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