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Mark MandersNight Scene2023painted canvas, painted wood, painted epoxy, iron42,5 x 48,7 x 28 cm
Mark MandersPainted Head2022painted wood, painted canvas, epoxy and other materials94,3 x 60,8 x 36,5 cm
Mark MandersLandscape Fragment2021 - 2022painted bronze, painted wood, offset print on paper (edition of 3 + 1 AP)53,2 x 31 x 31 cm
Mark MandersCloud Study (With All Existing Words)2005 - 2022offset print and acrylic on paper, chicken wire, wood71 x 52 x 4 cm
Mark MandersComposition with Two Colours2005 - 2021painted wood, offset print on paper47 x 34,5 x 4 cm
Mark MandersLandscape Fragment2017acrylic on canvas, wood, sand and typewriter20 x 40 x 16 cm
Mark MandersNight Scene2020 - 2022painted bronze, painted canvas, painted wood (edition of 3 + 1 AP)92,3 x 57 x 36,5 cm
Mark MandersShort Sentence2021 - 2022painted bronze, various materials32 x 288 x 135 cm
Mark MandersComposition with Yellow2005 - 2020acrylic and offset print on paper, wood62,0 x 43,5 x 6,5 cm
Mark MandersPerspective Study2005 - 2020acrylic and offset print on paper, wool35,6 x 47,7 x 7,5 cm
Mark MandersComposition with Yellow Vertical2020 - 2021painted bronze, patinated bronze, corten steel (edition of 3 + 1 AP)190,0 x 69,0 x 45,0 cm
Mark MandersHomunculus Head2018 - 2020painted bronze, acrylic on canvas, wood (edition of 3 + 1 AP)51,3 x 35,2 x 24,7 cm
Mark MandersDouble Head with Blue Paintings2016 - 2020painted bronze, painted canvas, painted wood, wood, iron213,5 x 119,0 x 87,8 cm
Mark MandersPainted Object2018painted stone, wood, glass67,8 x 88,6 x 35,8 cm
Mark MandersUnfired Clay Animal2014 - 2020painted bronze, painted iron and glass (edition of 1 + 1 AP)191,0 x 340,0 x 82,5 cm
Mark MandersFalling Dictionaries1997 - 2019painted canvas, painted wood, wood, sand, iron, glass96,4 x 82,8 x 34,4 cm
Mark MandersUntitled Bronze Sculpture2018patinated bronze, steel (edition of 3 + 1 AP)37,6 x 21,1 x 31,7 cm
Mark MandersUnfired Tilted Head2018painted bronze, wood (edition of 3 + 1 AP)41,0 x 81,1 x 48,8 cm
Mark MandersPerspective Study2018acrylic, offset print on paper, wood133,0 x 103,0 x 6,5 cm
Mark MandersFalling Dictionary2018acrylic, offset print on paper, wood126,0 x 91,0 cm
Mark MandersWorking Table2017painted bronze, painted wood, iron166,0 x 209,0 x 109,0 cm
Mark MandersLarge Composition with Red2017painted wood, painted epoxy, iron257,5 x 75,0 x 97,5 cm
Mark MandersRokin2016patinated bronze, natural stone, fountain (edition of 3 + 1 AP)308,0 x 237,0 x 350,0 cm
Mark MandersTilted Head2015 - 2018patinated bronze, stainless steel frameoverall inclusive chair and suitcase: 333 (h) x 421 (L) x 332 (D) cm Dimensions: H 366cm x L 421cm x D 332cm inclusive frame (30 cm (h))
Mark MandersFemale Head Study2015 - 2017painted bronze, painted rope, painted wood, painted glass, painted Perspex, offset print on paper, chicken wire (edition of 3 + 1 AP)head: +/- 51 (h) x 52,1 x 40,5 cm Glass: 70 x 55 x 43 cm (0,6 cm thick)
Mark MandersUnfired Clay Head2015 - 2016painted epoxy, wood, stainless steel, glass43,2 x 31 x 31 cm
Mark MandersTwo Reclining Figures2015 - 2016patinated bronze (edition of 3 + 1 AP)figure 1: 237 x 358 x 129,5 cm figure 2: 298 x 448 x 162 cm
Mark MandersStill Life With Thin Red Rope2015 - 2016painted epoxy, wood, painted iron56 x 43 x 24 cm
Mark MandersFox / Mouse / Belt (Dry)2015painted bronze, leather belt (1 of 3 + 1 AP)14,0 x 112,0 x 40,0 cm
Mark MandersPerspective Study2014 - 2016offset print and acrylic on paper, chicken wire, aluminium120 x 80 cm
Mark MandersFigure Study1997 - 2015patinated and painted bronze, iron (edition of 3 + 1 AP)163,8 x 43,2 x 43,2 cm
Mark MandersRoom with Unfired Clay Figure2014painted bronze, wood, iron, plastic, painted ceramic, chair and painted epoxy273,0 x 440,0 x 620,0 cm
Mark MandersUnfired Clay Head2014painted bronze, hair, wood (1 of 1 AP + 3 editions)34,3 x 32,6 x 22,6 cm
Mark MandersUnfired Clay Torso2014painted bronze, wood (edition of 3 + 1 AP)134,5 x 49,2 x 51,5 cm
Mark MandersLandscape with Fake Dictionary2012 - 2014painted wood64,5 x 58 x 78 cm
Mark MandersWorking Table2012 - 2013painted epoxy, painted wood, painted canvas, iron, offset print on paper368,0 x 142,0 x 225,0 cm
Mark MandersFigure on Chair2011 - 2013oil paint on bronze, acrylic on bronze, wood, offset print on paper (1 of 3 + 1 AP)figure: 140 x 29 x 38 (h) cm chair: 68,5 x 67 x 60 (h) cm
Mark MandersComposition with Yellow Vertical2010wood, painted epoxy, iron, necklace29,0 x 61,0 x 48,0 cm
Mark MandersFigure with Three Piles of Sand2010painted bronze, wood, iron, rope, sand109,2 x 332,4 x 115,6 cm
Mark MandersLiving Room Scene2008brass, iron, painted epoxy, fabric, wood, offset print on paper, rope, painted aluminium330,0 x 350,0 x 300,0 cm
Mark MandersInhabited for a Survey (15-08-2007)2005 - 2007various materials9,0 x 370,0 x 220,0 cm
Mark MandersSmall Isolated Room2004ceramic, iron, rope and various materials93,0 x 85,0 x 275,0 cm
Mark MandersStaged Android (reduced to 88%)2002iron, wooden chimney, rubber, wood, sand383,0 x 270,0 x 230,0 cm
Mark MandersRoom with Landscape and Fake Ballpoint1997fake ballpoint pen, chair, clothes, shoes, sand, and various materials141,0 x 200,0 x 483,0 cm
Mark MandersMachine Constructed to Provide Persistent Absence (reduced to 88%)1996 - 2002iron, bronze, acrylic on canvas720,0 x 193,0 x 112,0 cm
Mark MandersBalancing Act1993 - 2009bronze, painted canvas, painted wood, rope46,5 x 38,0 x 39,5 cm
Mark MandersAbandoned Room, Constructed to Provide Persistent Absence1992 - 2010painted bronze, plastic sheeting, iron (1 of 3 + 1 AP)23,0 x 183,0 x 396,0 cm
Mark MandersFragment from Self-Portrait as a Building1986 - 1992painted bronze, mixed media (1 of 3)variable dimensions
THE ABSCENCE OF MARK MANDERS
Woning Van Wassenhove, Sint-Martens-Latem (Belgium) September 20 - November 19, 2023
Work by Mark Manders is now part of the collection of the Kanazawa 21st Century Museum of Contemporary Art (Japan). The museum acquired the work Composition with Four Yellow Verticals (2017 - 2019) which was on view at Kanazawa in the exhibition "Double Silence" (2020).
