108 postkartlz, 2025 ink on paper, thumbtacks, 110 x 210 cm

Hendl Helen Mirra »Opålitligt«

Stockholm, October 02, 2025 - November 08, 2025

After a nine year phase of weaving, in 2021 I gave away my tapestry looms, because I wanted to shift from the sharp focus of detail orientation to the soft focus of open awareness. The weaving process had become too familiar, and I wanted to return to not-knowing. What has remained is an intimacy with my day to day experience, tuned in at a low volume, and an ardency for aimless walking.

There are some paintings that index the walking: reverse “replicas” of irregularly shaped wood carved trail signs from the Sierra Nevada mountains. They allow an imaginary liberatory situation: both behind the sign (a signifier), and in an actual place that is beyond any naming – unsignified.

And there are some vertical planks of wood that lean, each with a calligraphy of two turning words, drawn on thin paper, mounted as a veneer. Beginning with both arms outstretched, with an ink brush in each hand, simultaneously writing forwards and backwards. They are in cursive and they are not neat. Rather like seaweed. There is lightness in the words and images and weight in their objecthood. Traces of breathing and easeful attention. I call them peripheral calligraphies.

There are two readymades. One is a remnant of a wood ruler, found on a slope in South Tyrol. The other was found in a scrap pile at Waldau, the psychiatric clinic near Bern where the synesthete writer Robert Walser lived for some time. It is a bar of wood, painted green and well-worn.

All the works, though visual, are not about seeing, but rather signal sensorial being, infinitively living a temporary life, and being peacefully and namelessly emplaced.

– Hendl H Mirra

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Hendl Helen Mirra was born in Rochester New York in 1970 and lives on the Pacific coast near San Francisco.

Solo exhibitions include Musée d’art contemporain de la haute-vienne (Chateau de Rochechouart), Rochechouart, France (2022); MAZ, Museo de Arte Zapopan, Zapopan, Jalisco, Mexico (2020); Haus Konstruktiv, Zürich (2012); KW Institute for Contemporary Art, Berlin (2011); Dallas Museum of Art (2004); Berkeley Art Museum (2003); Whitney Museum of American Art, New York (2002); and Renaissance Society at the University of Chicago (2001). A fifteen-year survey (1996-2010) of her work was presented at Culturgest in Lisbon in 2014. In 2023 the Swiss Institute, New York commissioned the work Harmless mistake as part of the long-term exhibition Spora on view until May 2026. Recent group exhibitions in 2025 include Parcours, Art Basel, Basel, Switzerland; Fondazione Cosso, Turin, Italy and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc, Luxembourg-Kirchberg. She participated in the XIII Bienal de Arte Paiz, Guatemala City and Antigua GT (2023), the 30th São Paulo Biennial (2012) and the 50th Venice Biennial (2003).

Recognitions and residencies include the DAAD in Berlin (2005/2006), OCA in Oslo (2007/08), IASPIS in Stockholm (2011), MacDowell (1998, 2013, 2015), and a Guggenheim fellowship (2020).

backwards step, 2021, ink on linen, 30 x 53 cm, photos by ©Stephen White and Co.

not gentian meadows, 2021, ink on linen, 23 x 80 cm, photos by ©Stephen White and Co.

m mm, 2024, ink on linen, 32 x 43 cm, photos by ©Stephen White and Co.

not mccloud lake, 2021, ink on linen, 18 x 56 cm, photos by ©Stephen White and Co.

not river trail, 2021, ink on linen, 44 x 76 cm, photos by ©Stephen White and Co.

not rainbow falls, 2021, ink on linen, 21 x 79 cm, photos by ©Stephen White and Co.