Artist Writings
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Monographs
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2016 |
Travis Jeppesen, Eileen Myles, Brian Dillon, Helen Marten: Drunk Brown House (Koln: Walther Koenig) Susanne Pfeffer (ed.), Diedrich Diederichsen, Johanna Burton, Helen Marten: Parrot Problems (Cologne: Koenig Books) |
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2013 |
Tom Eccles, Beatrix Ruf, Polly Staple, Helen Marten: Olive (Zurich: JRP Ringier) |
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2012 |
Helen Marten, Helen Marten: Plank Salad (London: Chisenhale Gallery) |
Group and Exhibition Catalogues
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2023 |
Roger Malbert and Claire Gilman, Drawing in the Present Tense (London: Thames and Hudson, 2023), colour Illus. (p.196) |
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2021 |
Roberta Tenconi, Vincente Todoli and Fiammetta Griccioli (eds), ‘Helen Marten: A Little Bit Naked’, INDEX Maurizio Cattelan, (Milan: Pirelli HangarBicocca / Marsilio Editore), colour illus., p. 578 |
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2020 |
Dakis Joannou (ed.), An Album: Lietta & Dakis Joannou Home Installations 1998-2019 (Athens: Deste Foundation For Contemporary Art, 2020) |
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2019 |
Helene Studievic, Valerie Meetias, Marie-Mathilde Bortolotti, Laruence Goupille (eds.), ‘Helen Marten’, ‘You’ Collection Lafayette Anticipations (Paris: Musee D’Art Moderne De Paris), colour illus. pp. 57-58 Robert Shane, ‘Helen Marten’, Rebecca Morrill et. al. (eds.), Great Women Artists, (London/New York: Phaidon Press Limited), colour illus., p. 264 Luiza Teixeira de Freitas (ed.), ‘Selected Artists’, There’ll Never Be A Door. You’re Inside: Works from the Coleção Teixeira de Freitas (exh. cat.) (Madrid: Fundaçion Banco Santander), colour illus., p. 175 Daniel Slater, ‘Reconnect, Re-present’, Objects of Wonder: British Sculpture from the Tate Collection 1950s–Present, (exh. cat.) (Berlin: PalaisPopulaire), pp. 123-139 |
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2018 |
Staffan Ahrenberg, Miquel Barcelo, Joan Miro (Paris: Cahiers d’Art) |
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2017 |
Judith Blackall (ed.) EuroVisions: Contemporary Art from the Goldberg Collection (Sydney: National Art School), pp. 69, 71, 114 Louisa Elderton & Rebecca Morrill, ‘Helen Marten’, Vitamin C: Clay + Ceramic (London: Phaidon), pp. 186-187 |
| 2016 | Tom Eccles, Lauren Cornell, Invisible Adversaries (Annandale-on-Hudson, NY: CCS Bard Hessel Museum) |
| 2015 | Ringier Annual Report (Zurich: JRP Ringier) |
Selected Press
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2022 |
Helen Marten, ‘Books’, Mousse Magazine, Issue 78, Winter 2022 ‘A Brush with…Helen Marten’, The Art Newspaper, 30 November 2022 Rory Mitchell, ‘Helen Marten Challenges the Relationship Between Two- and Three-Dimensional Forum’, OCULA, 16 September 2022 Alice Bucknell, ‘Helen Marten’, Frieze, No. 224, January/February 2022, p.137 |
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2021 |
