Nestled in the picturesque Belgian countryside, a hidden architectural relic adorns the landscape, the Woning Van Wassenhove. Designed by architect Juliaan Lampens between 1970 and 1974, this post-Brutalist house has captivated the imagination of art and architecture enthusiasts. Unlike the typical depiction of clean and sparsely furnished Brutalist interiors, the original occupant, Albert Van Wassenhove, filled this architectural masterpiece to hoarder-like proportions until his passing in 2012. Amidst these unique surroundings, a mesmerising art exhibition comes to life. The intriguing collaboration between Dutch-Belgian artist, Mark Manders, known for his boundary-defying sculptures and Laurens Otto, the curator of Museum Dhondt-Dhaenens unfolds in The Absence of Mark Manders. In an exclusive conversation with STIR, they peel back the layers of creativity and preservation, exploring the synergy between Manders’ artistry and Lampens' architectural masterpiece.

Manders, a fervent admirer of Juliaan Lampens’ work, saw a unique connection between the Woning Van Wassenhove and Casa Luis Barragan, where he had exhibited in 2011. The artist shares, "His clear, radical, poetic and inventive work is outstanding. For me, the Wassenhove ranks among the top most beautiful houses in the world.” This admiration and reverence for Lampens’ work laid the foundation for the fusion of Manders’ art within the structure.

The Absence of Mark Manders is an exhibition that blurs the line between sculpture, architecture and personal spaces. The sculpture artist originally planned to recreate the hoarder-like situation of the house’s previous owner, Albert Van Wassenhove, replacing every object with his artwork. However, he came to realise the need to respect the integrity of organic architecture, leading to a thoughtful and intentional integration of his work with design and the personal belongings of the house.

Manders' decision to select specific places within the house, such as the bedroom, office and kitchen was guided by his desire to re-enact the hoarder-like situation of the previous owner without compromising the architecture. This creates a striking contrast between the ‘empty’ areas and the more minimal parts of the installation. These spaces collectively form a complex, almost ‘neurotic’ amalgamation of art and architecture. “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 them, as if you are looking inside a head,” says the artist.

“Inspired by Manders' extensive knowledge of 20^th century architecture and design and his profound appreciation for Julian Lampens’ work, the concept for the exhibition at the Woning Van Wassenhove took shape. The opportunity to present the artist’s art sculptures within the house was an offer that I couldn’t resist,” curator Laurens Otto tells STIR.

While the exhibition comprises nearly 40 artworks by Manders (excluding the three installations, each consisting of a dozen works), a fascinating aspect is his ability to maintain the pristine first impression upon entry. As visitors ascend the stairs to enter the house, they are welcomed by an enchanting sight; an almost empty space, featuring an unadorned wall, a bare floor and an empty table. At a glance, it appears as though the house remains untouched despite the extensive art.

In this immersive experience, every item within the exhibition has been created by the artist. This includes the chairs, toilet, sugar cubes, soap bars and even the bin for shoe covers, exemplifying a remarkable span of more than 30 years of this contemporary artist’s journey compressed into this unique space. The desk setting closest to Van Wassenhove’s original use, the telephone and even the peculiar placement of a postcard echo the house’s original utilisation by Van Wassenhove.

Manders' sculpture art often defies conventional notions of perfection. Some pieces may appear rough or unfinished, but this is entirely intentional. These seemingly unfinished clay sculptures are meticulously cast in bronze and painted to create a three-dimensional trompe l'oeil effect, adding depth and intrigue to the spaces within the house.

Giving STIR an insight into the concept of 'perfect situation' within the context of the exhibition, Otto explains that this concept involves stripping the house of any elements not inherent to its architecture. Otto also elaborates on the immersive exhibition's engagement with the house’s natural light and its impact on Manders' artwork. He says, “Manders was the very first artist to ask me to remove the plastic case of the WiFi- modem, to opt for a less generic toilet (and replace it with his work Prime Mover (Toilet,1927), 2013-2023) and to remove all kitchen gear. It also meant restoring some elements, such as Lampens’ wooden stools and slightly intervening in the garden to create better vistas' '.

Preserving Lampens’ legacy was paramount in the project. The contemporary artist collaborated closely with the curatorial team to respect the constraints imposed by the monument. The challenge of balancing preservation and artistic intervention led to the discovery of meaningful solutions. The uniqueness of the house, characterised by its changing light posed a significant challenge. This contemporary artist emphasised that the morning and afternoon light required careful consideration to ensure the exhibition's quality at any time of the day. The management of natural light within the home plays a pivotal role in curating the artist’s work, as his art sparsely uses colour. Both Lampens and Manders demonstrate a masterful control over this interplay with natural light, adding a unique dimension to this immersive exhibition.

Manders' ongoing project, Self-Portrait as Building, found its place in the exhibition with the installation of House with All Existing Words on the house's exterior. This unique piece, composed of newspapers containing every existing English word used only once, adds a new dimension to one of the world’s most beautiful houses, transforming it into a canvas for the artist’s self-portrait. These words become timeless echoes, binding past and present.

In addition, the photographs featured in the exhibition predominantly capture studio dust. The exhibited works span an extensive timeframe, some dating back to 1992 while others are freshly created, bridging decades within a single moment. This confluence of time lends the exhibition an intriguing temporal dimension, leaving visitors to ponder the intersection of the house’s history and the artist’s vision.

Manders highlights the influence of each venue’s context on the perception and interpretation of his work. He shares an example from a recent exhibition at the Museum of Contemporary Art Tokyo, Japan, where the same works were presented in two different configurations, resulting in a shift in the meaning of the pieces, similar to rearranging words in a sentence. Looking to the future, the artist provides a glimpse into his ongoing journey within two vast studios. As he alludes to his forthcoming projects, which have often been decades in the making, it's evident that he is entering an exciting phase of his artistic exploration. These projects promise to be a significant chapter in his evolution, transcending conventional boundaries.

According to Otto, The Absence of Mark Manders is not a presentation ‘in’ the house, but is activating the place ‘as’ a house. This transformative approach effortlessly blurs the lines that conventionally separate art and architecture, breathing life into the Brutalist architecture of Woning Van Wassenhove.

The Absence of Mark Manders stands as a groundbreaking intersection of artistic expression and architectural brilliance. It reimagines the very essence of art exhibitions by challenging and dismantling established conventions. This exhibition, with its profound appreciation for beauty within imperfections, contributes meaningfully to the ongoing dialogue between contemporary art and architecture, creating a lasting impression on all who engage with its transformative narrative.

Discover The Absence of Mark Manders exhibition at Woning Van Wassenhove, Belgium, where art and architecture merge into an innovative narrative. Join the artist as he delves into this unique fusion of his work with Lampens’ masterpiece in a video presentation, redefining the essence of contemporary art and design.

'The Absence of Mark Manders' is on view from September 20 to December 17, 2023, at the Woning Van Wassenhove, Belgium.