MARK MANDERS - ZENO X GALLERY: 28 YEARS OF COLLABORATION
Published by Zeno X Books, Hannibal & Wather und Franz König, 2022
STORAGE AND DISPLAY
Museum of Contemporary Art, Tokyo, Japan July 17 – October 17, 2021
THE ABSENCE OF MARK MANDERS
Museum of Contemporary Art, Tokyo, Japan March 20 - June 20, 2021
Mark Manders & Luc Tuymans in conversation for ArtReview.
DOUBLE SILENCE
21st Century Museum of Contemporary Art, Kanazawa, Japan September 19, 2020 - February 28, 2021
Bonnefanten, Maastricht, The Netherlands February 4 - August 23, 2020
TILTED HEAD
Public Art Fund, Central Park, New York, United States of America March 6 - September 1, 2019
Mark Manders, b. 1968 in Volkel (NL), lives and works in Ronse (BE).
Since 1986, Mark Manders has been working on his Self-Portrait as a Building. His oeuvre, which consists of sculptures, publications, graphic work and drawings, resembles a fictional building, divided into separate rooms and levels whose size and shape can never exactly be determined. Potential shifts and extensions constantly threaten the cohesion of the ever-expanding self-portrait. There is neither beginning nor end. It is impossible to organize or date his works chronologically based on visual clues. Manders strives for timelessness and universality by using archetypal forms and familiar-looking materials such as clay, steel and wood.
Seats, chairs and chimneys are carefully created or recreated in function of the work and, where necessary, reduced to 88 per cent of their original size. Blurring the line between reality and illusion, it often becomes difficult to tell when Manders is actually integrating natural wood or just a painted wood imitation. This also applies to the androgynous figures or faces that seem to have been fashioned out of wet clay, creating the impression that they just left the artist’s studio or, conversely, were abandoned by the artist mid-work. The persona of Mark Manders is never recognizably demonstrated. Manders always positions himself in this undefined in-between space, further deepening the mystery of the Self-Portrait as a Building.
Mark Manders has had solo exhibitions at Museum of Contemporary Art (Tokyo), Bonnefanten (Maastricht), Centro Galego de Arte Contemporanea (Santiago de Compostela), Collezione Maramotti (Reggio Emilia), De Vleeshal (Middelburg), Carré d’Art – Musée d’art contemporain (Nîmes), IMMA (Dublin), The Art Institute of Chicago, Renaissance Society (Chicago), Pinakothek der Moderne (Munich), Hammer Museum (Los Angeles), Aspen Art Museum, Walker Art Center (Minneapolis), Dallas Museum of Art, Kunstverein Hannover, Bergen Kunsthall, S.M.A.K. (Ghent) and Kunsthaus Zürich.
Mark Manders represented the Netherlands at the Venice Biennale in 2013. He has also participated in the Rennes Biennale (2016), the Athens Biennale (2007), Manifesta (2004) and again the Venice Biennale (2001). His work has featured in group shows at Fondazione Prada (Milan), Museu Berardo (Lisbon), Marta Herford, WIELS (Brussels), Museum Voorlinden (Wassenaar), Kunstmuseum Bonn, Louvre (Paris), S.M.A.K. (Ghent), Guggenheim Museum (New York), Palais de Tokyo (Paris), 21er Haus (Vienna), The Wadsworth Atheneum Museum of Art (Hartford), The Menil Collection (Houston), David Roberts Arts Foundation (London), MoMA (New York), ICA Philadelphia, DESTE Foundation (Athens) and Kunsthalle Bern.
In 2019 the Public Art Fund commissioned Mark Manders to create a large public sculpture for the Doris C. Freedman Plaza in Central Park, New York. He has also created large outdoor sculptural installations for the Walker Art Center in Minneapolis and the Rokin Square in Amsterdam.
Mark Manders joined the gallery in 1994.
Zeno X Gallery and Mark Manders are celebrating twenty-eight years of collaboration with the artist’s seventh solo exhibition at the gallery. The exhibition offers a comprehensive overview of the artist’s practice, consisting of installations, sculptures, works on paper and drawings.
Mark Manders has been working on his ‘Self-Portrait as a Building’ since 1986. His oeuvre, which he regards as a fictitious building, consists of separate rooms and floors whose size and shape cannot be determined with precision. The building is permanently under construction and at the same time always complete in the state it is in at the moment. Manders strives for timelessness and universality by making use of archetypal forms and recognizable materials such as clay, steel and wood. This makes it impossible to place his works in a chronological order on the basis of visual characteristics.
The artist’s work straddles the border between truth and fiction. Wood and clay, but also pencils or cups, often turn out to be imitations in bronze or epoxy. His androgynous heads seem unfinished, as if the artist had abandoned them halfway through the creation process. At the same time, they seem to have always existed.
Room with All Existing Words further explores the grey zone between reality and illusion. Above the entrance to the room, the artist has attached his Notional Newspapers. These self-made dailies contain all the words of the English language, each word occurring only once and placed in a random order. Out of all these words, he has chosen to dedicate a monumental work to the obscure word ‘skiapode’ (Greek for ‘shadow foot’), a fantastic creature that uses its giant foot to shelter from the sun. Manders was inspired by the few known images of this mythical figure, which is said to have appeared repeatedly throughout history. What fascinates the artist is that people once believed that skiapodes really existed, but also that the human mind is capable of inventing such creatures. For this installation, Manders created numerous skiapode images. They each show a strong affinity with existing works of art from various art-historical periods, thereby blurring the distinction between fact and fiction even further.
The myth is further elaborated on a Wikipedia page that was written by the artist and which can be accessed via a QR code. The far-reaching meticulousness of the connections that the skiapode myth is said to have in history also raises the question of whether this mythical creature really existed.
For a long time, Manders only allowed those colours to be used in his work that were specific to the materials. The green-blue tints that dominate this show were chosen by the artist because they cannot be defined by language. They often appear in combination with the self-made newspapers that contain all the words of the English language, such as Cloud Study (with All Existing Words) and Composition with Two Colours. He has also used these colours to create landscapes such as Landscape Fragment, Landscape with Typewriter and various night scenes. The theme of the landscape is further elaborated in the sculpture in the modernist style Cloud Study (with All Existing Words) and in FieldFragment, in which he brings together colours of the sky at different times of the day in a composition that is, literally, precisely balanced.
