solo exhibition at Klemm's, Berlin; opening 15 September 2017
‘Echolocation: Nocturne – Nickel van Duijvenboden’ a collaboration at P/////AKT, Amsterdam; 25 June – 23 July 2017
‘Lockers V2’ group exhibition at the lockers of Stedelijk Museum Amsterdam; 12 May 2017
visitor acount for If I Can't Dance, I Don't Want To Be Part Of Your Revolution on Leonor Antunes' Open House
‘At Odds’ solo exhibition at MIT List Visual Arts Center, Cambridge (US); 17 February - 16 April 2017
‘Black Magic’ group exhibition at Christine König Galerie, Vienna; 12 January - 4 March 2017
‘Physical Fiction’ group exhibition at Garage Rotterdam; 2 September - 30 October 2016

  • Gwenneth Boelens: At Odds at
    MIT List Visual Arts Center, Cambridge, US
    17.2 - 16.4.2017


  • Response-ability (rehearsal), 2016
    occurrence at Next Visit, Berlin

  • 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?

  • 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 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

  • 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

  • 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

  • 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
    chromogenic color 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
This website is currently being updated. Meanwhile, you are welcome to browse the archive.