Ernesto Neto @ Tanya Bonakdar Gallery, NYC - Between Earth and Sky

Ernesto Neto: Between Earth and Sky

Tanya Bonakdar Gallery, New York

May 14 - June 16, 2022

Since the 1990s Ernesto Neto has created a distinct body of work— an ongoing formal inquiry into space, volume, balance, and gravity that is equally informed by sensuality, energy, and spirituality. Drawing on biomorphism, Arte Povera and Minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s and 1970s, Ernesto Neto’s work incorporates organic shapes and materials that engage all five senses. He is inspired by a wide range of sources– from Brazilian avant-garde artists such as Hélio Oiticica and Lygia Clark, through the Modernist abstraction of Alexander Calder and Constantin Brancusi, to the natural world, shamanism and craft culture.

earthtreelifelove in the downstairs gallery is the culmination of Ernesto Neto’s ongoing exploration of the relationship between humans and the environment as inseparable entities. The cotton crochet carpet is made with spiral formations that represent the earth and the ocean, and the top of the sculpture represents the sky and leaves falling from a tree, highlighting the cycle of nature. Viewers are able to take off their shoes, lie down on the carpet and gaze up to experience a moment of meditation and contemplate their connection with the natural world. In Steps and Leaves, over 520 knotted cotton formations are attached directly to the surrounding walls in the main gallery, representing human steps moving through the earth. Combining his signature biomorphic shapes, and using weight and gravity to dictate form, Neto creates an alluring environment of color, texture, and smell that collapses the distance between viewer and artwork, and human and nature.

On the second floor, Ernesto Neto has created a sculptural garden beneath the skylight that is comprised of spices, mulch, pebbles, soil, and plants. Ernesto Neto will invite the public to plant the garden in a special presentation, where visitors can connect with the natural environment and one another. Surrounded by an outline of bricks and crochet forms, Neto has created a sanctuary in which the plants can thrive. In the project room, new drawings and smaller sculptures are on display. Neto fills handknit crochet puffs with an array of spices and lays them on the ground so that the spices seep through and create patterns that resemble sun rays on the floor. In the drawing, Ernesto Neto takes a crochet sculpture filled with spices and throws it onto the paper to create the shape of the sun. By producing a trace of this action, Ernesto Neto challenges the static nature of sculpture and draws a connection between the human body and his work. 

Among the most influential artists of his generation, Ernesto Neto has become known for his immersive environments of vibrant color, fragrance and sound, and for his use of natural materials. While investigating the properties of the natural world, Ernesto Neto's work also functions as models of the social environment, creating new architectural settings that investigate scale and radically redefine the boundaries between the artwork and the viewer. 

Born in 1964 in Rio de Janeiro, the artist continues to live and work in Brazil. He studied at the city’s MAM Museum of Modern Art at Rio de Janeiro in 1984 through 1986, and also attended Escola de Artes Visuais do Parque Lage in 1987.

Ernesto Neto's work has been the subject of major museum exhibitions worldwide, including: SunForceOceanLife at The Museum of Fine Arts, Houston (2021), Mentre la vita ci respira at GAMeC, Bergamo, Italy (2021), Water Falls from the Breast to the Sky at Museum of Contemporary Art Chicago, Chicago (2020), Ernesto Neto: Sopro (Blow) at Pinacoteca, São Paulo (traveled to Malba, Museum of Latin American Art, Buenos Aires, Argentina; Palacio de La Moneda Cultural Center, Santiago, Chile) (2019), Ernesto Neto: Rui Ni / Voices of the Earth at KUNSTEN Museum of Modern Art Aalborg, Denmark (2016), Ernesto Neto: Boa at Museum of Contemporary Art Kiasma, Helsinki, Finland (2016), Ernesto Neto: Mother Body Emotional Densities, For Alive Temple Time Baby Son at MCA San Diego (2015), Ernesto Neto: Haux Haux at Arp Museum Bahnof Rolandseck, Germany (2014), Ernesto Neto: Gratitude at Aspen Art Museum, Aspen, CO (2014), Ernesto Neto: The body that carries me at Guggenheim, Bilbao, Spain (2014), Ernesto Neto: Madness is Part of Life at Espace Louis Vuitton, Tokyo (2012), Ernesto Neto: Cuddle on the Tightrope at Nasher Sculpture Center (2012), Ernesto Neto at Faena Arts Center in Buenos Aires, which traveled to Estação Leopoldina in Rio de Janeiro (2011-2012), Hayward Gallery, Southbank Centre in London (2010) Museum of Modern Art in New York (2010), Ernesto Neto: Intimacy at Astrup Fearnley Museum of Modern Art in Oslo (2010), Dengo at Sao Paulo Museum of Modern Art (2010), Ernesto Neto - Mentre niente accade/ while nothing happens at Museo d'Arte Contemporanea Roma in Italy (2008), Ernesto Neto at Museum of Contemporary Art, Sydney, Australia (2002), Directions-Ernesto Neto, Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2002), among others. 

