Arts & Humanities

Martin Kippenberger always went too far. Going too far was what the German artist did, in art and in life. It was said he once bought a dilapidated petrol station in Brazil and renamed it Gas Station Martin Boormann, after the Nazi war criminal. It was also rumoured that he installed a telephone line, with the greeting "Boormann... Gaz" on the answerphone. He certainly had a photograph taken of the service station, which he blew up to wall size for an installation.

He painted a grim portrait of Joseph Beuys's mother, and of himself as Christ crucified. He opened an art museum in an unused abbatoir on a Greek island, and built entrances to fake subway stations in the Yukon, in Leipzig and in a Greek field. He made "architectural models" out of stacks of wooden transport pallets, as designs for fictitious administration blocks for Rest Centres for Recuperating Mothers. His own mother, sick with incurable cancer, had been killed in a traffic accident when a truck loaded with pallets shed its load on the car in which she was travelling.

The important thing about Kippenberger is that his attentions are two lines, parallel lines. The one thing is that he is trying to entertain people and trying to shock people, all his work is that. He wants to really invent and with every piece to make something new and to be real avant-garde. All day long and with all of his heart he really does believe in nothing else but in art. He doesn't define it, his father was an artist, he is an artist and his friends are artists. I think he never asked himself why because he has no choice, he is an artist. He's very, I wouldn't say naive, but it's absolutely clear, there's no question about it. Other artists maybe ask themselves if art is finished or they are finished. He never asks himself that. As a motive for modem art he thought that social life could be motive enough. And this can show up as banality or however we find it. And if you look at the subjects he uses you start asking yourself what's behind it, how does he choose this thing, how does he select this subject then you find behind that a moral attitude a judgment.

Martin Kippenberger The Problem Perspective

Martin Kippenberger's career has transformed into an almost cult-like legend, existing as much in lore-ish tradition as in the actual physical works. He's the guy who bought a run-down gas station in Brazil and named it after a Nazi war criminal. He built an imaginary global subway system with real entrances installed in the Yukon, Leipzig, and a remote field in Greece (and working air vents at various points in between). He opened The Museum of Modern Art in an unused abattoir in Syros (MOMAS). He bought a Gerhard Richter painting to use as a coffee table. For Kippenberger, art wasn't about disrespect: it was about what he could get away with.Martin Kippenberger war ein in sich geschlossener Akt der Dekadenz, der dazu dienen sollte, zum Mythos des K'nstlers als Gesamtwerk beizutragen. In I Am Too Political zeichnet Martin Kippenberger ein Bild, das aus seinem direkten Zusammenhang gerissen ist: sechs Leinw?nde, die zu einer gro'en zusammengef'gt ein Plakatwand-?hnliches Design darstellen und eine groteske Nackte polstern. Kippenbergers Bild arbeitet als eine Anti-Werbung f'r sich selbst, indem es sich ?ber die Tradition der Malerei lustig macht und wie sie historisch und ideologisch pervertiert wurde.

Martin Kippenbergers Strategie aus: dadurch, dass er Anleihen aus allen Aspekten der Kultur genommen hat, sicherte er sich seine eigene Bedeutung in ihr. Kippenbergers Architekturzeichnungen sind ein grandioses Epitom des Egos und eine megalomanische Herangehensweise an das urbane Design. Seine Geb?ude sind die dauerhafteste Art des Schaffens und die Stadtplanung die ultimative Anerkennung von Macht und Genialit't. In "U.N.Building" erschafft Martin Kippenberger eine Blaupause vollkommener Dysfunktionalit't: massige Formen des fehlgeschlagenen Kubismus, die in nachsichtig gekritzelten schwarzen Rauch geh?llt sind. Seine fragmentierte Leinwand verst?rkt noch den Eindruck der Instabilit't des Bildes; der Bereich rechts unten bietet nur den winzigsten Hauch eines soliden Fundaments, von dem aus seine auf den Kopf gestellte Metropole in die H'he streben k'nnte.

Martin Kippenberger hat ein raffiniertes Konzept der ?sthetik entwickelt, in dem das triviale und das subkulturelle seine Arbeitsweise genauso beeinflussten wie die Meisterwerke der Kunstgeschichte. F'r Kippenberger gab es, h'ufig von der Banalit't des Lebens, der Politik, Medien und Werbung ausgel'st, kein Thema, das man nicht in Kunst verwandeln konnte. In New York zum Russich Abbinden the romance of the New York skyline is dramatically broken by a fusion of compositional and painterly effects. Das Werk, das ein so ernstes Thema wie den Kalten Krieg behandelt, der Mitte der 1980er Jahre einen kritischen Augenblick erreicht hat, besteht aus vier quadratischen Leinw?nden, die in einem einzelnen Rahmen zusammengef'gt sind und ein st?ndiges "Fadenkreuz" auf der Landschaft von New York darstellen. Die haarfeinen L'cken zwischen den Leinw?nden und das dicke Silikon unterhalb und ?berhalb der gezeichneten Oberfl?che f'gt diesem universellen Symbol des westlichen Kapitalismus und der Macht ein dramatisches Gef'hl der Zerbrechlichkeit und Korruption hinzu.

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