Manders is a poet who composes with images rather than words. In Short Sentence and Short Sentence with All Existing Words, the artist builds sentences by placing different objects next to each other and connecting them. Finished Sentence resembles a machine that generates ideas according to its own logic and pronounces them in a language of tea bags. It is up to the viewer to interpret these sentences and give them meaning.
Landscape with Falling Cups and Girl with Falling Earring are conceived by Manders as three-dimensional paintings that capture an almost intangible moment in time. The image of a falling object does not exist as such in reality, but it can be thought and therefore represented. By capturing these thoughts in images that in turn generate new thoughts and images, he attempts to gain insight into the fascinating way in which the human mind functions.
Mark Manders has had solo exhibitions at Museum of Contemporary Art (Tokyo), Bonnefanten (Maastricht), Centro Galego de Arte Contemporanea (Santiago de Compostela), Collezione Maramotti (Reggio Emilia), De Vleeshal (Middelburg), Carré d’Art – Musée d’art contemporain (Nîmes), IMMA (Dublin), The Art Institute of Chicago, The Renaissance Society (Chicago), Pinakothek der Moderne (Munich), Hammer Museum (Los Angeles), Aspen Art Museum, Walker Art Center (Minneapolis), Dallas Museum of Art, Kunstverein Hannover, Kunsthall Bergen, S.M.A.K. (Ghent) and Kunsthaus Zürich. He represented the Netherlands at the Venice Biennale in 2013.
Work by Mark Manders has entered the permanent collections of MoMA (New York), Solomon R. Guggenheim Museum (New York), Museum Voorlinden (Wassenaar), Bonnefanten (Maastricht), Walker Art Center (Minneapolis), Art Gallery of Ontario (Toronto), The Art Institute of Chicago, Carnegie Museum of Art (Pittsburgh), Centraal Museum (Utrecht), Centro Galego de Arte Contemporanea (Santiago de Compostela), Dallas Museum of Art, Fondazione Sandretto Re Rebaudengo (Turin), IMMA (Dublin), MCA Chicago, Kunstmuseum Bonn, LA MOCA (Los Angeles), Moderna Museet (Stockholm), M HKA (Antwerp), MMK Arnhem, Noordbrabants Museum (‘s Hertogenbosch), Philadelphia Museum of Art, Pinakothek der Moderne (Munich), Museum of Contemporary Art (Tokyo), Mu.ZEE (Ostend), S.M.A.K. (Ghent), San Francisco Museum of Modern Art, Stedelijk Museum (Amsterdam), Van Abbemuseum (Eindhoven), The Menil Collection (Houston), Hammer Museum (Los Angeles) and Wadsworth Atheneum (Hartford).
Zeno X Gallery is celebrating its 40th anniversary with a series of exhibitions that shed light on the different decades of the gallery. From April 2 onwards, '40 YEARS Zeno X Gallery: the nineties' presents the seven artists who joined the gallery in the 1990s: Luc Tuymans (1990), Marlene Dumas (1993), Mark Manders (1994), Cristof Yvoré (1994), Anton Corbijn (1996), Dirk Braeckman (1999) and Johannes Kahrs (1999). The show brings historical works into dialogue with recent pieces created specially for this exhibition.
Zeno X Gallery has the pleasure of introducing Mark Manders’ new exhibition. It is his sixth solo exhibition since he joined the gallery in 1994.
The most prominent work in the exhibition is without doubt Dry Clay Head (2015-2016). As in the work Dry Clay Head on Concrete Floor (2016), Manders explores working on a larger scale.
He was recently invited by the Walker Art Center in Minneapolis to create a sculpture for the new sculpture park. The result is two sculptures, Two Reclining Figures – a smaller version of which is now on view at the Biennale de Rennes, and Composition with Long Verticals, which will be nearly five meters high. The sculpture garden will officially open in June 2017. At the beginning of this year, Manders won the competition for a large outdoor sculpture on the Rokin in the historic center of Amsterdam. This bronze fountain will also be executed on a monumental scale. More recently, Manders was also asked by Public Art Fund to create a large sculpture in 2018 for Central Park in New York.
In the late eighties and early nineties, Mark Manders created installations with personal and household objects such as pencils, cups and pieces of twine. The compositions are very fragile and poetic. Later, he began to work regularly with traditional materials such as clay, wood and bronze. The sculptures often seem more fragile than they really are. Whereas previously the works seemed as if the artist had just made them – like wet clay – the works in this exhibition seem already to have been dried out and left behind.
Although the works come across as timeless archetypes, there is still one year to which the artist consistently refers – namely, 1986. In that year, the concept of ‘Self-portrait as building’ came about, which functions as a metaphor for his oeuvre: a fictitious building, divided into separate rooms of which the exact shape and extent cannot be defined. Manders constantly strives for the specific yet unattainable moment in which all works will be connected with one another and enter into dialogue.
Still Life With Thin Red Rope (2015-2016) refers to the work Short Sad Thoughts from 1990. This work consists of two hanging wires that appear to be at the mercy of an enormous gravitational pull. In reality, it was with great effort that Mark Manders bent both brass ropes. Still Life With Thin Red Rope combines this with figuration, which gives it a surreal character.
The Perspective Studies are a recurring motif in his oeuvre and are built up of self-made newspaper; Manders takes words from an English dictionary and places them in a random order. Each word is used only once. He also takes close-up photos of elements in his studio that he subsequently positions next to the text. The photos scrupulously avoid referring to anything concrete, but function unavoidably as apparent illustrations of the words.
Falling Dictionary (2016) is made of these newspapers but shows – as the title suggests – a falling lexicon. The dictionary often appears throughout his oeuvre and demonstrates his strong fascination for language. Usually the colours correspond with the materials, whilst the dictionary gives Manders a unique opportunity to add some ‘colour’.
In the past Manders had solo exhibitions at Centro de Galego de Arte Contemporanea in Santiago de Compostela (2014), Collezione Maramotti in Reggio Emillia (2014), De Vleeshal in Middelburg (2014), Carré d’art - Musée d’art contemporain in Nîmes (2012), Dallas Museum of Art (2012), Walker Art Center in Minneapolis (2011), Aspen Art Museum (2011), Casa Luis Barragan in Mexico City (2011), Hammer Museum in Los Angeles (2010), Kunsthaus Zurich (2009), S.M.A.K. in Ghent (2008), Kunsthall Bergen (2008), Kunstverein Hannover (2007), IMMA in Dublin (2005), Berkeley Art Museum (2005), The Art Institute in Chicago (2003), The Renaissance Society in Chicago (2003), Pinakothek der Moderne in Munich (2003), Kröller-Müller Museum in Otterlo (2002), The Drawing Center in New York (2000), De Appel in Amsterdam (1997), amongst many others.
