Mark Manders – House with All Existing Words. An exhibition in Juliaan Lampens’s Woning Van Wassenhove
Mark Manders – House with All Existing Words. An exhibition in Juliaan Lampens’s Woning Van Wassenhove
Sculptor Mark Manders installed an exhibition in the Woning Van Wassenhove, a post-Brutalist house designed by Juliaan Lampens in 1974. Although Manders hardly touched some spaces, he treats the bed, office, and kitchen as stages for aggregation in line with the original occupant’s mindset: drawings, architectural proposals, photographs, artworks, paint pots, and seemingly wet clay are piled on top of one another. In Manders’ words: 'The aim is to show the house in a perfect situation. While some spaces derail when you zoom in on them, there is a kaleidoscopic element to it, as if you are looking inside a head.'
64 pages, 20 x 27cm, softcover, Roma Publications (Amsterdam).
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Mark Manders – House with All Existing Words. An exhibition in Juliaan Lampens’s Woning Van Wassenhove
Sculptor Mark Manders installed an exhibition in the Woning Van Wassenhove, a post-Brutalist house designed by Juliaan Lampens in 1974. Although Manders hardly touched some spaces, he treats the bed, office, and kitchen as stages for aggregation in line with the original occupant’s mindset: drawings, architectural proposals, photographs, artworks, paint pots, and seemingly wet clay are piled on top of one another. In Manders’ words: 'The aim is to show the house in a perfect situation. While some spaces derail when you zoom in on them, there is a kaleidoscopic element to it, as if you are looking inside a head.'
64 pages, 20 x 27cm, softcover, Roma Publications (Amsterdam).
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Sculptor Mark Manders installed an exhibition in the Woning Van Wassenhove, a post-Brutalist house designed by Juliaan Lampens in 1974. Although Manders hardly touched some spaces, he treats the bed, office, and kitchen as stages for aggregation in line with the original occupant’s mindset: drawings, architectural proposals, photographs, artworks, paint pots, and seemingly wet clay are piled on top of one another. In Manders’ words: 'The aim is to show the house in a perfect situation. While some spaces derail when you zoom in on them, there is a kaleidoscopic element to it, as if you are looking inside a head.'
64 pages, 20 x 27cm, softcover, Roma Publications (Amsterdam).
