Her twin sister is an accountant, her father a pharmacist, and her mother a biologist with a Phd in semiotics of racism. She has won the 2012 LUMA Award (from the LUMA Foundation), the Prix Lafayette in 2011, the inaugural Hepworth Prize and the Turner Prize, both in 2016.
Here, she started developing her unique installation vocabulary which heavily depends on references and abstract constructions. © 2013-2020 Widewalls |

Ultimately, what differents Marten from the rest of her colleagues (and the rest of us, to be honest) is that she thinks differently from everyone else.

Marten presents entwined networks of words, images, and things in absurd reflections of the everyday. [5] Similarly, after winning the Turner Prize the following month the BBC reported that she had told it that she also planned to share it "but felt she could only make such a public proclamation once", and quoted her as saying: "This is something that can happen much more discreetly between the four of us". Her work is in the collection of the Museum of Modern Art, New York. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious. She has won the 2012 LUMA Award (from the LUMA Foundation), the Prix Lafayette in 2011, the inaugural Hepworth Prize and the Turner Prize, both in 2016. "[9] Like her physical works, Marten's texts and titles reflect and reinforce her play and logic.

Modern & Contemporary Art Resource.

Helen Marten (b. There's no reason to believe her artworks will not continue to be included in these and many other collections as Helen seems to be going nowhere but up - especially now after she won both The Hepworth Prize and The Turner Prize in 2016.

"If Marten's objects are treasures found in some future archeological dig, then perhaps her texts provide a map or a diagram for the products of that digging. After attending King's School in Macclesfield, Marten studied at the Ruskin School of Drawing and Fine Art at the University of Oxford from 2005 to 2008, and then Central Saint Martins in 2004. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious. Her work has been included in the 56th Venice Biennale and the 20th Biennale of Sydney. Helen Marten’s installations may sit within the physical world, but they operate with an awareness of the infinite connotations of the virtual.

A young yet already well-recognized author, Helen Marten is an English artist based in London who works in the mediums of sculpture, video and installation art, as well as in the combinations of the three. Her work has been included in the 56th Venice Biennale and the 20th Biennale of Sydney. [2] Where we see ordinary and mundane objects or even rubbish, she sees artistic materials and all the potential hidden within them. Crafted from wood, steel and clay, or domestic items, Marten’s output includes sculpture, videos, text, and screen-printed paintings. Her work has been compared with historical assemblage sculpture and discussed within the context of Mark Leckey’s contemporary theories of object systems. Crafted from wood, steel and clay, or domestic items, Marten’s output includes sculpture, videos, text, and screen-printed paintings. [8] The artist has expressed a particular interested in language, stating: "Language is a system that we know very well how to exploit and wrap around things. A young yet already well-recognized author, Helen Marten is an English artist based in London who works in the mediums of sculpture, video and installation art, as well as in the combinations of the three. [2], Marten's first British solo show was in 2012, at the Chisenhale Gallery in London. Rarely have I been so struck. Her art is included in the prestigious collections of Astrup Fearnley Museum of Modern Art in Oslo, Fondazione Sandretto Re Rebaudengo in Torino and the Museum of Modern Art in New York, among many others. Helen Marten uses sculpture, screen printing and her own writing to produce installations that are full of references, from the contemporary to the historical, and the everyday to the enigmatic. Focusing on rhythms of rest and work, the sculptures were reconceived at Tate Britain as a single installation. Martin, an artist, is also a reference photographer. Over the course of the last few years, the work of Helen Marten had found its way into numerous private and public acquisitions. It should be noted that Marten won many awards for her work over the years, crowned by the Turner Prize in 2016[1] which is both her most recent and significant recognition.
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The point is to go beyond it. Marten studied at the Ruskin School of Drawing and Fine Art at the University of Oxford (2005–2008) and Central Saint Martins (2004). Helen Marten's playful and inventive way of art making is a genuine refreshment to the European scene, so it comes as no surprise that many prestigious awards found a way to her in the recent past. [3], On winning the Hepworth Prize for Sculpture in November 2016, she announced that she would share the £30,000 prize money with the three others on the shortlist, saying: "In the light of the world's ever lengthening political shadow, the art world has a responsibility to show how democracy should work. [13] Jörg Heiser has written of her work: "Marten treats physical stuff the digital way: she drags and drops, compresses and unpacks, crashes and reboots. We provide art lovers and art collectors with one of the best places on the planet to discover modern and contemporary art. As a part of a review for Helen's show called The Plank Salad, Adrian Searle stated an interesting observation which actually provides a valuable insight into how someone analyzing the work of this artist feels: Marten makes you want to look very closely at the things she makes and the traces she leaves.