Louise Martin-Chew, ‘Helen Marten SOS’, VAULT, Issue 36, November 2021-January 2022, pp. 78-84 Brian Dillon, ‘At Sadie Coles’, London Review of Books, Vol. 43, No. 20, 21 October 2021 Tabish Khan, ‘The top 6 installation art exhibitions in London’, FAD Magazine, 04 October 2021 Amah-Rose Abrams, ‘Bodies That Matter: An Interview With Helen Marten’, The Quietus, 9 October 2021 Alice Bucknell, ‘Helen Marten and the Thingness of Words’, Frieze, 30 September 2021 Jane Ure-Smith, ‘Helen Marten on turning language and visual games into art’, Financial Times, 11 September 2021 Maxim Biller, ‘Die Landschaft, die Arbeit, die Rufe der Hirten’, Perlentaucher Das Kulturmagazin, 06 September 2021 Adrian Searle, ‘Helen Marten review – Turner winner’s new show leaves you gasping’ The Guardian, 03 September 2021 Alex Bennett, ‘Helen Marten: Whispered Circuitry, Drunken Quality’, Flash Art, No 334 Vol.54, Spring 2021. Cover and pp. 66-80 |
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2020 |
Helen Marten, ‘from The Boiled in Between’, The Brooklyn Rail, December 2020 Robert Pisani, ‘Helen Marten – The Boiled in Between’, The Bobsphere, 17 November 2020 Olivia Fletcher, ‘Helen Marten: The Boiled in Between’, Thisistomorrow, 10 November 2020 Mazzy-Mae Green, ‘The Boiled in Between: In Conversation with Helen Marten’, Modern Matter, 23 October 2020 Max Liu, ‘Authors Tale’, i newspaper, 17 October 2020, p. 40 Ross Simonini, ‘The Interview: Helen Marten’, ArtReview, Vol. 72, No. 6, October 2020, pp. 26-33 Paul Burke, ‘The Boiled in Between by Helen Marten’, NB Magazine, 24 September 2020 ‘Helen Marten Publishes Debut Novel’, Exeter College Oxford, 20 September 2020 Brian Dillon, ‘Helen Marten’s Intimate Affinities’, frieze, 10 September 2020 Sanja Gligorić, ‘Review: Helen Marten’s debut novel The Boiled in Between’, Anglozine, 27 August 2020 Helen Marten, The Boiled in Between, Visual Verse, Vol. 7, Chapter 11 [extract], 01 September 2020 Sanja Gligorić, ‘Review: Helen Marten’s debut novel The Boiled in Between’, Anglozine, 27 August 2020 Alexander Shchurenkov, ‘Studio Colour’, Kommersant, 04 August 2020 Helen Marten, ‘Animal Hours’, Chisenhale Gallery Commissions, 23 April 2020 |
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2019 |
Katie Mansfield, ‘Prototype signs debut by Turner Prize-winning artist Helen Marten’, The Bookseller, 06 September 2019 Jasmine Reimer, ‘Helen Marten’, Border Crossings, Volume 38, issue no. 151, Autumn, 2019, pp. 159-160 Hannah Jenkins, ‘Meet British Painter and Sculpturist Helen Marten’, Girls Are Awesome, 01 March 2019 Rebecca O’Dwyer, ‘Reviews: Helen Marten’, Burlington Contemporary, online, 18 February 2019 Anais Castro, ‘Helen Marten: Fixed Sky Situation’, Thisistomorrow, online, 08 February 2019 Helen Marten at König Galerie, ‘Left and Right Hemispheres’, KÖNIG, January 2019, pp. 06-15 |
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2018 |
Alex Farquharson, ‘Tate Britain Highlights’, Tate, Autumn 2018, pp. 2-3, 61 Dale Berning Sawa, ‘Hepworth Wakefield uses £100,000 prize to buy Helen Marten sculpture’, The Guardian, 05 July 2018 |
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2017 |
