REGGIO EMILIA. La Collezione Maramotti di via Fratelli Cervi 66 da domenica prossima al 28 settembre 2014, ospita “Cose in corso” allestimento dell’artista Mark Manders.
Oggetti trovati, ri-costruiti o meglio reinventati si affiancano a manufatti creati dall’artista in composizioni che, caleidoscopicamente, continuano a presentarsi in sempre nuove costellazioni organiche creando ulteriori interazioni tra la vita e gli oggetti, come pagine di un diario di un personalissimo percorso artistico. Sculture e oggetti sedimentano per lunghi periodi, talvolta anni, nel suo studio e sono assoggettati a incessanti modifiche e cambiamenti nell’arco del tempo in un lungo processo di gestazione che si conclude nel momento in cui vengono inscritti nello spazio destinato alla loro installazione.
Si può allora parlare di opere aperte sia in senso temporale sia semiologico. In coerenza con il concetto di percorso in fieri è la scelta elettiva di un materiale come l’argilla che Manders impiega nei suoi manufatti sia come calco per sviluppi successivi con altri materiali (le resine epossidiche, le fusioni) sia come materia prima con cui realizza figure umane e animali, fratturate o di sfilacciata incompletezza.
La mostra è a ingresso libero, visitabile negli orari di apertura della collezione permanente. Giovedì e venerdì 14.30 – 18.30, sabato e domenica 10.30 – 18.30. Chiuso: 25 aprile, 1° maggio, dall’1 al 25 agosto, www.collezionemaramotti.org
Mark Manders is a Dutch artist. He was born in 1968 in Volkel, Netherlands. At first, he studied graphic design until age eighteen. He changed his mind and decided to be a writer but with objects instead of words. He became very interested in the paralleled evolution of humans and objects. Manders’s body of work consists mainly of installations, drawings, sculptures andshort films. Typical of his work is the arrangement of random objects, such as tables, chairs, light bulbs, blankets and dead animals. He is best known for his rough-hewn clay sculptures.[2] Manders is represented by Tanya Bonakdar Gallery in New York.
Self portrait as a building
Since 1986 Manders has been making Self-portrait as a building. The first of this series of fictional architectural plans wasInhabited for a Survey, (First Floor Plan from Self Portrait of a Building) (1986), where the plan is drawn on the floor of the gallery using pencils, crayons and other markers. The fictional building represents a fictional artist, “Mark Manders”, an alter-ego distinct from the artist Mark Manders. This fictitious character is described by the artist as a, “Neurotic, sensitive individual who can only exist in an artificial world.” Each of his exhibitions includes an evolving floor plan of the self-portrait building along with various art works. d He uses this architecture to drive his work and allow it to make the decisions, calling it a “machine”, but at the same time bringing objects to a standstill as he develops these memory spaces. Despite creating this fictional space, he insists on using “real objects” in the “real world” to make his sculptures. “I don’t often show my work in the public domain, rather in museums where people choose to go to see art. But since 1991 I always test a work that I’ve just finished in a supermarket. I just imagine a new work there and I check if it can survive where it doesn’t have the label of an artwork. It is just a thing that someone placed in a supermarket. Now I am sure that all of my works can stand in that environment.” He often feels alien to the real world and its institutional art settings. He insists that his work stays the same throughout its exhibitions but gets re-contextualized each time it enters the “real world”.
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