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In her installations, sculptures and videos, Marten plays upon our reference systems of physical stuff and a coding of the visual that establishes our most elemental relationships to the material world. Language and image become stylised outings of error, misalignment or perversion. Using the outlines of recognisable things as shorthand emblems for social activity or exchange, Marten explores what it means to be a human body preoccupied with the status of toothpaste, the floppiness of pasta or the eroticism of rubbish.
To accompany her Chisenhale Gallery exhibition Marten has made a limited edition screen print, which directly references a wall piece made for the exhibition.
Helen Marten (born 1985, Macclesfield) lives and works in London. Recent solo exhibitions include No borders in a wok that can’t be crossed, CCS Bard Hessel Museum, Annandale-on-Hudson, New York (2013); Plank Salad, Chisenhale Gallery, London; Evian Disease, Palais de Tokyo, Paris; Almost the Exact Shape of Florida, Kunshalle Zurich, Zurich (all 2012); Take a stick and make it sharp, Johann König, Berlin (2011) and Wicked Patterns, T293, Naples (2010). Recent group exhibitions include The Encyclopedic Palace, 55th Venice Biennale; Lyon Biennale, Lyon; 59th Oberhausen International Film Festival, Oberhausen, Germany (all 2013); New pictures of common objects, MoMA PS1, New York (2012); March, Sadie Coles, London (2012); The New Public, Museion, Bolzano (2012); Standard operating procedures, Blum and Poe, Los Angeles (2012) and Hasta Mañana, Greene Naftali, New York (2011). Marten received the Lafayette Prize in 2011 and the LUMA Foundation Award 2012.
For more information about the exhibition and to see images click here.