Helen Marten, ‘Though It Weeps (in the style of new and brilliant murder)’, frieze, November December 2017, pp. 120-125 ‘40 Under 40’, Apollo, 07 September 2017 Jeffrey Charles Henry Peacock, ‘BAD GOODS’, BAD GOODS, 01 May 2017, p. 5 Anne Imhof, ‘Auf Dem Radar’, Madame, May 2017, p. 83 Helen Marten, ‘How Important Is Art as a Form of Protest’, frieze, April 2017, p. 101 Yann Kerlau, ‘Helen Marten: Le quotidien vu comme une oeuvre d’art’, L’Eventail, March 2017, pp. 70-71 Debrett’s, ‘The Most Influential 500’, The Telegraph Magazine, 21 January 2017, pp. 24–26 Sam Gregory, ‘Blurred Boundaries, Toppled Monuments: The Hepworth Sculpture Prize’, The Quietus, 08 January 2017 Joyce Dixon, ‘The Hepworth Prize for Sculpture’, ArtReview, 69: 1, January–February 2017, p. 111 Time Semb, ‘Notisier: Turner Til Marten’, Billedkunst, 01: 2017, pp. 8–9 Johannes Kirschenmann, ‘Unübersicktliche Versuchsandordnungen der Gegenwartskunst’, Kunst + Unterricht, 2017, pp. 6-15 |
| 2016 |
Artist of the Year’, Apollo Magazine, December 2016 Cristina Ruiz, ‘Helen Marten: Modern Arrangements’, The Gentlewoman, no. 14, Autumn and Winter 2016, pp. 102–105 Lorena Munoz-Alonso, ‘So Who Is Helen Marten, UK’s Turner Prize-Winning Artist?’, Artnet News, 06 December 2016 Helen Marten Wins 2016 Turner Prize’, Artforum, 05 December 2016 Hannah Ellis-Peterson, ‘Helen Marten: The Turner Prize Winner who took the Art World to Task’, The Guardian, 09 December 2016 Elly Parson, ‘From Sewing to Scented Curtains, the Startling Breadth of the First Hepworth Sculpture Prize’, Wallpaper*, online, 25 October 2016 ‘Art On The Edge’ , The Yorkshire Post, 25 October 2016 Adrian Searle, ‘Hepworth Sculpture Prize Review – A Brilliant Beginning’, The Guardian, 20 October 2016 Samuel Spencer, ‘Turner Prize Nominee Helen Marten Installs Experimental Interiors at Serpentine Sackler’, Blouin Art Info, 07 October 2016 Jackie Wullschlager, ‘Review: Helen Marten, Serpentine Sackler, London’, Financial Times, 04 October 2016 Rachel Campbell-Johnston, ‘Visual Art: Turner Prize 2016, Tate Britain, The Times, 27 September 2016 ‘The Progress 1000: London’s Most Influential People 2016 – Artists and Curators’, The Evening Standard, 07 September 2016 Louise Darblay, ‘Ringier Annual Report 2015 by Helen Marten’, ArtReview, Summer 2016, p. 155 Stuart Greer, ‘Macclesfield Artist Shortlisted for 2016 Turner Prize’, Macclesfield Express, online, 16 May 2016 Roslyn Sulcas, ‘4 Turner Prize Nominees Are Announced’, The New York Times, online, 12 May 2016 Adrian Searle, ‘Beyond Buttocks: this Turner Prize Shortlist is Cheeky and Smart’, The Guardian, online, 12 May 2016 Jess Denham ‘Turner Prize 2016: Bare Buttocks and a Model Train Dominate Sculpture-Heavy Shortlist’, The Independent, online, 12 May 2016 Michelle Z. Dohanue, ‘Hirshhorn’s ‘Suspended Animation’: Unsettling Images of a New Digital Reality’, Smithsonian Insider, online, 29 March 206 Carson Chan, ‘Three New Books Argue for the Interconnectivity of All Things’, Frieze, no.177, March 2016, pp. 40–41 Amah-Rose Abrams, ‘Shortlist Announced for the First Hepworth Prize for Sculpture’, Artnet, online, 22 March 2016 Carson Chan, ‘Three New Books Argue for the Interconnectivity of All Things’, frieze, no.177, March 2016, pp. 40-41 Charlotte Jansen, ‘Textures’, Elephant, Issue 26, Spring 2016, pp. 158-165 Martin Herbert, ‘Suspended Animation’, Artforum International, January 2016, p.134 |
| 2015 | Jessica Lack, ‘Bewitched, Bothered and Bewildered’, Art Quarterly, May 2015, pp. 84-85