In 2013 Mark Manders represented the Netherlands at the Venice Biennial with his presentation ‘Room with Broken Sentence’.
Work by Mark Manders is included in the permanent collections of MoMA in New York, Solomon R. Guggenheim Museum in New York, Museum Voorlinden in Wassenaar, Bonnefantenmuseum in Maastricht, Walker Art Center in Minneapolis, Art Gallery of Ontario in Toronto, the Art Institute in Chicago, Carnegie Museum of Art in Pittsburgh, Centraal Museum in Utrecht, Centro Galego de Arte Contemporanea in Santiago de Compostela, Dallas Museum of Art, Fondazione Sandretto Re Rebaudengo in Turin, Irish Museum of Modern Art in Dublin, MCA Chicago, Kunstmuseum Bonn, LA MOCA in Los Angeles, Moderna Museet in Stockholm, M HKA in Antwerp, MMK Arnhem, Noordbrabants Museum ’s Hertogenbosch, Philadelphia Museum of Art, Pinakothek der Moderne in Munich, Mu.Zee in Ostend, S.M.A.K. in Ghent, San Francisco Museum of Modern Art, Stedelijk Museum in Amsterdam, Van Abbemuseum in Eindhoven, The Menil Collection in Houston, Hammer Museum in Los Angeles, Wadsworth Atheneum in Hartford, etc.
Zeno X Gallery has the great pleasure to announce a new solo exhibition by Mark Manders (b. 1968, Volkel, NL). This will be the artist’s fifth consecutive show since Manders joined the gallery in 1994. For the first time, the installation Staged Android (reduced to 88%), which he created for Documenta 11 (2002), will be shown in Belgium. Manders has continued to work on this piece after the presentation in Kassel and the work is now, 12 years later, fully completed. The exhibition will include new sculptures and installations which characteristically contain references to the past, the present and the future.
Although time and place-related references appear to be irrelevant in Manders’ work, there is one year that is often being referred to: 1986. This is the year in which Manders outlined the concept of his work, Self-Portrait as a Building. His work resembles a fictional building, divided into separate rooms and levels, of which the size and shape can never exactly be determined. Potential shifts and extensions constantly threaten the cohesion of the ever-expanding self-portrait. Manders works toward one big overarching moment that will bring together all his works, continuously interconnected and in dialogue with each other. There is no beginning or end. It is impossible to organize or date his works chronologically on the basis of visual clues. His work, in this way, might as well be created in the early 20th century; a thought he seems to eagerly embrace.
Before Manders embarked on his artistic career, he worked, as a teenager, in a graphic design studio. This is where his fascination for design and language, and particularly poetry, originated. Attempting to write a self-portrait in an unconventional manner, he soon hit the boundaries of language and translation. Words were substituted by visual elements. According to Manders, drawings, sculptures and installations are freer and can, just like poetry, incorporate different sounds, colours, rhythms, rhymes and interpretations. This is how the idea of Self-Portrait as a Building arose. Manders strives for timelessness and universality by using archetypal forms and familiar-looking materials such as clay, steel and wood. Manders’ sculptures and installations seem more fragile than they actually are. As a sculptor, Manders adheres to the tradition of bronze sculpture yet also incorporates contemporary materials in his work. Seats, chairs, chimneys are carefully created or recreated in function of the work and, where necessary, reduced to 88% of their original size. Blurring the line between reality and illusion, it often becomes difficult to distinguish when Manders is actually integrating natural wood or just a painted wood imitation. This also applies to the androgynous figures or faces that seem to have been fashioned out of wet clay, creating the impression that they just left the artist’s studio or, conversely, were abandoned by the artist, mid-work. Particular in this exhibition are the sculptures that evidence, for the first time, fine craquelures in their surfaces that seem to catapult these works even farther back in time. The illusion of peeling dry clay creates a sense of foreboding, as if the sculpture could crumble into fine dust and disappear at any time. There appears to be a definite separation between the sculpture and the person who realized it, as if it was abandoned by its creator or could not be completed. The persona of Mark Manders is never recognizably evidenced. Remarkable also is the dichotomy between the man Mark Manders and the artist, who, like an alter ego of sorts, seems to be directed entirely by his counterpart. Manders always places himself in this undefined place in-between, vastly enlarging the mystery of Self-Portrait as a Building.
Mark Manders has had solo exhibitions at the Pinakothek der Moderne in Munich, The Renaissance Society in Chicago, The Art Institute of Chicago, the Kröller-Müller Museum in Otterlo, the Irish Museum of Modern Art in Dublin, Kunstverein Hannover, Bergen Art Hall, SMAK Gent, Kunsthaus Zurich, La Casa Luis Barragan in Mexico City, the Musee d’Art Contemporain in Nimes, among others. From 2010 to 2012, his first major retrospective, Parallel Occurance / Documented Assignments, travelled throughout the United States with venues such as the Hammer Museum in Los Angeles, the Aspen Art Museum, the Walker Art Center in Minneapolis and the Dallas Museum of Art.
At the Venice Biennale in 2013, Mark Manders presented his solo exhibition Room with broken sentence in the Dutch Pavilion in the Giardini. In early 2014, De Vleeshal in Middelburg (NL) organized the solo exhibition Acolyte Frena. His solo exhibition Cose in Corso is on view at the Collezione Maramotti (IT) until September 28, 2014. In July, a new solo exhibition opens at the Centro Galego de Arte Contemporanea in Santiago De Compostela (ES). Following a commission of the Public Art Fund in New York, a new sculpture will be installed in Central Park in New York in the autumn of 2015. His work also features in group exhibitions including Beating the Bush at the Bonnefantenmuseum in Maastricht, Re: visited in the Latvian Centre for Contemporary Art in Riga and See What Sees You at the 21er Haus in Vienna. Previously, Mark Manders has been invited to group exhibitions at the Palais Tokyo in Paris, the Wadsworth Atheneum Museum of Art in Hartford (U.S.), the Menil Collection in Houston (U.S.), MoMA in New York (U.S.), RAM in Rome (IT), Magasin 3 Kunsthal Stockholm in Stockholm (SE), among others. In 2002 he was invited by Okwui Enwezor to participate in Documenta 11 in Kassel.
Recently, MoMA in New York has acquired an important work from the exhibition in Venice. The Bonnefantenmuseum in Maastricht (NL), the Centraal Museum in Utrecht (NL) and the Walker Art Center in Minneapolis have also recently expanded their collection with work by Mark Manders. Other public collections of work by Mark Manders include the Art Gallery of Onatrio in Toronto (US), the Art Institute of Chicago (US), the Bonnefantenmuseum (NL), the Carnegie Museum of Art in Pittsburgh (US), the Centraal Museum Utrecht (NL), the Centro Galego de Arte Contemporanea in Santiago de Compostela (ES), the Dallas Museum of Art (US), the Fondazione Sandretto Re Rebaudengo in Turin (IT), the Irish Museum of Modern Art in Dublin (IR), the Kunstmuseum Bonn (DE), LA MOCA (US), the Moderna Museet in Stockholm (SE), MuHKA in Antwerp (BE), the Museum Overholland in Nieuwersluis (NL), the Museum voor Moderne Kunst Arnhem (NL), the Noordbrabants Museum ’s Hertogenbosch (NL), the Philadelphia Museum of Art (US), the Pinakothek der Moderne in Munich (DE), Mu.Zee in Ostend (BE), S.M.A.K. in Gent (BE), the San Francisco Museum of Modern Art (US), the Solomon R. Guggenheim Museum (US), the Stedelijk Museum in Amsterdam (NL), the Stedelijk Van Abbemuseum (NL), The Menil Collection in Houston (US), the Hammer Museum in LA (US) and the Wadsworth Atheneum in Hartford (US).
