Martin Kippenberger Libri

The I, the own body BODY CHECK highlights two prominent late 20th-century artists who focused on the human body, particularly their own, in an era marked by abstract art and emerging political correctness. Their work grotesquely stages both female and male bodies, emphasizing the torso, limbs, and facial features with theatrical flair. Maria Lassnig (1919–2014) employed humor and self-irony in her artistic expression, using the grotesque as a feminist tool. Her self-portrayals depict her body in various forms, including as a torso or in states of transformation. Martin Kippenberger (1953–1997) infused his paintings, sculptures, and drawings with a darkly humorous grotesque spirit, reflecting the painful reality of a world lacking compassion. His self and body are often fragmented by external artifacts and language, suggesting a lost sense of salvation. Although Lassnig and Kippenberger never met, their artistic kinship is evident, with Kippenberger likely encountering Lassnig's work during his career. BODY CHECK unites their body images from two decades, offering fresh insights into their art and the gender-specific dynamics of international art at the century's close. The exhibition will be held in Bolzano, showcasing their impactful contributions.

Works spanning the legendary and prolific artist's twenty-year career, including many of his self-portraits, paintings, sculptures, works on paper, installations, and exhibition posters.

On 26 February 2003, Martin Kippenberger would have turned fifty. In his memory, gallerist Max Hetzler has dedicated a book that rekindles our memories of this enfant terrible of the art world, who passed away six years ago. The publication features personal testimonies from artists, critics, art historians, and authors who reflect on Kippenberger as a friend, role model, and source of irritation. Albert Oehlen recounts their intense artistic debates from the late 1970s, while Peter Pakesch shares his experience with Kippenberger, the “utopian campaigner,” driven by a desire to engage with the world and art. Merlin Carpenter, Kippenberger’s former assistant, describes the “Kippenberger system,” where diverse ideas fueled his creative output. Stephan Schmidt-Wulffen analyzes how public discourse shaped Kippenberger’s identity, emphasizing the importance of role-playing in his art. Martin Prinzhorn questions the relationship between Kippenberger's art and his persona, which often seemed to merge. Mayo Thompson recalls Kippenberger’s restless spirit, and Werner Buttner notes his tendency to mock even his own funeral. The book’s design enhances the exploration of Kippenberger’s artistic labyrinth, showcasing pictures, invitation cards, and snapshots that give him a vivid presence throughout.

An amazing publication on the late, great Martin Kippenberger, "Martin Kippenberger in Tirol" documents the artist's work in a diverse array of media--drawings, sculptures, installations, videos, performances, and unclassifiable forms. Included here are such irreverently brilliant pieces as his crucified frog sculptures, his Pollockian pizzas, and his drawings on hotel stationary, among many other works presented in color. In addition, "Martin Kippenberger in Tirol" features a witty and unorthodox essay by art critic Roberto Ohrt.

Martin Kippenberger (1953–1997) is one of the most important German artists of the last two decades. He decisively shaped the image of art in the postmodern era. His wit, his unrestrained creative urge, and the resulting work assured him a prominent position within the contemporary art scene during his lifetime. He now occupies an important place in art historical consideration today. Martin Kippenberger's attitude and understanding of his role as an artist has become a model for future generations. Drawings, posters, collages, multiples, artist’s books, photographs, music, paintings, sculptures, and expansive installations–Kippenberger's work encompasses all media of 20th century art. Perhaps the slogan I love No waiting, which he presented to Günther Förg's camera, reveals everything about the artist, the era some 30 years ago, and our own former youth. Did he already tell us that we should yearn for the zeitgeist embodied so uniquely by his art?

Martin Kippenberger (1953–1997) war ein provokanter und geistreicher Künstler, der in seinen fast drei Jahrzehnten Schaffen ein umfangreiches Werk in Malerei, Grafik, Plastik, Fotografie, Happening, Musik, Ausstellungsorganisation und Buchpublikationen hinterließ. Sein Leben führte ihn von Dortmund über Hamburg, Berlin, Paris, Spanien bis nach New York, wo er nationale und internationale Anerkennung erlangte. Kippenberger war zweimal auf der Biennale Venedig vertreten, posthum 2003 im deutschen Pavillon, und seitdem haben große Museen weltweit Retrospektiven seiner Arbeiten gezeigt. Eine Sammlung seiner Aphorismen, erstmals 1987 von Julie Sylvester herausgegeben, erscheint hier in einer neuen, zweisprachigen Auflage. Dieses schmale Bändchen, in englischer Sprache in New York verfasst, wird von Werner Büttner, einem engen Weggefährten und selbst Maler, ins Deutsche übertragen. Unter dem Titel "Improved Papertigers Not Afraid of Repetition" spielt es mit dem Prinzip der Wiederholung und zeigt Kippenberger als Meister des Floretts und als legendäre Figur der deutschen Kunstszene.

Die Publikation unternimmt einen Rückblick auf das gesamte Werk von Martin Kippenberger (1953-1997) und präsentiert Gemälde und konzeptionelle Malereiprojekte - etwa Lieber Maler, male mir. (1981), Heavy Burschi (1991), Die weißen Bilder (1992) sowie Skulpturenensembles, Multiples, Zeichnungen, Plakate, Bücher und bislang unveröffentlichte Materialien. Im Zentrum steht dabei Kippenbergers raumgreifende Installation The Happy End of Franz Kafka's „Amerika“ (1994): Auf grünem Spielfeld arrangierte Tische und Stühle als vielschichtiges szenisches Setting für Einstellungsgespräche, frei nach der bei Kafka beschriebenen Anwerbungsprozedur von Artisten und Arbeitskräften für einen Zirkus. Ironisch, parodistisch, subversiv, jedoch gleichzeitig mit hohem ethischen und künstlerischen Anspruch entfaltet Kippenberger ein breites Bedeutungsspektrum von individuell, sozial und künstlerisch wirksamen Ein- und Ausschlussverfahren. Ausstellungen: Tate Modern, London 8.2.-7.5.2006 · K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf 10.6.-10.9.2006