Mark Manders, Ramble Room Chair, 2010. Installation view, Hammer Museum, Los Angeles, 2010
The works of Dutch artist Mark Manders present a number of possibilities for viewers. On a material level, his sculptures and installations appear as carefully constructed assemblages of furniture, human and animal figures, newspapers, networks of welded metal piping, tea bags and other ephemera of daily life found in his studio and on the street. They are conceived as artefacts that would be found in the rooms of his Self-Portrait as a Building (1986-ongoing), an ever-expanding parallel super-structure created by a fictional alter ego whose artistic production and obsessions inform Manders’s own, while never fully converging as a true autobiography. Manders’s sculptures can also be read as poems that have been freed from the strictures of language and whose concrete physicality belies traces of ghostly afterimages and waking dreams. Having made a decisive turn from poetry to art when he was a young man, Manders’s inventive relationship with language is also revealed in the poetic and precise manner in which he describes his artistic practice. An exhibition of his recent sculptures, ‘Parallel Occurrences/Documented Assignments’, is currently on view at the Hammer Museum in Los Angeles, and will travel to the Aspen Art Museum, the Walker Art Center and the Dallas Museum of Art.
Read the interview “Artists at Work: Mark Manders” by Audrey Chan at http://www.afterall.org/online/artists-at-work-mark-manders.