Mark MandersRoom with All Existing Words2005 - 2022painted bronze, painted wood, offset print on paper, iron, various materials265 x 688 x 431,5 cm
Mark MandersLandscape with All Existing Words2005 - 2022painted bronze, offset print on paper (edition of 3 + 1 AP)29 x 36,2 x 26,5 cm
Mark MandersCloud Study (With All Existing Words)2005 - 2022offset print and acrylic on paper8,6 x 10,2 x 10,2 cm
Mark MandersCloud Study (With All Existing Words)2005 - 2022painted bronze, offset print on paper, stainless steel, glass (edition of 3 + 1 AP)63,5 x 31 x 31 cm
Mark MandersCloud Study (With All Existing Words)2005 - 2022offset print and acrylic on paper46,8 x 29 x 5,7 cm
Mark MandersField Fragment2022painted metal, painted sand, wood, glass92 x 172,5 x 78 cm
Mark MandersNight Scene2020 - 2022painted bronze, patinated bronze, hair, corten steel (edition of 3 + 1 AP)210 x 79 x 53 cm
Mark MandersUntitled Drawing2011 - 2022pencil on paper59 x 42 cm
Mark MandersFinished Sentence2003 - 2020iron, teabags, rope, offset print on paper and shoes96 x 300 x 225 cm
Mark MandersVertical Clouds2021 - 2022painted plasticrete, wood (edition of 3 + 1 AP)53,3 x 29,2 x 29,8 cm
Mark MandersLandscape Fragment2021 - 2022painted bronze, painted wood, offset print on paper (2 of 3 + 1 AP)53,2 x 31 x 31 cm
Mark MandersShort Sentence with All Existing Words2005 - 2022offset print on paper, epoxy, rope, concrete, wood, glass56,5 x 65,5 x 46,5 cm
Mark MandersDrawing with Six Drops of Rain / Drawing with Vanishing Point2020 - 2022pencil on paper65 x 50 cm
Mark MandersGirl with Falling Earring2019 - 2022painted canvas, painted plasticrete, silver (edition of 3 + 1 AP)69,5 x 55,5 x 3,8 cm
Mark MandersLandscape with Falling Cup2019 - 2022painted canvas, painted epoxy, iron110,5 x 206 x 172,5 cm
Mark MandersNight Scene with Dictionary2020 - 2022painted canvas, painted wood17 x 30,2 x 13,5 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp
Cristof YvoréUntitled2012oil on canvas100,5 x 125 cm
Luc TuymansThe Cry1989oil on canvas37 x 45 cm
Luc TuymansDolls I2022oil on canvas102,5 x 66,5 cm
Luc TuymansDolls II2022oil on canvas102,5 x 67,5 cm
Luc TuymansDolls III2022oil on canvas103 x 82,5 cm
Anton CorbijnAllen Ginsberg, New York1996lithprint (edition of 20 + 2 AP)69 x 68 cm
Anton CorbijnWilliam S. Burroughs, Lawrence1993lithprint (edition of 20)68 x 69 cm
Anton CorbijnNaomi Campbell, London1994pigment print on Hahnemühle fine art paper, mounted on aluminium (edition of 5)142 x 142 cm
Cristof YvoréLe tapis d'Edward1993oil on canvas33,5 x 31 cm
Dirk BraeckmanE.P.-S.V.-931993gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)120 x 80 cm
Johannes KahrsGirl with Yellow Wig2005oil on canvas63,0 x 56,4 cm
Dirk BraeckmanT.I.-A.B.-152015gelatin silver print reversibly mounted on aluminium support (edition of 5 + 1 AP)90 x 60 cm
Johannes Kahrsuntitled (zu bett gehen)2021oil on canvas45,2 x 80 cm
Johannes Kahrsuntitled (zu bett gehen)2020oil on canvas45,2 x 80 cm
Marlene DumasPornoblues19936 watercolours on pape
Mark MandersFox / Mouse / Belt1993painted bronze, belt (edition of 3 + 2 AP)15 x 120 x 40 cm
Marlene DumasBaudelaire (double)2020oil on canvas40 x 30 cm
Photo: Peter CoxCourtesy Zeno X GalleryInstallation view
Photo: Masaru YANAGIBACourtesy Zeno X Gallery and Tanya Bonakdar GalleryInstallation view
Photo: Tomoki ImaiCourtesy the artist and MOT, TokyoInstallation view
Photo: Atsuko KoyanagiCourtesy Zeno X Gallery and Tanya Bonakdar GalleryInstallation view
N. DashCommuter (2)2019 - 2020acrylic, paper52,4 x 37,8 cm20,63 x 14,88 in
N. DashCommuter (1)2019 - 2020acrylic, paper39,4 x 51,6 cm15,51 x 20,31 in
Luc TuymansThe Owl2019acrylic ink on polyester tracing paper27 x (28,7 x 15,8 cm) animated video: variable dimensions
Michaël BorremansThe Feast2019pencil and white ink on paper26,7 x 21,2 cm
Mark MandersUntitled1994pencil on paper29,6 x 21 cm
Mark MandersUntitled2000pencil on paper42 x 29,5 cm
Mark MandersDrawing with a Glass functioning as an O1999pencil on paper29,7 x 42 cm
Mark MandersUntitled2009pencil on paper21 x 29,7 cm
Mark MandersUntitled1994paint and pencil on paper32 x 25 cm
Mark MandersUntitled1995pencil on paper29,7 x 21 cm
Kees GoudzwaardTwo Connected Flag Fragments2015acrylic on cardboard29,6 x 21,1 cm
Anne-Mie Van KerckhovenZonder Commentaar2019collage on coloured paper3 x (32 x 24 cm)
Hyun-Sook SongUntitled2014 - 2018tempera on paper22,5 x 27,4 cm
Hyun-Sook SongUntitled2011tempera on paper30,8 x 20,5 cm
Hyun-Sook SongUntitled2018tempera on paper30,8 x 23,5 cm
N. DashUntitled2019acrylic, paper55,9 x 32,4 cm22,01 x 12,76 in
N. DashUntitled2019graphite, paper54,6 x 53,3 cm21,5 x 20,98 in
Marlene DumasSleeping Nymph2003acrylic and ink on paper62 x 85 cm
Kees GoudzwaardWorking Materials2019acrylic on cardboard50 x 40 cm
Kees GoudzwaardUntitled2019acrylic on paper65,1 x 49,9 cm
Anne-Mie Van KerckhovenZonder Woorden2019collage on coloured paper3 x (32 x 24 cm)
Anne-Mie Van KerckhovenZonder Uitleg2019collage on coloured paper3 x (32 x 24 cm)
Photo: JJY PHOTO©️TANK ShanghaiInstallation view Mark Manders
Dirk BraeckmanP.T.-B.R.-17 #22017gelatin silver print mounted on aluminium support120 x 80 cm (unique)
Kim JonesUntitled2008acrylic and ink on board50,8 x 76,2 cm
Kim JonesUntitled2008acrylic and ink on board50 x 76 cm
Mark MandersFalling Dictionaries2018offset print and acrylic on paper, chicken wire, aluminium
