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29.9 – 2.12.2018 ‘Back to the Future’ at c/o, Berlin
shortlisted for DZ BANK Art Collection fellowship 2018, Frankfurt
24.5 – 20.10.2018  ‘Deciphering numbers in art’ at DZ BANK Kunstsammlung, Frankfurt. With John Baldessari, Peter Bialobrzeski, Gwenneth Boelens, Jan Dibbets, Jan Paul Evers, Tamara Grcic, Andreas Gursky, Astrid Klein, Imi Knoebel, Robert Longo, Mario Merz, Olaf Metzel, Martin Parr, Timm Rautert, Miguel Rothschild, Thomas Ruff, Adrian Sauer, Timm Ulrichs, Ignacio Uriarte, Anna Vogel
22.2 – 14.4.2018 ‘The Liar’s Cloth’ group exhibition curated by Nathanja van Dijk at Grimm, Amsterdam. With Kader Abdolah, Mahmoud Bakhshi, Gwenneth Boelens, Louise Bourgeois, Dirk Braeckman, Thomas Hirschhorn, Abdoulaye Konaté, Liz Magic Laser, Moshe Ninio, Ana Torfs, Jeff Wall
13.1 – 24.2.2018 ‘The Artist Mind’ group exhibition curated by Maura Biava at Galerie Caroline O’Breen, Amsterdam. With Laurence Aëgerter, Maura Biava, Melanie Bonajo and Joseph Marzolla, Gwenneth Boelens, Elspeth Diederix, Satijn Panyigay, Viviane Sassen, Andy Wauman
15.9 – 28.10.2017 ‘(Residual Time)’ solo exhibition at Klemm’s, Berlin
25.6 – 23.7.2017 ‘Echolocation: Nocturne – Nickel van Duijvenboden’ a collaboration at P/////AKT, Amsterdam
visitor account for If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution on Leonor Antunes’ Open House >> (61kb)
17.2 – 16.4.2017 ‘Gwenneth Boelens: At Odds’ solo exhibition at MIT List Visual Arts Center, Cambridge (US)

Liar’s cloth (strip)

Gwenneth Boelens - Liar's cloth (strip)

  • Liar’s cloth (strip)
    , 2017
    reflective and conductive thread, aramide, bobbin, cardboard, tie-down straps, modified lighting, ± 300 x 20 x 40 cm

    in: (Residual Time), Klemm’s, Berlin
    15.9 – 28.10.2017
Gwenneth Boelens - Liar's cloth (strip)

 

Courier

Gwenneth Boelens - Courier Gwenneth Boelens - Courier

  • Courier
    , 2017
    newspapers (Al Akhbar, Al-Quds Al-Arabi, Argumenty I Fakty, Asahi Shimbun, The Australian, Berliner Zeitung, Chosun Ilbo, Dinamina, El Mercurio, O Globo,The Guardian, Hamshahri, Iran, Izvestia, Jam-e-Jam, Kommersant, Kompas, Le Monde, Montreal Gazette, The New York Times, nrc·next, El País, Özgür Politika, Sing Tao, Slobodna Dalmacija, Le Soir, Süddeutsche Zeitung, Tokyo Shimbun, Vecernij list, Vesti, de Volkskrant), aluminium, folding chairs, 450-650 x ± 1 cm

    Global newspapers dated September 1, 2017 (or September 2, for countries where the former was a national holiday) were gathered and mailed from different localities.

    in: (Residual Time), Klemm’s, Berlin
    15.9 – 28.10.2017
Gwenneth Boelens - Courier Gwenneth Boelens - Courier Gwenneth Boelens - Courier

At Odds

Gwenneth Boelens Gwenneth Boelens

  • At Odds
    , 2015
    chromogenic color print (photogram), 183 x 255 cm
    – (Bathhouse ruin), 2008/15
    chromogenic color print (opaque projection), 63.5 x 35.2 cm
    metal, magnets, umbrella, tie-wrap

-16th Century + -Floodlights

- (16th century Venetian parasol of alto-basso velvet), Gwenneth Boelens Gwenneth Boelens

  • – (16th century Venetian parasol of alto-basso velvet)
    , 2007/15
    chromogenic color print (opaque projection), glass, paper, metal, 54.9 x 38.8 cm

    – (Floodlights at Persepolis), 2008/15
    chromogenic color print (opaque projection), glass, paper, metal, 66.5 x 38.2 cm

The Very Thing

Gwenneth Boelens

  • The very thing we don’t know is always trying to expand
    , 2016
    digitized 16mm films, 11 and 14 minutes

    A film installation based on interviews with Erik Verlinde, theoretical physicist, about his yet to be released theory. One of the most remarkable aspects in the study on “dark matter phenomena” as practiced by the protagonist of this film is the sheer invisibility of its subject matter, and the role of imagination in coming to a scientifically sound equation. By layering speech, notation, movement and sound, this film taps into this process in an oblique way.

    Boelens has been intrigued by Verlinde’s process of finding new ways to think about ever challenging topics like gravity, and the 95 per cent of undefined ‘matter’ in the universe, and how these topics resist visibility. Even after years of making calculations and thought, the concrete subject matter seems to deny real access. How can we understand and imagine a theory of everything that surpasses the visible?
Gwenneth Boelens

Liar’s cloth study

Gwenneth Boelens

  • 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
Gwenneth Boelens