19.1.24 – 24.2.24 ‘W:O:P’, group exhibition at Klemm’s Berlin with works by: Thomas Arnolds, Gwenneth Boelens, Elizabeth Jaeger, Keltie Ferris, Falk Haberkorn, Fiona Mackay, Renaud Regnery
27.10.23 – 10.3.24 ‘Intimate confession is a project’, group exhibition at Blaffer Art Museum, Houston, US; curated by Jennifer Teets with works by Gwenneth Boelens, Benvenuto Chavajay Ixtetelá, ektor garcia, Lonnie Holley, Anna Mayer, Na Mira, Kate Newby, Josie Ann Teets, Chiffon Thomas, Iris Touliatou, Clémence de La Tour du Pin
This Dusk Song (subtle body)
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This Dusk Song – Shields Shells Shh
Shields Shells Shh, 2020
offset printing plate, fibreglass, epoxy
approximate size 170 x 130 cm
curtain for inside dusk
cotton hand-dyed with wood chips
at: Treignac Projet, Treignac, France
curated by Eloise Sweetman
17.10 – 14.2.2021
Windings
Attuned, 2020
conductive thread (stainless steel, copper), lubricated polyester, basalt fibre, fibreglass, acrylic sheets
42 x 80 cm
Current’s Fall, 2020
conductive thread (stainless steel), basalt fibre, acrylic sheets
35 x 155 cm
Wavering Lengths, 2020
conductive thread (stainless steel, copper), basalt thread, basalt fibre, fibreglass, acrylic sheets
51 x 65 cm
A skin surrounding everything
A skin surrounding everything, 2019
reflective and conductive thread, aramide, transport rollers, combs, magnets, speaker
loop of appr. 25 m
at: Manifold, Amsterdam
together with Özlem Altin (print)
3.2 – 3.3.2019
Loving Hands
Loving Hands, 2019
altered book (Loving Hands, Frédérick Leboyer, 1976/1997), latent fingerprints developed with fading forensic developer (ninhydrin)
While Weaving a Liar’s Cloth (contact print)
While weaving a Liar’s cloth (contact prints), 2017
60 contact c-prints in glass cassettes, sizes variable ± 36 x 42 cm
At Odds
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
(Residual Time) – Klemm’s
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
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
At Odds – MIT
Liar’s cloth (guileless note)
Liar’s cloth (guileless note), 2015
chromogenic color print (photogram, opaque projection), aluminium
183 x 235 cm each
5:11 (Residual Time) | 4:39 (Posteriority)
5:11 (Residual time) and 4:39 (Posteriority), 2015
chromogenic color print (photogram, opaque projection), aluminium
127 x 160 cm each
at: Frieze New York
14.5 – 17.5.15
Echolocation – PAKT
Echolocation: Nocturne – Nickel van Duijvenboden
a collaboration at P/////AKT, Amsterdam
25.6 – 23.7.2017
video documentation here
Response-ability
Response-ability (rehearsal), 2016
occurrence at Next Visit, Berlin
16.7.2016
Shields Shells Shh
Shields Shells Shh, 2016
placards, acrylic sheet, metal, 175 x 140 cm each
in: Quickscan #2, Nederlands Fotomuseum, Rotterdam 23.1 – 8.5.16
-16th Century + -Floodlights
– (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
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?
Liar’s cloth study
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