Marlene DumasThe Politics of Recognition / Onze Vaders1991ink on pape
Michaël BorremansThree Degrees2017pencil and ink on paper14,1 x 21,1 cm
Philip MettenC-1022017collage on paper53,5 x 49,5 cm
Philip MettenC-1012017collage on paper57,5 x 46 cm
Philip MettenC-1082017collage on paper54 x 50,6 cm
Philip MettenC-0572016collage on paper9,4 x 9,3 cm
Philip MettenC-1052017collage on paper20,9 x 20,4 cm
Patrick Van CaeckenberghDen Beggaard2018mixed media52 x 110 cm
Pietro RoccasalvaStudy for Il Traviatore2017acrylic on paper69,8 x 43,1 cm
Pietro RoccasalvaStudy for Il Traviatore2010acrylic on paper69,5 x 47 cm
Paulo MonteiroUntitled201322k gold and gouache on paper25,5 x 18,5 cm
Paulo MonteiroUntitled201622k gold and gouache on paper14 x 9 cm
Paulo MonteiroUntitled201722k gold and ecoline on pape
Paulo MonteiroUntitled2016gouache on paper31 x 27,5 cm
Hyun-Sook SongUntitled2013tempera on paper25,4 x 34,7 cm
Hyun-Sook SongUntitled2017tempera on paper26 x 32,2 cm
Hyun-Sook SongUntitled2015tempera on paper20,5 x 28,4 cm
Hyun-Sook SongUntitled2012tempera on paper34 x 23,7 cm
Jack WhittenLooking For Bin Laden #8 (Second Set)2008toner on rice paper61 x 82,6 cm
Jack WhittenSpace Flower #42006acrylic, pastel, powdered Mylar on rice paper20,3 x 19,1 cm
Jack WhittenSpace Flower #22006acrylic, pastel, powdered Mylar on rice paper21 x 19,1 cm
Luc TuymansUntitled2017graphite on pape
Jockum NordströmBjörnen sover (the Bear is sleeping)2017collage, watercolour and pencil on paper97 x 71 cm
Jockum NordströmSjukhusparken (Hospital park)2017collage, watercolour and graphite on paper72 x 104 cm
Jockum NordströmSent by Hand2008graphite on paper45 x 60 cm
Jockum NordströmStage Whisper2008graphite on paper42 x 30 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Mark MandersLiving Room Scene2008 - 2016wood, brass, iron, painted epoxy, aluminium, fabric, rope, sand, offset print on paper89,5 x 76 x 348 cm
Mark MandersFalling Dictionary2016offset print and acrylic on paper, chicken wire, aluminium66 x 79 x 5 cm
Mark MandersLandscape with Dictionaries2015 - 2016oil paint on wood, acrylic on canvas, wood, sand, rope22,5 x 38,5 x 55 cm
Mark MandersPerspective Study2014 - 2016offset print andd acrylic on paper, chicken wire, aluminium120 x 80 cm
Mark MandersDry Clay Head2015 - 2016painted bronze, rope, plywood, offset print on paper (1 of 3 + 1 AP)233 x 155 x 283 cm
Mark MandersDry Clay Head on Concrete Floor2016painted bronze, painted wood, offset print on paper, concrete, iron, glass (1 of 3 + 1 AP)252,5 x 127 x 127 cm
Johannes KahrsUntitled (dark palm)2014oil on canvas201,0 x 200,0 cm
Johannes KahrsUntitled (angry girl)2013oil on canvas2 x (98,2 x 76,3)
Raoul De KeyserKanovaren (Canoeing)1967acrylic and dispersion paint on canvas150 x 120 cm
Raoul De KeyserZinkend (Sinking)1983oil on canvas200 x 150 cm
Mark MandersCollage with Fake Newspapers2008 - 2013offset print on paper, acrylic, chicken wire120 x 84 cm
Mark MandersFigure Study1997 - 2013painted wood, canvas, rope, iron165 x 40 x 30 cm
Mark MandersShadow Study2012iron, wood, painted epoxy150,5 x 52 x 65 cm
Patrick Van CaeckenberghDe Duizendjarige Olijfboomgaard (The Thousand-year-old Olive Grove)2013 - 2014 - 2018graphite and paint on paper, chalkboard paint and chalk on wood117 x 322,8 x 58,5 cm
Raoul De KeyserHet Niets Aangenaam Gevuld met Weinig1971acrylic on canvas190 x 190 cm
Kim JonesUntitled2010 - 2011acrylic and ink on photograph25,2 x 20,2 cm
Michaël BorremansNoses III2011pencil and watercolour on paper22,5 x 29,7 cm
Michaël BorremansNoses I + II2010pencil and watercolour on paper2 x (16,4 x 24,8 cm)
Bart StolleLandscape2013ink and acrylic on paper29,5 x 40,5 cm
Bart StolleMovements in space2013ink and acrylic on paper29,5 x 40,5 cm
Bart StolleCity2013ink and acrylic on paper29,5 x 40,5 cm
Bart StolleUntitled 13/22013ink on paper21 x 13,4 cm
Bart StolleHollorith 22013ink on paper21 x 13,4 cm
Bart StolleUntitled 12/22012ink and acrylic on paper21 x 13,4 cm
Bart StolleUntitled 12/052012pencil, ink and acrylic on paper21 x 13,5 cm
Bart StolleUntitled 11/22011pencil and acrylic on paper21 x 13,5 cm
Bart StolleAtoumat2008pencil, watercolour and acrylic on paper21 x 13,5 cm
Bart StolleKeep on Tryin'2008watercolour on paper20,9 x 13,5 cm
Bart StolleUntitled2008ink and pencil on paper21 x 13,5 cm
Bart StolleUntitled2008watercolour on paper21 x 13,5 cm
Patrick Van CaeckenberghOntwerp voor Torso (Design for Torso)1999collage, watercolour85,5 x 30 cm
Patrick Van CaeckenberghOntwerp voor Torso (Design for Torso)1999collage, watercolour72 x 20,5 cm
Patrick Van CaeckenberghOntwerp voor Torso (Design for Torso)1999collage, watercolour76 x 23,5 cm
Patrick Van CaeckenberghOntwerp voor Torso (Design for Torso)1999collage, watercolour68,5 x 19,5 cm
Kim JonesUntitled2013acrylic and ink on photograph30,4 x 20,3 cm
Kim JonesUntitled1974 - 1980s- 2010acrylic and ink on photograph45,7 x 30,5 cm
Kim JonesUntitled1980 - 2010acrylic and ink on photograph45,7 x 30,3 cm
Kim JonesUntitled1999 - 2009acrylic and ink on photograph45,7 x 30,4 cm
Yun-Fei JiMarshal Peng Dehuai and His Hungry Ghosts2007mineral pigments and ink on rice paper81,5 x 173,5 cm
Mircea SuciuSelf Portrait2014charcoal on paper100 x 70 cm
Mircea SuciuStudy for the Iron Curtain2013charcoal on paper150 x 184 cm
