Mark Manders: Parallel Occurrences/Documented Assignments

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Ramble-room Chair, 2009 Wood, Painted Epoxy, Offset Print On Paper, And Chair 33 7/16 X 25 9/16 X 70 7/8 In. (85 X 65 X 180 Cm) © Image courtesy of the artist; Tanya Bonakdar Gallery, New York; and Zeno X Gallery, Antwerp
Mark Manders: Parallel Occurrences/Documented Assignments

10899 Wilshire Boulevard
Los Angeles, CA 90024
September 25th, 2010 - January 2nd, 2011
Opening: September 25th, 2010 3:00 PM - 5:00 PM

culver city/west la
Tue-Fri 11-8; Sat-Sun 11-5
projected imagery, drawings, Installations, works on paper, sculptures


Los Angeles – The first major North American exhibition of work by acclaimed Dutch artist  Mark Manders, Mark Manders: Parallel Occurrences/Documented Assignments, opens this  fall at the Hammer Museum and features a body of new sculptures and works on paper  created specifically for this exhibit. Organized by Douglas Fogle, Deputy Director of  Exhibitions and Public Programs and Chief Curator at the Hammer, and Heidi Zuckerman  Jacobson, Director, Aspen Art Museum, this exhibition includes roughly 15 new sculptural  works and 3 loaned works, including a piece from the Museum of Modern Art, New York. The  exhibition is accompanied by a full catalogue and following its debut at the Hammer, it will  travel to the Aspen Art Museum in Colorado and the Walker Art Center in Minneapolis.

Since 1986, Mark Manders has been engaged in an ongoing monumental project he refers to as his Self-Portrait as a Building, mapping his artistic persona through the creation of  site-specific sculptural installations. This exhibition is the latest phase in the ongoing  development of his Self- Portrait. Manders notes, “For the last twenty-one years, I have been  working on a self portrait in the form of a building. The building is fiction, but everything inside  exists in reality. The building is like a gigantic stage set frozen in time with lots of rooms that  all seem as if they have just been abandoned. There is no distinction between works of, let’s  say, fifteen years ago and a work I finished yesterday. They are placed in the same time  frame. Like an encyclopedia, the building is always ready, even though it keeps on changing  and growing or shrinking.” Each exhibition that Manders creates generates yet another room  in his growing hypothetical building, while also creating an ever-evolving space through which  we can collectively investigate our own relationship to the world of objects.

“Mark is quite well known in Europe but not widely recognized in the U.S. - we are very proud  to be the first West Coast venue to exhibit him. Exhibitions like this are so important because  they offer our audience in LA, particularly artists, an opportunity to see an  international artist they might not otherwise easily experience,” remarks Hammer Director,  Ann Philbin.

Taking the form of sculptures, installations, drawings, and projected imagery, Manders’  installations include existing and invented forms that fuse specific and seemingly  incongruous iconographic elements —including figures, animals, household furniture,  archaeological fragments, everyday objects, and architectural components—that create a  kind of personal language in the form of a visual poetry. Manders’ attempts to get the viewer  to see the world with fresh eyes by creating a constellation of objects that are strangely  familiar yet somehow completely “other” is the larger social vision of his very personal attempt  o render his self-portrait as a building. Manders’ sculptural practice is focused on his  esire to bypass language in favor of directly translating his thoughts and obsessions into  three dimensional objects and installations. He uses both found materials appropriated from  the everyday world (sugar cubes, tea bags, pencils) while also fabricating elements that are  made to look as if they were found or handmade, such as his signature “unfired clay figures”  that are in fact rendered in epoxy. Bringing these materials together into uneasy proximity,  the artist creates mysterious and uncanny sculptural tableaux that are one part still life and  one part exquisite corpse.

“The first thing that struck me about Mark’s work is that is both personal and universal at the  same time. He thinks about all his sculptures as a self-portrait, yet the forms his work takes  – figures, furniture, fragments of buildings, and so on– have an almost mythical quality as if  they were players in a vaguely familiar fairy tale that we can’t quite identify,” says Douglas  Fogle. “He thinks of his sculptures as the physical equivalent of poetry, putting one object  next to another as a poet would do with words.”

Manders’ ability to make the familiar take on the characteristics of the strange, is integral to  is work as he takes seemingly everyday objects, isolates them from their original function,  and makes them come alive. He imbues the banality of objects with a poetic tension while  creating a physical as well as a mental space for the viewer to “enter the world of objects and  matter and find poetry in it... and to know how poorly we normally see our daily life.”

This exhibition will travel to the Aspen Art Museum from February 17 – May 8, 2011; the  Walker Art Center from July 9 – November 6, 2011; and other venues to be announced.

Members' opening is on Friday, September 24, 2010.

About Mark Manders
Born in 1968, Manders lives and works in Arnhem, the Netherlands, and Ronse, Belgium. He  has shown widely in group exhibitions around the world including the Venice Biennale,  Documenta, the Berlin Biennal, and the Carnegie International. His solo exhibition The  Absence of Mark Manders was shown at the Kunstverein Hannover in 2008.

Public Programs and Catalogue
Mark Manders: Parallel Occurrences/Documented Assignments will be accompanied by free  public programs, as well as an extensive fully illustrated catalogue with essays by the  curators as well as critics and art historians.

Mark Manders: Parallel Occurrences/Documented Assignments was co-organized by the  Aspen Art Museum and the Hammer Museum, Los Angeles. The presentation at the Hammer  is made possible through the generosity of Rosette Varda Delug. It is also  supported, in part, by the Mondriaan Foundation and with public funds from the Netherlands  Cultural Services (New York).

89.3 KPCC FM is the official media sponsor of the exhibition.