His work has also been featured in numerous group exhibitions and biennials, most recently the 14th Biennale de Lyon, curated by Emma Lavigne (2017). In 2001 he represented Brazil at the 49th Venice Biennale, and in 2017 Neto was prominently featured in Vive Arte Viva at the 57th Venice Biennale curated by Christine Macel. Neto has been included in major group shows at Guggenheim Bilbao, Albright Knox Art Gallery, and Centre Pompidou-Metz. In summer 2018, a large installation, GaiaMotherTree was successfully shown at the Zurich train station, in collaboration with Fondation Beyeler, with a month-long corresponding public and education program that took place inside the work.

Ernesto Neto’s work is well represented in international museum collections, including those of the Museum of Modern Art in New York, Museum of Fine Arts, Houston, Tate Gallery in London, Solomon R. Guggenheim Museum in New York, Carnegie Museum of Art in Pittsburgh, Museum Boijmans van Beuningen in Rotterdam, Centre Pompidou in Paris, Hara Museum in Tokyo, Contemporary Art Center of Inhotim in Brazil, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Milwaukee Art Museum, Museum of Contemporary Art, Los Angeles, among many others.

TANYA BONAKDAR GALLERY

521 West 21st Street, New York, NY 10011

www.tanyabonakdargallery.com

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Charles Long @ Tanya Bonakdar Gallery, Los Angeles - Worklight

Charles Long: Worklight 

Tanya Bonakdar Gallery, Los Angeles 

Through May 28, 2021 

Tanya Bonakdar Gallery presents CHARLES LONG’s second solo exhibition at the Los Angeles Gallery, and thirteenth with the gallery.

In WORKLIGHT, a title obtained from a scrap of plastic the artist found while crossing an intersection on his daily bike ride to the studio, Charles Long presents a new body of assemblage works playing with the openness of consciousness (light) against the seeming limits of physical material (work). This dichotomy unfolds Charles Long’s relationship with the processes of time, the flow between inner and outer experience, and the building up and breaking down of realities.

With production commencing at the start of quarantine, Charles Long’s studio quietude allowed for a detox of mind and an organic accrual of new forms and practices. The path between his home and studio acted as an art supply store of the uncanny, paralleling the dreamlike corridor inwards amid accumulating seclusion. The seventeen sculptures that comprise this year-long investigation reveal individual forms that act as fossils or accretions of lost time. These chimerical bodies move from geological to mechanical, erotic to the mundane, mineral to animal, and architectural to cosmological. Some appear milky and melted, only to burst open with crystalline precision. Others are chaotic and formless, gathering into something insistently specific, only to collapse again into the unnamable, left to be perceived as a fraction of a moment caught between two eternities.

WORKLIGHT is laid out in nearly chronological order to its making. In the front gallery space, a wall-mounted sculpture, The Oracle, 2020, grew out of scavenged, disinterred detritus, commingled with fragments of strange quarantine dreams. The white, shell-like surface submerges the origins and identities of its parts, as layer upon layer of white plaster fuses with diverse forms into one illusive body, creating a cohesive but coalescent artifact. This initial way of engaging material and time became the method for the works that followed. Like The Oracle, these enigmatic forms each present their riddle, one whose answer lies with the beholder. 

