The Beeler Gallery launches “Season Two: Follow the Mud” in different locations with Badaut Haussmann's “Water” and “Exposure”

Walking into the Beeler Gallery on Thursday, Oct. 10, it may feel like you’re somewhere else entirely. The lights will be dimmed, and large, translucent, floor-to-ceiling curtains will hang throughout the space, creating walls and corridors that wouldn’t normally exist.

Questions surrounding the geography of an installation — where, how and why art is displayed — are explored in “Water,” the first solo exhibition in the States from Parisian artist Laëtitia Badaut Haussmann, who will help launch CCAD’s “Season Two: Follow the Mud,” featuring five months of experimental programming at the Beeler Gallery and other off-site locations.

An opening reception for “Water,” as well as concurrent installations from New York-based French artist Michel Auder and artist/CCAD adjunct professor Michael Stickrod, will take place at 6 p.m. on Thursday, Oct. 10, featuring two performances on amplified violin from experimental New York musician C. Spencer Yeh.

"The curtains are referring to a museum in Japan — the Museum of Modern Art in Kamakura,” said Badaut Haussmann in a recent interview at Beeler, where, amid the still-in-progress installation, she spread out blueprints of the museum and the curtain installation and overlaid them on top of each other. “This is the Beeler Gallery, and the walls of Kamakura have been taken and positioned into the Beeler Gallery. The museum of Kamakura is exploding or fragmenting into here.”

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“There’s a sense of existing in multiple time and space,” said Jo-ey Tang, the gallery’s director of exhibitions. “Laëtitia also decided to bring in her own lighting for the whole season. That will reflect onto the curtains. … It’s illuminating the grid and lighting structure of the gallery, which is usually something you don’t want people to look at. You want it to disappear.”

The opening reception is the first “instance” in this “Follow the Mud” season, but Badaut Haussmann will also lead an off-site performance/exhibition on Sunday, Oct. 13, at the Gunning House (also known as Glenbrow), a recently restored, 1940s Usonian house on Broad Street in Blacklick that was designed by Tony Smith (who later became a well-known sculptor), Theodore van Fossen (who built Rush Creek Village in Worthington, Ohio) and Laurence Cuneo (who later became the art director on “I Love Lucy”).

“The off-site project is very important to this event. It’s outside of the institution, outside of the walls, in a domestic, private house,” Badaut Haussmann said. “The house fell into ruins and was rebuilt by the new owners, who restored the house. It’s kind of like a new life for this house. … It’s showing, in a very concrete way, how you deal with your history — transforming it, re-appropriating it and re-articulating it in today’s society.”

“The Usonian philosophy [is] a type of architecture that works with nature, in harmony, and when the people leave, nature takes over. So in the house, everything was rotting. There was a tennis court that’s been overgrown. The trees break the ground where humans have paved over,” Tang said. “It’s also interesting that [the Gunning House] is not well-known, and why it isn’t — thinking about all the development taking place in Columbus and the focus on new buildings. What are these buildings? How do they actually function in our daily lives? That house could be a way to look back at some of the things that worked and didn’t work.”

Badaut Haussmann said the performance on Sunday, which is titled “Exposure,” will be “fragmented” with “seven performers, like dancers and artists making music, who are going to perform different actions with different durations.”

“It’s not a linear narrative. It’s fragmented with different periods,” she said. “I’m interested in all these layers of history.”