Her twin sister is an accountant, her father a pharmacist, and her mother a biologist with a Phd in semiotics of racism. She has won the 2012 LUMA Award (from the LUMA Foundation), the Prix Lafayette in 2011, the inaugural Hepworth Prize and the Turner Prize, both in 2016.
Here, she started developing her unique installation vocabulary which heavily depends on references and abstract constructions. © 2013-2020 Widewalls |

Ultimately, what differents Marten from the rest of her colleagues (and the rest of us, to be honest) is that she thinks differently from everyone else.

Marten presents entwined networks of words, images, and things in absurd reflections of the everyday. [5] Similarly, after winning the Turner Prize the following month the BBC reported that she had told it that she also planned to share it "but felt she could only make such a public proclamation once", and quoted her as saying: "This is something that can happen much more discreetly between the four of us". Her work is in the collection of the Museum of Modern Art, New York. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious. She has won the 2012 LUMA Award (from the LUMA Foundation), the Prix Lafayette in 2011, the inaugural Hepworth Prize and the Turner Prize, both in 2016. "[9] Like her physical works, Marten's texts and titles reflect and reinforce her play and logic.

Modern & Contemporary Art Resource.

Helen Marten (b. There's no reason to believe her artworks will not continue to be included in these and many other collections as Helen seems to be going nowhere but up - especially now after she won both The Hepworth Prize and The Turner Prize in 2016.

"If Marten's objects are treasures found in some future archeological dig, then perhaps her texts provide a map or a diagram for the products of that digging. After attending King's School in Macclesfield, Marten studied at the Ruskin School of Drawing and Fine Art at the University of Oxford from 2005 to 2008, and then Central Saint Martins in 2004. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious. Her work has been included in the 56th Venice Biennale and the 20th Biennale of Sydney. Helen Marten’s installations may sit within the physical world, but they operate with an awareness of the infinite connotations of the virtual.

A young yet already well-recognized author, Helen Marten is an English artist based in London who works in the mediums of sculpture, video and installation art, as well as in the combinations of the three. Her work has been included in the 56th Venice Biennale and the 20th Biennale of Sydney. [2] Where we see ordinary and mundane objects or even rubbish, she sees artistic materials and all the potential hidden within them. Crafted from wood, steel and clay, or domestic items, Marten’s output includes sculpture, videos, text, and screen-printed paintings. Her work has been compared with historical assemblage sculpture and discussed within the context of Mark Leckey’s contemporary theories of object systems. Crafted from wood, steel and clay, or domestic items, Marten’s output includes sculpture, videos, text, and screen-printed paintings. [8] The artist has expressed a particular interested in language, stating: "Language is a system that we know very well how to exploit and wrap around things. A young yet already well-recognized author, Helen Marten is an English artist based in London who works in the mediums of sculpture, video and installation art, as well as in the combinations of the three. [2], Marten's first British solo show was in 2012, at the Chisenhale Gallery in London. Rarely have I been so struck. Her art is included in the prestigious collections of Astrup Fearnley Museum of Modern Art in Oslo, Fondazione Sandretto Re Rebaudengo in Torino and the Museum of Modern Art in New York, among many others. Helen Marten uses sculpture, screen printing and her own writing to produce installations that are full of references, from the contemporary to the historical, and the everyday to the enigmatic. Focusing on rhythms of rest and work, the sculptures were reconceived at Tate Britain as a single installation. Martin, an artist, is also a reference photographer. Over the course of the last few years, the work of Helen Marten had found its way into numerous private and public acquisitions. It should be noted that Marten won many awards for her work over the years, crowned by the Turner Prize in 2016[1] which is both her most recent and significant recognition.

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