Hung throughout the space are metaphorical work-lights: mounted beacons, camera-like and observational, created with plaster, dumpster treasure, parts of older sculptures, plant material, and unique pieces of venetian glassware the artist inherited from his grandmother. Six of these work-lights function as speakers whose vibrations create an ambient pathway through the space. Charles Long partnered with the studio of experimental trumpeter and composer Jon Hassell to create an aural landscape for the sculptures to inhabit. The 30-minute composition featuring Jon Hassell, Rick Cox and Luke Schwartz embodies Hassell’s “Fourth World'' sound, as both primitive and futurist. Jon Hassell’s work has been influential to Charles Long’s practice since his art school days in Philadelphia. 

In the main gallery, visitors are met with large installations that transform the space with light, movement, and Long’s own subjective memories. On the back wall, Azazel (after Rogier van der Weyden’s Crucifixion with the Virgin and St. John, c. 1460), 2021, references a historical painting that Long would visit recurrently in his formative years exploring the Philadelphia Museum of Art. New figuration replaces the religious subjects of the diptych with what Long refers to as monads. Monads have been a consistent and important motif in Charles Long’s oeuvre and can be found throughout the exhibition.

For the five works employing reflected light, Charles Long combines the optical with the sculptural as fields of mirrored, crystalline growths sprout and redirect light into organized patterns appearing on proximate surfaces. Each of these sculptures has a unique identity, ruptured by chaotic transfiguration. These eruptions appear unsystematic, though they are faithfully precise to their purpose, as they angle their refraction to form cogent glyphs. Crafted by a process of merging the individual letters of a specific word into one symbol, these glyphs of light form what are historically known as sigils, where the maker maintains a state of mind where what would have been wished-for is known to already exist.  In WRKLT: make, 2021, the sigil for the word ‘make’ appears upon the surface of a totem where the myriad light fragments can be seen as either assembling or in the process of disintegrating. Extending into the final, darkened gallery, the sculpture creating the sigil for ‘believe’ can be spun by the viewer so that the sigil disintegrates and scatters throughout the room, becoming stars on the ceiling.  When the five reflective works are imagined all together, they form this sentence: ‘make believe our exile’s chosen,’ an advocation of the imagination as a pathway to find illumination in darkness. 

CHARLES LONG

Born in 1958 in Long Branch, New Jersey, Charles Long currently lives and works in California. In 1981, he received a BFA from Philadelphia College of Art while also participating in the Whitney Museum’s Independent Study Program that year, and later earned an MFA from Yale University in New Haven in 1988. He currently teaches as a professor in the Art Department at the University of California, Riverside.

Throughout the past two decades, Charles Long’s work has been the subject of major exhibitions worldwide, most recently Made in L.A. at the Hammer Museum in 2018, curated by Anne Ellegood and Erin Christovale. His most important solo presentations include CATALIN at The Contemporary Austin in Texas (2014), Fountainhead, a public commission in Dallas, Texas organized by the Nasher Sculpture Center (2013), Pet Sounds at Madison Square Park in New York City (2012), Seeing Green, a solo project in conjunction with All of this and nothing: The 6th Hammer Invitational at the Hammer Museum in Los Angeles (2011), 100 Pounds of Clay at The Orange County Museum of Art in California (2010), and More Like a Dream Than a Scheme at David Winton Bell Gallery at Brown University in Rhode Island, which traveled to SITE Santa Fe in New Mexico (2005).

His work was featured twice in the Whitney Biennial at the Whitney Museum of American Art in New York (1997, 2008), and has also been included in notable group exhibitions at the Museum of Modern Art in New York, SculptureCenter in New York, Museum of Contemporary Art Chicago, Magasin 3 Stockholm Konsthall in Sweden, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Institute of Contemporary Art in Philadelphia, Mori Art Museum in Tokyo, among other museums.

