paris (2014-2015), where he conducted onsite research in Southeast Asia and China; and a former arts editor of Brooklyn-based literary journal n+1 (2009-2014). He has curated exhibitions at FUTURA Centre for Contemporary Art, Prague; chi K11 Art Museum, Shanghai; and Galerie Praz-Delavallade, Paris. He is currently Director of Exhibitions, Beeler Gallery at Columbus College of Art & Design, where he is currently working on season-long programming focusing on the individual art practices of the New York-based queer art collective fierce pussy – Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka. See also



Ersi Varveri lives and works between Antwerp and Athens, she holds a Master from the Royal Academy of Fine Arts, Antwerp, department of Insitu (2015), and a Master of Research in Art and Design of Sint Lucas, Antwerp (2016). Currently she is living and working in the Pink House, together with the artist Gijs Waterschoot, where they develop approaches for hospitality and collaboration. See also Varveri initiated as a master student in the Royal Academy of Fine Arts together with six other master students (Andrea Zrno, Chakky Kato, Maika Garnica, Margo De Clerck, Lukas Verdijk, Vesna Faassen) from different disciplines, a project in the library of the school: Library in the library occupied a corner in the library of the Academy. The original idea was to collect books that have been produced in the school or have been identified as self made publications, seeking for a place where book and people can find a meeting point. 


Susanne Weiß is a an independent curator based in Berlin. She has been director of the Heidelberger Kunstverein from 2012 to the end of 2016, where she developed a programme and a series of curatorial formats that follow process-oriented and experimental approaches. She has presented solo-shows with Ulf Aminde, Heide Hinrichs, Melton Prior Institute, Aurélien Froment, Astrid S. Klein, Stuart Sherman and Annette Weisser amongst others. In autumn 2013 she has been a stipend of the cultural academy in Tarabya, Istanbul. From 2009 – 2010 she was working for the Goethe Institut Abu Dhabi in Sharjah at the Sharjah Museums Department. Since 2007 she is a member of the RealismusStudio of the nGbK Berlin. From to 2007 – 2008 she was deputy director of the Kunsthaus Dresden – Städtische Galerie für Gegenwartskunst. Susanne Weiß is a museologist and has been working since 1996 in various contexts and places like London, Oxford, Jerusalem, Wien, Dresden, Sharjah and Berlin. See also