About The Work
"The edition is a model of a work I realised in 2010 around London and documented as a film. I have scratched MARK into doll’s house brick wall paper. MARK is a verb, a noun, a proper name and the name I answer to."
‘The idea of ‘marking’ objects with his own name would continue, and expand into the public realm. In MARK, produced over the summer of 2010, Wallinger’s self-conscious performance of self-centredness would absorb vast swathes of London, the city that has so regularly been a backdrop for his art. Across the capital, from Clapham Junction to Mayfair to Camden Town, and many points between – he recorded his chalking of the work ‘MARK’ within the parameters of single standard sized brick. The consistency of scale and the centring of this ‘MARK’ makes a deadpan vanishing point that sits still while, figuratively, the city changes about it. In a digitally rendered, photographic slideshow, 2,265 images appear every three seconds, over a span of nearly two hours. Within this comically affectless tagging was, once again, a performed attempt to ‘get a grip on things’ on small and large scales. Given that bricks are, as Wallinger says, ‘as ubiquitous as people’, those things might readily include oneself and one’s position in a larger scheme of things. If, as he suggests, ‘naming and numbering are in some kind of relationship at the limit of use or uselessness,’ there’s a fine line being walked here between controlling one’s environment and accepting how insignificant one is within it.’
Martin Herbert, MARK – Thames and Hudson, 2011
Courtesy of Camden Arts Centre
About Mark Wallinger
Paper inscribed by the artist
19.68 x 13.78 x 1.18 in
50.0 x 35.0 x 3.0 cm
Certificate of authenticity signed by the artist
About The Work
"The edition is a model of a work I realised in 2010 around London and documented as a film. I have scratched MARK into doll’s house brick wall paper. MARK is a verb, a noun, a proper name and the name I answer to."
‘The idea of ‘marking’ objects with his own name would continue, and expand into the public realm. In MARK, produced over the summer of 2010, Wallinger’s self-conscious performance of self-centredness would absorb vast swathes of London, the city that has so regularly been a backdrop for his art. Across the capital, from Clapham Junction to Mayfair to Camden Town, and many points between – he recorded his chalking of the work ‘MARK’ within the parameters of single standard sized brick. The consistency of scale and the centring of this ‘MARK’ makes a deadpan vanishing point that sits still while, figuratively, the city changes about it. In a digitally rendered, photographic slideshow, 2,265 images appear every three seconds, over a span of nearly two hours. Within this comically affectless tagging was, once again, a performed attempt to ‘get a grip on things’ on small and large scales. Given that bricks are, as Wallinger says, ‘as ubiquitous as people’, those things might readily include oneself and one’s position in a larger scheme of things. If, as he suggests, ‘naming and numbering are in some kind of relationship at the limit of use or uselessness,’ there’s a fine line being walked here between controlling one’s environment and accepting how insignificant one is within it.’
Martin Herbert, MARK – Thames and Hudson, 2011
Courtesy of Camden Arts Centre
About Mark Wallinger
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