His work is represented in important public and private collections worldwide, including those of the Museum of Modern Art in New York, Philadelphia Museum of Art, St. Louis Art Museum in Missouri, Walker Art Center in Minneapolis, Magasin 3 Stockholm Konsthall, Museum of Contemporary Art, Chicago, Whitney Museum of American Art, New York, Hirshhorn Museum and Sculpture Garden, Louisiana Museum of Modern Art in Denmark, and the Fogg Art Museum at Harvard University in Cambridge, MA.

TANYA BONAKDAR GALLERY

1010 N Highland Avenue, Los Angeles, CA 90038

www.tanyabonakdargallery.com

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Sarah Sze @ Tanya Bonakdar Gallery, NYC

Sarah Sze
Tanya Bonakdar Gallery, New York
September 5 — October 19, 2019

Tanya Bonakdar Gallery presents a solo exhibition with artist Sarah Sze at the gallery’s New York location. This is the artist’s third solo show with the gallery and her first exhibition in New York since 2015.

“In the age of the image, a painting is a sculpture.”
Sarah Sze (2019) 

“After the rupture, after the apocalypse, amid the ruin of cables and wires, someone might ask: what was the purpose of all of those images within and through which we lived?”
Zadie Smith “The Tattered Ruins of the Map” Sarah Sze: Centrifuge (2018)

For more than two decades, Sarah Sze’s work has defied the limitations of artistic media, employing with equal facility sculpture, installation, video, photography, printmaking and painting. Sze has been credited with dismantling and re-envisioning the very potential of objects, simultaneously celebrating the particular relevance of sculpture in contemporary visual culture, while also expanding its definition. However, her focus has been equally tuned to images, considering their materiality, transmutability, and ease of circulation in our increasingly digital existence. Originally trained as a painter, she has consistently looked through the lens of two-dimensionality, including color, line, form and image-making, to consider aspects of sculpture and installation.

Sarah Sze’s latest body of work frays “the seam between the real and the image” (Smith). Through complex constellations of objects and a proliferation of images, Sze expands upon the never- ending stream of visual narratives that we negotiate daily, from magazines and newspapers, television and iPhones, to cyberspace and outer space. The works evoke the generative and recursive process of image-making in a world where consumption and production are more interdependent, where the beginning of one idea is the ending of another—and where sculpture gives rise to images, and images to sculpture.

In this new exhibition, Sarah Sze expands her work by embedding her nuanced sculptural language into the material surfaces of painting and into the digital realm through the interplay of cloth, ink, wood, paper, metal, paint, found objects, light, sound and structural supports—collapsing distinctions between two, three and four dimensions. This body of work fundamentally alters our sense of time, place, and memory by transforming our experiences of the physical world around us. Both objects and images, Sze says, are “ultimately reminders of our own ephemerality”.

The exhibition is immediately visible on the gallery’s exterior storefront windows and fills both floors with an installation that utilizes all media and approaches to art making. On the lower level, the main space is filled with a Plato’s Cave of imagery, entitled Crescent (Timekeeper), which scatters out to the entryway, across the walls and onto floors. An immersive installation of light, sound, film, paintings and objects transforms our sense of materiality and the imaginary. Moving pictures, scenes, and flickering light surround viewers in loops of personal, researched and found scenes. The installation unfolds in fragments: a fire burns, a building collapses, a child sleeps, static image signals or “snow” overtakes a film clip mid-play. Sarah Sze splices together disparate content that viewers, upon moving through the space, edit together through the act of seeing and reading images to create their own narrative content in the work.

This interplay of images and content is juxtaposed on the first floor with a “studio space” filled with paintings and other visual elements, utilized by the artist in the making of the work itself. Here Sarah Sze debuts a layered painting process in which the medium functions as a portal into two- dimensional experimentation in time, space and memory. Traces of image-making techniques fuse and fade: silkscreen prints, collage, photographs and other elements mark the walls, suggesting the generative process of making in innumerable forms and the ways in which an image is burned into memory and unreliably persists, decaying over time.

