A challenging, playful, enigmatic, tactile and deliberately ambiguous work of great inventiveness.
The novel was published on 14 September by Prototype Publishing. Hers is an art in ambiguous love with objects and substances, which are complexly tesselated but also self-involved, singularly seductive or repellent in their own right. Please enable your javascript for an optimal viewing experience. Here is Ethan: ‘Well what is a body anyway, when framed in words? You can read more about The Boiled in Between and purchase a copy here. External &’ some new state or quality: Crumbly, Melancholy, Weary, Yellow, Peaty, Sorry. But, as with her art, there is a kind of wild critique at work here of the madness of production, the ubiquity of environmental neglect. Helen Marten is best known for her sculptures, for which she received the Turner Prize and the Hepworth Prize for Contemporary Sculpture, both in 2016. Helen Marten is best known for her sculptures, for which she received the Turner Prize and the Hepworth Prize for Contemporary Sculpture, both in 2016.
From enfant terrible of British dance to a retrospective at the Barbican Gallery, how Michael Clark found a home in the contemporary art world, ‘There is pain and suffering in these pictures, but also pure possibility’, Learning to survive a jittering feed of survivalist pro tips and transhumanist dreck, In ‘Coventry’, events seem to happen to somebody else, to a person Cusk repeatedly exposes and judges, ‘It’s the way he talks about his own death that amazed then and impresses today’, Found first in the pages of NME, an homage to the critic who brought an antic traduction of high French theory to the study of contemporary pop, The politics of the choco-pie, a materialist account of ‘cultural appropriation’ and Acid Corbynism: what to read this weekend, Revision and revolt in the work of Nairy Baghramian, From the Women's Strike to a march that cancels itself out: what to read this weekend, Author and poet Susan Stewart's new book shows her abiding concern with lyric, At Ortuzar Projects, New York, the artist’s radiant portraits of travellers on ‘citizen ships’ maintain ‘an abiding faith in the power of the human spirit’, The filmmakers discuss contemporary cinema and decentring the human, At Daniel Marzona and Barbara Wien, Berlin, the artist highlights the communicative potential of everyday objects, A new initiative to support UK-based Black and POC emerging curators, established in collaboration with Chisenhale Gallery and Idris Khan, Brian Dillon on the Disquieting Life and Times of Aby Warburg, 'Hell and High Water': Jenny Offill’s New Novel ‘Weather’, Rachel Cusk’s New Collection of Essays Is a Merciless Self-Dissection, Brian Dillon on Dennis Potter’s Final Interview, Brian Dillon's Fan Letter to Writer Ian Penman, William Scott’s Close Encounters of a Human Kind, Blackness and Post-Cinema: John Akomfrah and the Otolith Group in Conversation, Announcing the Frieze x Deutsche Bank Emerging Curators Fellowship. Here is a novel in which a loaf of bread is ‘one of those loaves so heaped with sugar it could already be fifty years old, baked up with flory moths and pubic hair.’ In which the description of a humble garden sprinkler requires a page of infinitesimal, estranging detail: ‘Strung with tensile integrity cells amongst a web of slender tendons there is a complex network of pipes.’, Helen Marten, The Boiled Between, 2020. Language and body, in other words, are intimately involved, sentences branching and cells dividing. And yet, it is familiar to everyone, just differently, and this is exactly what creates this familiarity, a trust in the other, through the other, that becomes something else.’ –. He lives in London. We have placed cookies on your device to help make this website better. Click here for Exeter College Privacy & Cookies Policy. We know it all, but the All that it becomes, we do not know. A dough trough? Main image: Helen Marten, ‘Drunk Brown House’, 2016, exhibition view, Serpentine Sackler Gallery, London. In a ‘Lexicon’ for the catalogue of Drunk Brown House, her 2016 show at the Serpentine Gallery in London, Marten wrote in an entry on cartoons: ‘The whole grammar is geared towards a state of physical change and material sensation.’, A cartoon scuffle between form and feeling: this might be one way to describe Marten’s extraordinary novel, The Boiled in Between – out next week from Prototype Publishing.