Raoul De KeyserUntitled2002watercolour on Ingres paper64,5 x 47,8 cm
Mark MandersYellow Bathtub1997sand and glue on paper240 x 462 cm
Anne-Mie Van Kerckhoventch'eng (7 9 2012)2012mixed media77 x 50 cm
Anne-Mie Van Kerckhoven3 versus 5 (10 9 2012)2012mixed media77 x 50 cm
Mark MandersPerspective Study2012 - 2013offset print, pencil and acrylic on paper, collage, chicken wire, wood38,5 x 51 cm
Mark MandersUnfired Clay Head2014painted bronze, hair, wood (edition of 3 + 1 AP)34,3 x 32,6 x 22,6 cm
Mark MandersHead Study on Concrete Floor2013 - 2014wood, painted epoxy, concrete, glass73 x 64,5 x 88 cm
Mark MandersComposition with Long Verticals2013 - 2014wood, painted epoxy, iron, painted ceramic284 x 58 x 94 cm
Mark MandersUnfired Clay Head2014painted bronze, wood (edition of 3 + 1 AP)21 x 14 x 20,5 cm
Mark MandersStaged Android (Reduced to 88%)2002 - 2014iron, wood, painted epoxy, painted canvas, clothessculpture: 381,5 x 290 x 350 cm installaiton: variable dimensions
Photo: Jan KempenaersCourtesy Zeno X Gallery and Tanya Bonakdar GalleryInstallation view
Photo: Brian ForrestInstallation view
Mark MandersShadow Study2010metal, porcelain, painted bone, painted epoxy151 x 65 x 65 cm
Mark MandersLarge Figure with Thin Newspaper2010painted canvas, painted epoxy, wood, painted wood, iron, painted iron, rope, offset print on paper221 x 65 x 50 cm
Mark MandersPerspective Study2010offset print on paper, acrylic, chicken wire65 x 45 x 3,5 cm
Photo: Raimund ZakowskiCourtesy Tanya Bonakdar, New York and Zeno X Gallery, AntwerpenInstallation view
John KörmelingBetter City, Better Life, Happy Street - Het Interieur is Buiten2006pencil on paper30,0 x 42,5 cm
John KörmelingHet Nederlands Paviljoen 2010, Happy Street2006pencil on paper30 x 52 cm
Patrick Van CaeckenberghOntwerp voor Fluitketel (Design for Singing Teakettle)1999collage58,5 x 35 cm
Patrick Van CaeckenberghZelfportret (Self-portrait)1999collage56 x 38 cm
Raoul De KeyserUntitled1987oil on canvas48 x 30 cm
John KörmelingGlass Bridge, Ponte dell'Academia, Venice1985scale model: glass, plexi dome, marble and blue limestone21,5 x 65,0 x 21,0 cm
Marlene DumasGive the People What They Want1992oil on canvas40 x 30 cm
Luc TuymansDer Diagnostische Blick IV1992oil on paper57 x 38 cm
Yun-Fei JiThe Water Buffalo2006mineral pigment on rice paper33 x 32,8 cm
Anton CorbijnBjörk, Los Angeles1994gelatin silver print handprinted on oriental Seagull paper (edition of 20)68 x 69 cm
Dirk BraeckmanA.D.F.-B.E.-032003gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)180 x 120 cm
Dirk BraeckmanHinge #12006ultrachrome inkjet print on Fuji photo rag paper mounted on aluminium support (edition of 5 + 1 AP)49 x 36 cm
Anne-Mie Van KerckhovenHomo Bulla1983 - 1984acrylic on plexi, mounted on steel plate100,3 x 201,5 cm
Patrick Van CaeckenberghSchildpad (Turtle)1990turtle shell, mixed media15 x 20 x 30 cm
Michaël BorremansThe Resemblance2006oil on canvas2 x (36 x 42 cm)
Michaël BorremansWeight200535mm, 9'44", continuous loop (edition of 3 + 1 AP)35,5 x 27,5 x 4 cm
Miriam CahnKrieg1998oil on canvas(90,5 x 56,8) + (105 x 60,5) cm
Raoul De KeyserDisaster2006charcoal, oil and gesso on canvas56 x 48 cm
Raoul De KeyserFlow2006oil on canvas36 x 30 cm
Jan De MaesschalckUntitled2002acrylic on paper27,3 x 36 cm
Jan De MaesschalckUntitled2003acrylic on paper27 x 35,7 cm
Stan DouglasRookery, Burnaby2001C-print (edition of 7)125 x 171 cm
Marlene DumasTina2006oil on canvas110 x 130 cm
Marc GoethalsUntitled1986oil on canvas18 x 24 cm
Kees GoudzwaardScreen2006oil on canvas120 x 80 cm
Mary HeilmannJohngiorno1995oil on canvas196 x 146 cm
Arturo HerreraUntitled (Dia Collage)1998mixed media on paper30,5 x 22,8 cm
Yun-Fei JiTwo Men with Bags2006mineral pigment on rice paper50,5 x 39,5 cm
Kim JonesUntitled (war drawing)2005 - 2006pencil on paper63,6 x 96,3 cm
Johannes Kahrsuntitled (origine du monde)1997charcoal and pastel on paper118 x 84 cm
Johannes KahrsMik's hand2005oil on canvas52 x 62 cm
John KörmelingMeeting point2005scale model, metal11 x 38 x 20 cm
Bernd LohausUntitled1984wooden crate with silver paper44,5 x 35 x 6 cm
Mark MandersFragment from Self-Portrait as a Building1993mixed media(12 x 90 x 15,5 cm) + (24,5 x Ø11,5 cm) + (12,5 x Ø10 cm)
Arno Nollendoped at anna's Barcelona2002colour photograph (edition of 5)45,5 x 30 cm
Arno NollenTrainingsjasje2004colour photograph (edition of 5)45 x 30 cm
Avery PreesmanUntitled2000wood, concrete95 x 70 x 45 cm
Gert Robijns26 x 26 alphabet1985mixed media32,5 x 110 x 130 cm
Jenny ScobelMackerel Sky2006graphite, watercolour and wax on gessoed wood107 x 61 cm
Maria SerebriakovaUntitled1989wood161 x 41 x 53 cm
Maria SerebriakovaUntitled1989wood160 x 70 x 31 cm
Maria SerebriakovaUntitled1989wood160 x 49 x 48 cm
Maria SerebriakovaUntitled1992book sculpture with house20 x 37 x 25 cm
Maria SerebriakovaLandscape2006oil on wood45 x 35 cm
Miroslav TichyUntitled (inv.nr.4-6-121)black and white photograph16,8 x 12,4 cm
Miroslav TichyUntitled (inv.nr.4-6-133)black and white photograph17,9 x 7,9 cm
Miroslav TichyUntitled (inv.nr.4-6-199)gelatin silver print27,2 x 19,6 cm
Luc TuymansImperméable2006oil on canvas224 x 94 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005digital print, plexi and Forex41 x 75 cm
Anne-Mie Van KerckhovenChippendale (Angel in the House)2005digital print, plexi and Forex35 x 75 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005Lambda print integrated in plexi lightbox41 x 75 x 14,5 cm
