This book is published on the occasion of the exhibition Helen Marten: Drunk Brown House (29 September – 20 November 2016) at the Serpentine North Gallery, London. It adopts a lexicon structure in order to focus on twelve particular installations, exploring and unravelling Marten’s many processes, materials and inspirations, together with excerpts of her own writing.

The book also features three newly-commissioned texts. Brian Dillon has written an extended discussion of Marten’s work, which focuses on her recent installations and the site-specific nature of her exhibition at the Serpentine North Gallery. The publication also features two poetic responses to Marten’s work: Eileen Myles has written a text that focuses on the relationship between sculpture and language that is integral to Marten’s installations. Travis Jeppesen’s intriguing text, Carbs, is an abstract, linguistic collage that approaches Marten’s processes and materials indirectly in order to highlight the significance of periphery, layering and fragmentation within her work. 

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