Helen Marten

Mousse 56
2006-2016 A Small Anthology

 

10-year anniversary special issue: a selection of essays, interviews, conversations, and projects appeared in the first ten years of Mousse.

Featuring: Chantal Akerman, Cecilia Alemani, Jennifer Allen, Kai Althoff, Bruce Altshuler, Ed Atkins, Lutz Bacher, Darren Bader, Alex Bag, John Baldessari, Phyllida Barlow, Kirsty Bell, Andrew Berardini, Jonathan Berger, Michael Bracewell, Tom Burr, Maurizio Cattelan, Marc Camille Chaimowicz, Sofía Hernández Chong Cuy, Carolyn Christov-Bakargiev, Stuart Comer, Lauren Cornell, Nicholas Cullinan, Roberto Cuoghi, Nick Currie, Massimo De Carlo, Gino De Dominicis, Gigiotto Del Vecchio, Simon Denny, Brian Dillon, Jimmie Durham, Dominic Eichler, Peter Eleey, Matias Faldbakken, Luigi Fassi, Elena Filipovic, Morgan Fisher, Isa Genzken, Yervant Gianikian & Angela Ricci Lucchi, Liam Gillick, Massimiliano Gioni, Isabelle Graw, Ed Halter, Jens Hoffmann, Judith Hopf, William E. Jones, Omar Kholeif, Alexander Kluge, Jiří Kovanda, William Leavitt, Elisabeth Lebovici, Andrea Lissoni, Helen Marten, Chus Martínez, Nick Mauss, Lucy McKenzie, Fionn Meade, Simone Menegoi, John Menick, Ute Meta Bauer, Massimo Minini, Hans Ulrich Obrist, Trevor Paglen, Stefania Palumbo, Francesco Pedraglio, Otto Piene, Laura Poitras, Elizabeth Price, Seth Price, Laure Prouvost, Alessandro Rabottini, Carol Rama, Filipa Ramos, Jason Rhoades, Dieter Roelstraete, Esperanza Rosales, Nicolaus Schafhausen, Fender Schrade, Stuart Sherman, Frances Stark, Jamie Stevens, Hito Steyerl, Sturtevant, Sabrina Tarasoff, Ana Teixeira Pinto, Oscar Tuazon, Giorgio Verzotti, Jan Verwoert, Francesco Vezzoli, Adrián Villar Rojas, Peter Wächtler, Ian Wallace, Klaus Weber, Cathy Wilkes, Christopher Williams, Jordan Wolfson.

Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
Mousse (Mousse Publishing) is also publisher of catalogues, essays and curatorial projects, artist books and editions.

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Helen Marten
Parrot Problems

In 2016 Helen Marten is shortlisted for both the Turner Prize and The Hepworth Sculpture Prize.

Parrot Problems was Turner Prize nominated British artist Helen Martenʼs first institutional solo exhibition in Germany. Close to an artist book, 40 pages within the catalogue are designed by Helen Marten herself, featuring unique collages.

In insightful and precise essays Diedrich Diederichsen and Johanna Burton focus on the ‘artist of the hour’, who through processes of manipulation, abstraction and shifting resembles recognisable elements anew; piercing the patina of familiarity covering the density and complexity of our everyday material lives.

Frozen at full speed in vibration between two and three dimensions, the objects and images by Marten proliferate with models and motifs, which define physical and linguistic limits of everyday life.

In acts of jigsaw and camouflage, the recognizable is often shifted into a sense of immediate fuzziness. Both delicate and programmatic, the relationship between image and concept is therefore dependent on a sense of unfolding logic.

Through this emulation and repetition of ubiquitous gestures, expressions and objects the resultant differences between mimicry and metaphor are made productive: as Parrot Problems. Whether composed of leaves, glazed ceramic, cast aluminium, coins or timber, Marten’s assemblages distill the customary order of things to arrange it afresh.

Published retrospectively after the exhibition Helen Marten: Parrot Problemsat Fridericianum, Kassel, 6 September – 2 November 2014.

Texts by Diedrich Diederichsen and Johanna Burton.

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Invisible Adversaries
edited by Lauren Cornell

‘Invisible Adversaries’ was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.

With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.

This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.

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Helen Marten
Drunk Brown House

This catalogue is released on the occasion of Helen Marten’s exhibition, Drunk Brown House at the Serpentine Sackler Gallery (29 September – 20 November 2016).

Marten combines disparate imagery and materials to create eclectic, large scale works. These works often serve as repositories for elaborate sculptural tableaux whose assembled detritus (wood, clay, steel, fabric) create a string of hieroglyphs or a kind of archaeological anagram. Her output includes sculpture, videos, text, and screen-printed paintings.

The volume will focus on key artworks produced in recent years, and conceived as an artist book, it will offer detailed perspectives on Marten’s meticulous installations. It will include an essay by Brian Dillon that investigates Marten’s practice, as well as fictional texts by Travis Jeppesen and Eileen Myles that takes inspiration from the artist’s works.

Helen Marten is shortlisted for both the Turner Prize, and the Hepworth Prize for Sculpture in 2016.

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