Cristof YvoréUntitled2006oil on canvas68,5 x 86 cm
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp25 years Zeno X Gallery - installation view
Mark MandersSmall Landscape1996table, sand, acrylic on cloth178 x 136,5 x 83 cm
Mark MandersUntitled1996pencil on paper17,5 x 23,7 cm
Mark MandersDrumdrops1997pencil on paper21 x 29,8 cm
Mark MandersFox / Mouse / Belt1993painted bronze, belt (2 of 3 + 2 AP)15 x 120 x 40 cm
Mark MandersFragment from Self-Portrait as a Building19933 framed drawings, mixed mediavariable dimensions
Mark Manders(Gathering of Mistakes)1993iron, bronze and various materials35 x 120 x 20 cm
Aichi Prefectural Museum of Art, Nagoya, Japan Art Gallery of Ontario, Toronto, Canada Art Institute of Chicago, Chicago, United States of America Bonnefanten, Maastricht, The Netherlands Carnegie Museum of Art, Pittsburgh, United States of America Centraal Museum, Utrecht, The Netherlands Collezione Maramotti, Reggio-Emilia, Italy Dallas Museum of Art, Dallas, United States of America David Roberts Art Foundation, London, United Kingdom Donum Estate, Sonoma, United States of America Domus Collection, Beijing, China Fondation Louis Vuitton, Paris, France Fondazione Sandretto Re Rebaudengo, Turin, Italy FRAC Bourgogne, Dijon, France GAM Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy Guggenheim Museum, New York, United States of America Hammer Museum, Los Angeles, United States of America Henry Art Gallery, Seattle, United States of America Hudson Valley for Contemporary Art, New York, United States of America IMMA Irish Museum of Modern Art, Dublin, Ireland Julia Stoschek Collection, Düsseldorf, Germany Kanazawa 21st Century Museum of Contemporary Art, Kanazawa, Japan Kistefos Museum and Sculpture Park, Jevnaker, Norway Kunsthaus, Zürich, Switzerland Kunstmuseum Bonn, Bonn, Germany M HKA Museum of Contemporary Art, Antwerp, Belgium Magasin 3 Stockholm Konsthall, Stockholm Sweden The Margulies Collection at the Warehouse, Miami, United States of America The Menil Collection, Houston, United States of America Moderna Museet, Stockholm, Sweden MOCA Museum of Contemporary Art, Los Angeles, United States of America MOT Museum of Contemporary Art, Tokyo, Japan MoMA Museum of Modern Art, New York, United States of America Museum Boijmans Van Beuningen, Rotterdam, The Netherlands Museum of Contemporary Art, CGAC, Santiago de Compostela, Spain Museum of Contemporary Art, Chicago, United States of America Museum of Fine Arts, Houston, United States of America Museum Hedendaagse Kunst De Domijnen, Sittard, The Netherlands Museum voor Moderne Kunst, Arnhem, The Netherlands Museum Voorlinden, Wassenaar, The Netherlands Mu.ZEE, Ostend, Belgium National Gallery of Art, Washington D.C., United States of America The National Museum of Art, Osaka, Japan Noordbrabants Museum, ‘s Hertogenbosch, The Netherlands Olbricht Collection, Berlin, Germany Over Holland Collection, The Netherlands PAMM Perez Art Museum, Miami, United States of America Philadelphia Museum of Art, Philadelphia, United States of America Pinnell Collection, Dallas, United States of America Pinakothek der Moderne, Munich, Germany Rabobank Collection, The Netherlands Rubell Family Collection, Miami, United States of America Sammlung Goetz, Munich, Germany S.M.A.K. Municipal Museum of Contemporary Art, Ghent, Belgium SFMOMA San Francisco Museum of Modern Art, San Francisco, United States of America Städel Museum, Frankfurt am Main, Germany Stedelijk Museum, Amsterdam, The Netherlands Stedelijk Museum De Lakenhal, Leiden, The Netherlands Stedelijk Van Abbemuseum, Eindhoven, The Netherlands Wadsworth Atheneum Museum of Art, Hartford, United States of America Walker Art Center, Minneapolis, United States of America
“Mark Manders: ‘My work is always totally silent’” www.ocula.com, article by Nadine Khalil (online) September 2022
“In Pursuit of Time: Mark Manders” Ark Journal, vol. VI, p.114-131 2022
“Mark Manders – A Glossary” ArtReview, vol.72, no.4, article by Craig Burnett (p.76-93) Summer 2020
“Self-Portrait as a Building: In the Studio with Mark Manders” Walker Art, article by Misa Jeffereis (online) June 2016
“Mark Manders. Reasonably complete” Metropolis M, no.6, article by Nickel Van Duijvenboden (p.6;58-65) December 2012
“The Ephemeral of putting things away. An in-depth look into the art of Mark Manders” Kaleidoscope, no.1, article by Andrea Wiarda (p.107-111) March/April 2009
Hannibal BooksVeurne, Belgium, 2022261 pages, ISBN 9789464366907
Museum of Contemporary ArtTokyo, Japan, 2021216 pages, ISBN 9784908062360
Roma PublicationsAmsterdam, Netherlands, 2020148 pages, ISBN 9789072251831
21st Century Museum of Contemporary ArtKanazawa, Japan, 2020163 pages, ISBN 784903205878
Roma Publications 179Amsterdam, Netherlands, 2020ISBN 9789492811714
Roma PublicationsAmsterdam, Netherlands, 2019143 pages, ISBN 978 94 92811 68 4
Roma PublicationsAmsterdam, Netherlands, 201763 pages, ISBN 9789491843983
Roma Publications 200Amsterdam, Netherlands, 2013176 pages, ISBN 978907745996
Roma PublicationsAmsterdam, Netherlands, 2012536 pages, ISBN 9789077459867
Aspen Art Press and the Hammer MuseumLos Angeles, United States, 2010100 pages, ISBN 9780934324489
Hatje Cantz VerlagOstfildern, Germany, 2007280 pages, ISBN 9783775720311