Mark Manders



(Netherlands) born in 1968, lives and works in Ronse

Dating is a very important aspect in Mark Manders’s oeuvre. In many cases, the dates he mentions for his works encompass a significant lapse of time, which goes beyond their production time, strictly speaking. Manders thus emphasizes how his oeuvre constructs its own chronology, and develops within slowness, “like a very slow-motion explosion”, in his own words.

Mark Manders has had solo shows at the Carré d’Art – Contemporary Art Museum (Nîmes), at the Dallas Art Museum, at the Walker Art Center (Minneapolis), and at the Casa Luis Barragán in Mexico City. He took part in the 55th Venice Biennale, and has exhibited at the Palais de Tokyo (Paris), MoMA PS1 (New York), the Berkeley Art Museum, and the Philadelphia Musem of Art.

Conférence de Mark Manders (automne 2013)

Room with Unfired Clay Figures (2011-2015),

In the patio of the Museum of Fine Arts, he is installing Room with Unfired Clay Figures (2011-2015): twin recumbent figures, whose impassive and sexless children’s faces contrast with the brutal unfinishedness of their torsos, with planks running across them. Presented in a reconstruction of a studio or dig, they give the appearance of freshly excavated archaeological objects, strange, androgynous deities, forgotten and outside time. These statues embody fragmented and violently divided identities; yet silence and indifference emanate from their faces. The cruelty inflicted on the bodies unequivocally suggests melancholy.

With the support of the Mondriaan Fund.


Staged Android (Reduced to 88%) (2002-2014),

In the Halle de la Courrouze, Staged Android (Reduced to 88%) (2002-2014) is a sculpture which encompasses the domestic environment and the world of work. A factory chimney rises up above a composite set of office furniture. The whole forms an organism rather than an assemblage, especially when you realize that several animal forms are literally incorporated in the architecture, without us being able to tell whether, dead or alive, they are feeding or being fed by the machine. An armchair offers a clue about the scale of the work, described as an 88% reduction of the “normal” world. Here, the outside world is conscientiously put at a distance: even the windows are covered by newspapers made by Mark Manders, where words are juxtaposed in a simulacrum of meaning. The artist’s world is filled with inner laws and rules, either secret or divulged, which turn his oeuvre into an independent place, looking for timelessness.

With the support of the Mondriaan Fund.