| Description |
Mark Manders is an artist who has gained international acclaim for his installations that employ sculptures, texts and objects. This publication is the artist’s first compilation of works to be published in Japan in correspondence to his first solo exhibition at a Japanese art museum.
In line with the concept of “Self-Portrait as a Building,” Manders produces sculptures, texts, and objects that are to be placed in the rooms of this building, presenting them as installations. His practice continues to be informed by this extremely large and unique framework in which the self-portrait of the imaginary artist “Mark Manders,” who he named after himself, is constructed through numerous individuals works.
This publication, which also doubles as a catalogue for the exhibition, features installation views spanning over 1000 square-meters photographed by Tomoki Imai, including works previously exhibited at the Venice Biennale that are introduced for the first time in Japan, and representative works that have always been presented in the artist’s key solo exhibitions. In the following chapter, a total of 26 works, including 20 that have not been included in the exhibition, are explained through a series of images and texts written by Manders himself. Also featuring other artist texts, “The Absence of Mark Manders” and “On Drawings” along with photographs of his studio, it is a valuable monograph that offers insight into both the life and work of Mark Manders.
In addition, a newly written text by art Midori Matsui (art critic), an essay by Douglas Fogle (curator) featured in a catalogue published by the Bonnefantenmuseum (Maastricht, the Netherlands), and a written discussion by Yoshimi Chinzei (Curator, Museum of Contemporary Art Tokyo) who was in charge of organizing this exhibition, explain the charm and meaning of Manders’ work from various different perspectives. |