In two galleries upstairs, painting, video, photography, sculpture likewise morph, with each assuming and absorbing the characteristics of other media and taking on new forms. Painting fills not only walls, but also the floor; paint is converted into a physical route laid on the floor plane and assumes the role of sculptural entity around which viewers maneuver physically. Sarah Sze further generates images of painting, and paintings of images that, in turn, are photographed, printed, recorded, and projected. Her sculpture generates images that are not only used in the paintings, but also fuel the video and installation in an endless feedback loop. Input and output feed the work in ways that confirm that the hierarchies of the originality no longer exist. Taken together, the intermingling of painting, sculpture, photography, video, and architecture become fertile ground for the process of seeing images in time and space—not unlike the way we experience them in the ever shifting, complex, material yet ephemeral world in which we exist.

SARAH SZE’s work has been the subject of major exhibitions worldwide, and in 2003 she was awarded the prestigious MacArthur fellowship. In 2013, she represented the United States at the 55th Venice Biennale with a presentation entitled Triple Point. Her work has also been presented in major solo exhibitions at Haus der Kunst, Munich, Germany (2017); Copenhagen Contemporary, Copenhagen, Denmark (2017); Rose Art Museum, Brandies University, Boston (2016); Fabric Workshop and Museum, Philadelphia (2014); Asia Society, New York (2011- 12); Baltic Centre for Contemporary Art, Newcastle, UK (2009); Malmo Konsthall, Malmo, Sweden (2006); Whitney Museum of American Art, New York (2003); Museum of Fine Arts Boston (2002); Walker Art Center, Minneapolis (2002); Museum of Contemporary Art, Chicago (1999); Fondation Cartier, Paris (1999); and the Institute of Contemporary, London (1998).

In October 2019, Sarah Sze’s work will be featured in Surrounds: 11 Installations, a major group exhibition for the re-opening of the Museum of Modern Art, New York. In December 2019, Sarah Sze will have a solo exhibition at the Fondation Cartier in Paris, France.

Sarah Sze has completed major public commissions for New York's Metropolitan Transportation Authority’s 2nd Avenue subway line, 96th street station (2017), New York City’s High Line Park (2011-12), the Doris C. Freedman Plaza in New York City, organized by the Public Art Fund (2006), and the Massachusetts Institute of Technology in Cambridge (2004), and most recently for Western Washington University in Bellingham, Washington (2019).

Her work is well represented in private and public collections worldwide, including Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, Chicago; Philadelphia Museum of Art; 21st Century Museum of Art, Kanazawa, Japan; Walker Art Center Minneapolis; Boston Museum of Fine Arts; High Museum of Art, Atlanta; National Gallery of Canada; Tate Collection, London; and the Los Angeles Museum of Contemporary Art.

TANYA BONAKDAR GALLERY
521 West 21st Street New York, NY 10011
tanyabonakdargallery.com

Mark Manders @ Tanya Bonakdar Gallery, NYC

Mark Manders: Writting Yellow
Tanya Bonakdar Gallery, New York
Through May 24, 2019

Tanya Bonakdar Gallery presents Mark Manders: Writing Yellow, on view at the gallery’s New York location. For the artist’s fourth solo exhibition with the gallery, Mark Manders presents a variety of sculptural works that continue his “self portrait as a building”– an ongoing investigation into self-portraiture, architecture, language, and perception. The gallery exhibition coincides with Manders’ monumental Public Art Fund commission, currently on view at the Doris C. Freedman Plaza in Central Park. 

Throughout his influential practice, Mark Manders has written a continuous sculptural autobiography through objects and architecture. Over the past three decades the artist has developed a cohesive body of work that exists in its own realm, independent of a clear narrative or chronology. Language plays a defining role in Mark Manders’ practice; in a recent interview he explained, “I wanted to be a writer, but I became more fascinated with objects—how they relate to language and thinking. Instead of writing with words, I started to write with objects. I wanted to create a language out of them…” Writing Yellow sees Mark Manders continue his original ambition to be a writer and aims towards a broader premise in which his works engage in a continuous dialogue with one another. In Writing Yellow, the artist’s latest literary and sculptural undertaking is filtered through the use of a single color: yellow.

