COURTESY THE ARTIST AND KLEMM’S
Pictures at an Exhibition presents images of one notable show every weekday.
Today’s show: “Gwenneth Boelens: (Residual Time)” is on view at Klemm’s in Berlin through Saturday, October 28. The solo exhibition presents recent work that “explores a sense of unthreading and untimeliness, a coming-apart made manifest in objects that combine tender manipulation with hi-tech materials and processes of development that are difficult to control,” according to an artist statement.
01
Gwenneth Boelens, 5:11 (Residual time), 2015, chromogenic color print (photogram, opaque projection), and aluminum, installation view.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, Courier (detail), 2017, newspapers (Al-Quds Al-Arabi, Argumenty I Fakty, Asahi Shimbun, Berliner Zeitung, Chosun Ilbo, Dinamina, The Guardian, Hamshahri, Iran, Izvestia, Jam-e-Jam, Kommersant, Le Monde, Montreal Gazette, The New York Times, nrc·next, El País, Özgür Politika, Sing Tao, Slobodna Dalmacija, Le Soir, Süddeutsche Zeitung, Večernij list, Vesti, de Volkskrant, more still to arrive) from September 1, aluminium, folding chairs.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, Courier, 2017, newspapers (Al-Quds Al-Arabi, Argumenty I Fakty, Asahi Shimbun, Berliner Zeitung, Chosun Ilbo, Dinamina, The Guardian, Hamshahri, Iran, Izvestia, Jam-e-Jam, Kommersant, Le Monde, Montreal Gazette, The New York Times, nrc·next, El País, Özgür Politika, Sing Tao, Slobodna Dalmacija, Le Soir, Süddeutsche Zeitung, Večernij list, Vesti, de Volkskrant, more still to arrive) from September 1, aluminium, folding chairs.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, Hush, 2015, aluminum, sound mesh, and spray paint, installation view.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, Liar’s cloth (strip), 2017, reflective and conductive thread, aramide, bobbin, cardboard, tie down straps, and modified lights, installation view.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, The very thing we don't know is always trying to expand (still), 2016, 16mm films transferred to HD.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, The very thing we don't know is always trying to expand, 2016, 16mm films transferred to HD, installation view.
COURTESY THE ARTIST AND KLEMM'S
Gwenneth Boelens, Undo, 2017, cotton, latent fingerprints developed with fading forensic developer (ninhydrin), steel, and magnets, installation view.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S
Installation view of "Gwenneth Boelens: (Residual Time)," 2017, at Klemm's, Berlin.
COURTESY THE ARTIST AND KLEMM'S