lucerne

Ian Anüll

Mai 36 Galerie

Ian Anüll’s exhibitions always turn out to be highly ambivalent installations of work. The artist operates largely with found items, both material and spiritual; he undermines their meaning, allows them to function on different levels according to the given context. Consider Trademark, 1988, a small sculpture painted red and mounted on the wall like a console, on the front of which is placed a big, white, circled R (the international symbol of a registered trademark). This piece becomes a kind of thematic leitmotif, ironically alienating all the works in the show. On the one hand, it sovereignly maintains itself as a clearly articulated spatial body, à la Minimalist art. But beyond that, it also achieves a semantic dimension. Not only does the trademark identify the sculpture as an industrial product and trade-registered item, but the potential function of the pedestal elevates any possible

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