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Markus Huemer
"This Painting Is Dedicated to Its Secondary Market", oil painting, conceptual

2019

$20,000

About

Markus Huemer (*1968 in Linz, Austria, lives in Berlin) studied painting at the University of Art and Design in Linz and at the Art Academy in Dusseldorf. He had institutional solo-exhibitions – amongst other places – in Hannover (Sprengel Museum, 2019); Bratislava (Danubiana Meulensteen Art Museum, 2018); Prague (DOX Centre for Contemporary Art, 2009), Vienna (MUMOK Museum Moderner Kunst, 2007); Wiesbaden (Nassauischer Kunstverein, 1998). And he will have solo-exhibitions in Berlin (Czech Center, 2020; Haus am Waldsee, 2021). His works have been collected by – amongst others – the Albertina, Vienna, Daimler Art Collection, Leinemann-Stiftung für Bildung und Kunst, Berlin and Hamburg, MARTa Herford, Herford, Montblanc International, Hamburg, MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienna, Museum gegenstandsfreie Kunst, Otterndorf, Nordico – Museum der Stadt Linz, Österreichische Galerie Belvedere, Vienna, Saarlandmuseum, Saarbrücken, Collection Deutsche Bank, Collection European Patent Office, Munich, Collection of the Region Oberösterreich, Linz, Collection Ploner, Albertina, Vienna, Collection T-Mobile Austria, Viena, Collection Heiner Wemhöner, Herford and Berlin, Collection of the Federal Republic of Germany, Bonn, Sprengel Museum Hannover, Hannover, City of Cologne, Cologne, City Gallery, Nordhorn, ZKM Center for Art and Media, Karlsruhe. During his studies he came in contact with media art through the festival Ars Electronica, later also through a scholarship at the Center for Art and Media in Karlsruhe. Huemer works with the media of painting and drawing and creates also interactive installations, environments or computer animations. He problematizes and analyzes digital media in the context of classical art, by using art and media history. Knowing that painted worlds, as well as digitally depicted worlds, are imagined and completely artificial, Huemer develops series of works to examine the problem and construction of reality and its perception. In order to do so, he – often – uses multiple digital sources for each painting. Thus, we seem to see something that we believe to recognize – at first sight. However, once we look closer, we understand that we do not understand (anything). Because what we see is not a logical, plausible real space, nor history, but an image for which rather a large group of digital images have been "sewn" together, ad not an image that depicts any kind of analogue reality. Together with that come titles that are absurd, illogical, and weird and that do not have any relation with what has been (seemingly) depicted. These titles underscore the non-existant function of the work as a tool to depict reality. The painting “This Painting Is Dedicated to Its Secondary Market“ is an exception to the rule insofar as we see (or: believe we see) an art fair’s booth, a place where a painting that is sold on the secondary market, can very well be imagined. Thus, Huemer directly refers to the system for which the painting itself has been created (the art market system that allows the artist and his agents to exist). And he refers to one of the locations in which a painting can be offered, to the sales point “art fair”. Huemer creates these references with his tongue in his cheek. It is not about criticism of the system, but needs to be understood rather as a reflection, a humorous analysis of it. Huemer presents his possible new artwork, that he was asked to do for a fair, with a painting that – this is how one could interpret the work – is no artwork in the true sense, but only a concept of the booth. The artist solely presents a possible view of how a booth could have come out. However, and that makes the work even more interesting, we only seem to see the sales point “art fair”. Because, once we look closer, we understand that this painting is not a depiction of reality, but rather an abstract idea of what we might consider an art fair booth. There is no spatial logic in the work. And that throws us back to the process of painting as a creative act. Here, Huemer allowed himself to add the color yellow to the non-colors black and white. The yellow has, however, been taken only for the citation of his own work that seemingly appears for sale in the booth. Technically, all the colors were applied by dotting the color, dot by dot, as if that was a digital process.

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