Operating under the theory that the conception and measurement of time arose with language, the artist uses words and visual codes to dislodge our spatial and temporal senses. His work constructs a timeless reality wherein contradictions co-exist: the past and the future, the temporary and the permanent, the beautiful and the grotesque, the tender and the brutal. In choosing the term yellow, Mark Manders alludes to the multitudes that language may contain; thus yellow can convey a range of associations, feelings and memories. For instance, looking at Van Gogh's sunflower paintings and the particular yellow that the artist chose - a specific shade that Mark Manders describes as warm yet almost poisonous.  And so, yellow offers itself as a chameleon-like construct to be transformed by the artist to communicate an endless variety of emotions.

Upon entering the main gallery, the viewer encounters Composition with Four Yellow Verticals, an arrangement of four monumental, craquelure busts, each set upon materials one might find in an artist's studio. The ambiguous expressions of the figures are destabilized by yellow painted wooden elements that bisect each figure’s face. In a mastery of trompe l’oeil, Mark Manders coaxes the familiar materials of his archetypal forms to invert our conception and understanding of what we see and experience. These enigmatic figures appearing to be composed of clay are, in fact, cast bronze. Each figure is positioned at a slightly different angle, offering multiple perspectives on the serial form, an experience intensified by the shifting scale between each form. At the same time, the figure-ground relationship is subverted, and logic is inverted, as the artist suggests a narrative where perhaps these complex monumental figures entire raison d’être is to act as support, an infrastructure, for an abstract composition of four vertical yellow elements. 

Works consisting of papier-mâché newspapers are presented alongside the artist’s figurative arrangements. Self-made newspapers are a recurring motif in Mark Manders’ practice. Timeless and abstract, devoid of any linear narrative, these notional newspapers contain every word in the English language—used only once and placed in random order—and are supplemented with images of the artist’s own work. Often obscured or redacted through overpainting or collage, the artist points out that such notable words as floor, object, newspaper, and yellow can be found in these papers. And that through such a small selection of words, strung together, one can construct imaginary worlds.

In the rear gallery space, a sculpture of three half-faced figures titled, Still Life with Thin Yellow Rope is presented. Scale and seriality are once again at play between the three repeated ‘unfinished’ portraits. Structures that appear to be iron scaffolding protrude from each figure, positioning the work as a crumbling architectural remnant or ruin. Atop each of the three iron poles, a yellow iron tube follows a path that resembles a sound wave or statistical chart.

At the second floor landing, the viewer comes upon an abstract, dry clay figure, laying horizontally upon the floor, another recurring motif in Mark Manders’ practice. Crowned with a gritty and matted wig, the work is titled Figure with Yellow Pencil. An iron pencil is suspended from a rod and rope over a small hole created in the muddy object’s visage, amplifying the notion that our mind, and conceptions of time and form, are structured first and foremost by language and writing. 

In the large gallery upstairs, Mark Manders presents two distinct continuations of his eponymous self-portraits. In Composition with Yellow Vertical, a vertical sliver of the stoic subject is bookended by steel, wood and canvas, fictitious newspapers, and an enlarged yellow measuring stick. For this work the artist employs epoxy, as opposed to bronze, to beguile the viewer and achieve the illusion of clay. 

Alongside this piece, Floor with Painted Wooden Object is presented. Reminiscent of early modernism, the painted object and parquet flooring are staged in a vitrine as a preserved artifact. Similar to his Van Gogh-esque use of yellow, Mark Manders adopts stylistic references from various periods as a poetic ode to the ambiguous language of art and as a vehicle to further displace chronology and narrative. 

