HEARTBURN (Remake U.F. Health & Beauty) Sculpture

Contemporary artist Hugo Markl performs a concentrated reflection on receptive processes per se – deliberate intellectual error – in relation to the processing of text, film, and art: tradition, culture change, and art movement understood as intellectual auto-digestion. Within every tradition, overcoming artistic and intellectual key works has been characterized by mixing facts with fiction. Markl's art stands as a type of the Superfiction or conceptual artwork that uses fiction and appropriation. At the time he began working, American and European art was somehow labeled as Neo-Pop and Neo-Geo. Markl was-and still is a versatile artist, and worked in every major genre: installation, live music; video, sound and light installations have become an integral part of his exhibitions, he advanced the conceptual reach of appropriation-art and revised a great deal of art theory with his latest drawing series IQ, including other forms of light and heavy entertainment. Roberta Smith makes the point forcefully: A little-known Vietnam-era protest by Donald Judd inverts the American flag into orange, green and black fabric, looking back to Jasper Johns and forward to David Hammons. Ulay's S'He, a 1975 Polaroid triptych of himself, a Yugoslavian performance artist, presents male and female profiles and their androgynous, full-face fusion. Hugo Markl's 2005 Nosy, a large color photograph of a bathtub of oatmeal, suggests vomit or decomposing flesh ... It is only through recognizing the disinhibited sensuality at the center of Markl's work that we can make a start towards a comprehension of his structures and an insight into his operating area. Especially during his "One day 1917, while his director was out sick with a hangover, John Ford made his first feature . . ." exhibition, which featured the new artwork series IQ, 2010, Markl counteracted conventional bad-art forms to a degree rare at the time, with noticeable assurance and to great and new neo-amateurish effect. Only occasionally did Markl parody the working methods of other artis, thereby giving their work a transient tone, which undoubtedly contributed to the development of a unique mutual artistic rapprochement.