Helen Marten

Helen Marten studied at Central Saint Martins, University of the Arts, London and Ruskin School of Fine Art, University of Oxford (2005-2008). Most known for her intricate sculptural assemblages, Marten works across sculpture, print, and writing to articulate complex ideas concerning the material world and our position within it.

Recent solo exhibitions include Drunk Brown House, Serpentine Sackler Gallery, London; Eucalyptus, let us in, Greene Naftali, New York (2016); Parrot Problems, Fridericianum, Kassel; Orchids, or a hemispherical bottom, Johann König, Berlin; Oreo St. James, Sadie Coles HQ, London (2014); No borders in a wok that can’t be crossed, CCS Bard Hessel Museum, Annandale-on-Hudson, NY (2013); Plank Salad, Chisenhale Gallery, London; Evian Disease, Palais de Tokyo, Paris; Almost the exact shape of Florida, Kunsthalle Zürich (2012); Take a stick and make it sharp, Johann König, Berlin, (2011); Wicked patterns, T293, Naples (2010). Marten also exhibited as part of All the World’s Futures, 56^th International Art Exhibition, Venice Biennale (2015); The Encyclopaedic Palace, 55^th International Art Exhibition, Venice Biennale; 12^th Lyon Biennale (2013). She has been included in group exhibitions at MoMA PS1, New York; The Hayward, London;  Astrup Fearnley Museum, Oslo;  Moderna Museet, Stockholm and Tel Aviv Museum of Art. Marten is the recipient of the Turner Prize (2016); LUMA Prize (2012); Prix Lafayette (2011) and The Boise Travel Scholarship (2009).