• 5:11 (Residual time) and 4:39 (Posteriority), 2015
    c-print (photogram, opaque projection), aluminium
    127 x 160 cm each

    at: Frieze New York
    14.5 - 17.5.15


  • Liar's cloth study (adapted from 'West African Weaving' by Venice Lamb, London: Duckworth, 1975), 2015
    radio- and electroconductive thread, painted aluminium and tape, metal, cardboard
    21 x 26 cm

    at: Art Cologne
    16.4 - 19.4.15


  • Liar's cloth (guileless note), 2015
    c-print (photogram, opaque projection), aluminium
    183 x 235 cm each

  • Riveted, 2014
    wood, metal, thread, mechanics
    8h 5min, 112 × 75 × 52 cm

  • [painting: Natalia Nesterova, The Singing, 1969]


    in: Le Souffleur, Ludwig Forum, Aachen
    22.3.15 - 31.1.2016

  • Hush, 2015
    aluminium, sound mesh, spray paint
    260∼680 × 30 cm

  • Tablet (b), 2013
    Fired clay, metal
    77,5 × 56 × 3 cm

    at: ARCO, Madrid
    25.3 - 1.3.15
Riveted is an inhabited space that is organized around an enigmatic sound. A complex rhythm sets its structure, a short and abstract composition stretches out in to a longer duration, like some germinal thought that develops in to a larger and deeper reflection. In a similar vein, a big reddish material hangs on the wall. Gwenneth talks about tracing a ‘mark’ and I understand it as a stepping stone. Like a solid certainty, it is pinned to it on its upper section, unfolding freely downwards, perhaps yearning for an unexpected fate. It therefore condenses its origins and all its possible outcomes. (Javier Hontoria)


  • Riveted, Grimm Gallery, Amsterdam
    22.3 - 3.5.14
    Choreography (for Gallery 2, ACCA) is part of a collaborative research into the presence of the body in processes of documenting and viewing, outside of the representational or figurative. In 2006, the collaboration set about developing a choreographic work that did not engage a dancer to perform a choreographic score in front of spectators. In Choreography choreography is conceived as a spatial configuration in which viewing itself manifests. A movement pathway, including varying gazes and postures, is notated as 60 specific viewpoints in sequence. Whilst it is possible to compile a sense of the spatial or architectural facts of the dance studio through the installation, the join from one photograph to the next is hardly seamless.

  • Choreography (for Gallery 2, ACCA), 2006-14
    Gwenneth Boelens and Helen Grogan
    up to 60 plan prints on Forex
    individual prints 118,8 x 89,5 cm

    in: Framed Movements, ACCA, Melbourne
    10.10 - 23.11.14

  • Coordination, 2007-13 (stills)
    Digitized 16 mm film, 9 min
    Subtitles Nickel van Duijvenboden
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