Helen Marten

Helen Marten is an artist and writer based in London. She has had recent solo exhibitions at Serpentine Sackler Gallery (London); Greene Naftali (New York); Museum Fridericianum (Kassel); Sadie Coles HQ (London); CCS Bard Hessel Museum (New York); Kunsthalle Zürich (Zürich); Palais de Tokyo (Paris); and Chisenhale (London). Marten has forthcoming solo exhibitions at Castello di Rivoli (Turin) and Kunsthaus Bregenz. In 2016 she won The Turner Prize and the inaugural Hepworth Prize for Sculpture. She was included in the 55th and 56th Venice Biennales. Her work is collected in three recent monographs, Olive (JRP Ringier), Parrot Problems (Koenig Books) and Drunk Brown House (Koenig Books). She is a regular contributor to Frieze and has written numerous catalogue essays for international exhibitions.

 

Her debut novel The Boiled in Between was published by Prototype in 2020.

 

Selected praise for The Boiled in Between:

“A cosmos emerges in the work of Helen Marten, we know it and we don’t. We know it all, but the All that it becomes, we do not know. It pulls you in and right away it pushes you back again. Everything is familiar and nothing, that is the work of this artist: Creating the Nothing, which in this case is everything. Everyone reads something else, everyone sees something else. And yet, it is familiar to everyone, just differently, and this is exactly what creates this familiarity, a trust in the other, through the other, that becomes something else.” – Elfriede Jelinek, winner of the 2004 Nobel Prize in Literature

“Alexander Calder moved to Paris from New York in 1926, aged twenty-seven, and his visit to Mondrian’s studio gave him what he described as the ‘shock that started things’. He likened it to being slapped like a baby to get its lungs working. Writers read, and very very occasionally a text delivers the baby slap: Toi Derricotte’s The Memory Poems, Russell Hoban’s Riddley Walker, Gwyneth Lewis’ Dalton’s Geranium, Ben Marcus’ The Age of Wire and String… The Boiled in Between slaps the reader like a baby.” – Helen DeWitt

“The Old Victorian is new again and the dramatic poem is prose… or, in the words of at least one of the Brownings, “As goes the empire, so goes the formatting.” Helen Marten strives, seeks, finds, and does not yield in any of her media; she stands in her integrity as the burning deck becomes a darkling plain.” – Joshua Cohen

“An incredible work of literary art.”– Max Porter

“I love this book in all its wit and inventiveness.” – Hans Ulrich Obrist

(Photo by Juergen Teller)