Edited by Tom Eccles, Beatrix Ruf, Polly Staple. Text by Michael Archer, Ed Atkins, Tom Eccles, Kit Grover, Flint Jamison, Richard Wentworth, Beatrix Ruf, Polly Staple.
British artist Helen Marten (born 1985) humorously explores questions of ownership and dishonesty in the relationship of object to artifact and package to product. Marten’s installations, sculptures and videos play upon our reference systems for things and a coding of the visual that establishes our most elemental relationships to the material world. Marten thus weaves conversations between counterfeit and camouflage in which image is continually sabotaged by language, by a deliberateness of error that presents itself with all the concrete certainty of cultural legitimacy. This publication is the first to fully document Marten’s output. It accompanies a year-long exhibition touring at the Kunsthalle Zürich, the Chisenhale Gallery in London and the Center for Curatorial Studies at Bard College in New York. The book includes numerous installation and work views.
FORMAT: Hbk, 8 x 10 in. / 156 pgs / 234 color. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $47.5 ISBN: 9783037643464 PUBLISHER: JRP|Ringier AVAILABLE: 9/30/2013 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: WORLD Excl FR DE AU CH
Published by JRP|Ringier. Edited by Tom Eccles, Beatrix Ruf, Polly Staple. Text by Michael Archer, Ed Atkins, Tom Eccles, Kit Grover, Flint Jamison, Richard Wentworth, Beatrix Ruf, Polly Staple.
British artist Helen Marten (born 1985) humorously explores questions of ownership and dishonesty in the relationship of object to artifact and package to product. Marten’s installations, sculptures and videos play upon our reference systems for things and a coding of the visual that establishes our most elemental relationships to the material world. Marten thus weaves conversations between counterfeit and camouflage in which image is continually sabotaged by language, by a deliberateness of error that presents itself with all the concrete certainty of cultural legitimacy. This publication is the first to fully document Marten’s output. It accompanies a year-long exhibition touring at the Kunsthalle Zürich, the Chisenhale Gallery in London and the Center for Curatorial Studies at Bard College in New York. The book includes numerous installation and work views.