Eva Karcher, ‘Das Weibliche Gesicht der Biennale’, MADAME, May 2015, pp. 73-77 Karen Goldberg, ‘Copy + Paste: The Collagistic Qualities of the Desktop Aesthetics’, RES, October 2015, pp. 61-71 Beatrix Ruf, ‘Museum Beatrix Ruf’, DeLUXE, no. 23, April 2015 Helen Marten, ‘Flaps, sticks, hairs and bruises (Collage vs. Inlay)’ Mirrorcity, 04 January 2015 |
| 2014 |
Andrew Witt, ‘Best of 2014’, Artforum International, online, 09 December 2014 Chloe Hodge, ‘Digital Realities: Mirrorcity’, Aesthetica, Issue 61, October-November 2014, pp. 50-55 Skye Sherwin, ‘Object Lessons’, W Magazine, September 2014 Martin Coomer, Time Out, 10 March 2014 Laura McLean-Ferris, ‘Critics Pick: Helen Marten’, Artforum International, online, 10 March 2014 'Artists to Watch’, Contemporary Art Society, March 2014 Skye Sherwin, ‘Helen Marten: The British Artist Discusses Her New Show’, W Magazine, online, 07 February 2014 Marina Maniadaki, ‘South Likes: Helen Marten at Sadie Coles’, South As A State Of Mind, February 2014 Caroline Douglas, ‘Friday Dispatch: Helen Marten at Sadie Coles HQ and Paul McCarthy at SPACE, London’, Contemporary Art Society, 31 January 2014 |
| 2013 |
‘Time Out Says: Helen Marten’ Time Out, 03 December 2013 Agnieszka Gratza, ‘The Making of Helen Marten’, Mertopolis M, August-September 2013, pp. 46-51 Philippa Snow, ‘The Way We Look at Art Now’, Modern Matter, Autumn 2013 Briony Fer, ‘Helen Marten: Pictorial Lamination’, Parkett, no. 92, July 2013, pp. 62-66 Helen Marten, Jordan Wolfson & Uri Aran, ‘Problem Cookies’, Parkett, no. 92, July 2013, pp. 76-83 Rein Wolfs, ‘Autonomous Realms’, Parkett, no. 92, July 2013, p. 96-101 Helen Marten, ‘My Influences’, frieze, no. 155, May 2013 Oliver Basciano, ArtReview, Issue 66, March 2013, pp.132-133 Brian Dillon, ‘All that is Solid’, Artforum International, March 2013, pp. 240-241 Kathy Noble, frieze, no. 153, March 2013, p.156 |
| 2012 |
Christophe Bollen, Interview Magazine, December / January 2012 Helen Marten, ‘Jordan Wolfson’, Interview Magazine, December / January 2012 Adrian Searle, ‘Monkeying with Mozart: The Striking Art of Helen Marten’, The Guardian, 25 November 2012 Helen Marten, Evian Disease (Work in Progress), Palais de Tokyo, Issue 16, Autumn / Fall 2012 Jackie Wullschlager, ‘A Picasso for the Facebook Age’, Financial Times, 13 June 2012, p.12 Interview with Maurizio Cattelan, ‘A Little Bit Naked’, Flash Art International, March-April 2012 Isobel Harbison, ‘Stock Piles’, frieze, no. 145, March 2012 ‘What Is the Contemporary?’ Pylône Magazine, Issue 8, February 2012 |
| 2011 |
Michael Archer, ‘Review: Dust and Piranhas, Serpentine Gallery’, Artforum International, vol. 50, December 2012 Jörg Heiser, ‘Focus: Helen Marten’, frieze, no. 14, Issue 43, November-December 2012 Interview with Hans Ulrich Obrist, ‘Futura: More and more Megabytes’, Kaleidoscope, Issue 11, June 2012 Daniel Völzke, ‘Watchlist’, Monopol, June 2012 Interview by Matias Faldbakken, ‘Show Hidden Characters’, Mousse, Issue 28, April 2012 Beatrix Ruf, ‘Future Greats’, ArtReview, Issue 48, March 2012 Victoria Camblin, ‘Page-Specific Installation’, 032c, Issue 21, Summer 2012, pp. 92-105 |
| 2010 | Kate Kellaway, Lizzy Davies, Imogen Carter, ‘Meet the Best New Artists in Britain’, Observer, 10 October 2012 |