Small Room with Three Dead Birds and Falling Dictionary transforms the upstairs project space. Mark Manders is a poet, exploring the power of simple word combinations to construct complex environments and atmospheric worlds. Entering the room, the viewer encounters a soft floor covered in canvas with a single painting of a ‘falling dictionary’ on each of the gallery’s four walls. Each painting contains layers of hand-made newspapers, created by the artist and containing every word in the dictionary. Beneath the padded canvas floor, hidden from the view of the visitors, three dead birds have been placed by the artist. Utilizing language to build a complex and poetic sense of tension and uneasiness within the space, Mark Manders likens the experience to the act of walking in the woods, gently observing "the skin of the world is actually a thin layer of death.” The canvas is tacked to a wooden frame around the perimeter of the space, a kind of painting itself, laid horizontally and stretched wall to wall across the floor. Since the first part of the installation's title is something that we are not able to physically see, we are left to conjure up the image of dead birds in our imaginations. Again, the artist invites the viewer to contemplate the hidden elements and the unyielding connection of language to image, form, object, and perception.

Born in 1968 in Volkel, The Netherlands, Mark Manders currently lives and works in Ronse, Belgium. Winner of the 2002 Philip Morris Art Prize, Mark Manders also received the prestigious Dr. A.H Heineken Prize for Art in 2010.

Significant solo exhibitions include a 2010 major retrospective at the Hammer Museum, Los Angeles which later traveled to the Aspen Art Museum, Colorado, Walker Art Center, Minneapolis, and Dallas Museum of Art, Dallas through 2012. Other solo presentations include Mens erger je niet. De keuze van de erfgoedbewakers, S.M.A.K., Ghent (2016); Rainbow Caravan, Aichi Trienniale, Aichi, Japan (2016); Mark Manders: Cose in corso, Collezione Maramotti in Reggio Emilia, Italy (2014); Mark Manders, Centro Galego de Arte Contemporanea in Santiago de Compostela, Spain (2014); Les études d’ombres, Carré d'Art - Musée d’art contemporain, Nîmes, France (2012); Revisions: Mark Manders, Carrillo Gil Museum of Art, Mexico City (2011); Two Interconnected Houses, La Casa Luis Barragân, Mexico City (2011); and The Absence of Mark Manders, which opened at Kunstverein Hannover, Germany (2007), and traveled to S.M.A.K., Ghent, Kunsthaus Zurich, and to Bergen Kunsthall, Norway through 2009.

In 2013 Mark Manders represented the Netherlands in the 55th Venice Biennale. He has been commissioned to create monumental outdoor projects by the Public Art Fund at the Doris C. Freedman Plaza at Central Park, New York (2019); the Walker Art Center for the museum’s Minneapolis Sculpture Garden, Minneapolis (2017); and Rokin Square, Amsterdam (2017). Mark Manders participated in group exhibitions at the Hammer Museum, Los Angeles (2019); Fondazione Prada, Milan (2018); Rockbund Art Museum, Shanghai (2018); Palace of Versailles, Versailles (2017); WIELS, Brussels (2017); Louvre, Paris (2015); S.M.A.K., Ghent (2015); Guggenheim Museum, New York (2015); Palais de Tokyo, Paris (2014); Bonnefantenmuseum,  Maastricht (2014); 21er Haus, Vienna (2014); The Wadsworth Atheneum Museum of Art, Hartford (2012); Menil Collection, Houston (2012); David Roberts Arts Foundation, London (2012); Museum of Modern Art, New York (2012); Institute of Contemporary Art, Philadelphia (2011); DESTE Foundation, Athens (2011); and Kunsthalle Bern (2010), amongst many others.Mark Manders’ work can be found in the permanent collections of the Art Institute of Chicago, Carnegie Museum of Art, Pittsburgh; Kunsthaus Zürich; the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Pinakothek der Moderne, Munich; Philadelphia Museum of Art; Solomon R. Guggenheim Museum; Hammer Museum, Los Angeles; San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis among others.

TANYA BONAKDAR GALLERY
521 West 21 Street, New York, NY 10011
www.tanyabonakdargallery.com