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    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

Martin Kippenberger

EXHIBITED AT THE SAATCHI GALLERY

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Martin Kippenberger
Self Portrait

1988

oil on canvas

200 x 240cm
In Martin Kippenberger’s remarkable series of self-portraits from 1988, he pictures himself with a touching lack of vanity. An exaggerated beer belly, folds of fat, a thick neck, and dejected posture present a melancholic, awkward and somewhat grumpy figure. He wears immense white underpants pulled up high on his hips – rather like a well-known photograph of Picasso.
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Martin Kippenberger
Capri by Night

1982

oil on canvas

50 x 60 cm
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Martin Kippenberger
Dear Painter, Paint Me

1977

oil on canvas

50 x 60 cm
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Martin Kippenberger
Design for the Improvement of Backstroke in Rio I & II

1986

acrylic, silicone, sand, plaster on linen canvas and towelling

179.6 x 150 cm
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Martin Kippenberger
Paris Bar Berlin

1993

Oil on Cotton

212 x 382cm
In Paris Bar, Martin Kippenberger writes his own importance in art history. Acting as curator, he installed the café’s art collection; then as shameless self-promoter, he painted the cafĂ© interior. Reminiscent of eighteenth and nineteenth century paintings of salon interiors, Martin Kippenberger places himself on a par with the masters, drawing on early 20th century American art.
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Martin Kippenberger
Kellner Des...

1991

Oil on Canvas

200 x 240cm
Kellner Des
 derives from a stereotype cartoon image of a bent street lamp. Without the figure of the drunk leaning against it, Martin Kippenberger’s deadpan Austrian street is completely empty of human life. To reconfirm the painterliness of the image and the dysfunctional nature of the lamp, he has placed two real wall lights either side of the painted street lamp, to bring a glow of comfort to an otherwise cold and deserted scene. Kellner Des
 also once hung in the Paris Bar.
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Martin Kippenberger
Portrait of Paul Schreber

1994

1994, oil on canvas

240 x 200cm
Paul Schreber was a senior judge in Germany in the 1870s, whose mental breakdown was recorded in his autobiography Memoirs of a Nervous Illness. Like Jung and Freud, Martin Kippenberger was fascinated by Schreber’s record of life in a mental institution, and presents the viewer with an insight into Schreber’s brain.
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Martin Kippenberger
Lonesome?

1983

Oil and Spraypaint on Canvas

120 x 100cm
A dashed-off slacker anthem to portraiture, Martin Kippenberger’s Mr Lonely manages to be sparky and buoyant, melancholy and pierced all at once, in a few seemingly casual brush strokes.
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Martin Kippenberger
I Am Too Political

1995

Oil on Canvas

180 x 225cm
Every aspect of Martin Kippenberger’s practice was a self-contained act of decadence, designed to add to the myth of the artist as a whole. In I Am Too Political, Martin Kippenberger paints an image stripped of direct content: six canvases joined together as one form a billboard-like design, bolstering a grotesque nude. Kippenberger’s painting operates as an anti-advert for itself, poking fun at the tradition of painting and the way it’s been historically and ideologically subverted.
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Martin Kippenberger
U.N. Building - The home of Peace

1984

Oil and Silicone on Linen

240 x 200cm
Sharp-witted self-irony was a large part of Martin Kippenberger’s strategy: borrowing from all aspects of culture ensured his own relevance within it. Kippenberger’s architecture paintings are a grandiose epitome of ego, and a megalomaniac approach to urban design. His buildings are the most enduring form of creation, with city planning the ultimate tribute of power and genius.

In U.N.Building, Martin Kippenberger renders a blueprint of complete dysfunctionality: chunky shapes of cubism gone wrong, engulfed in a forbearing scribbled black smoke. His fragmented canvas adds to the image’s instability, the bottom right section providing only the scantest hint of solid foundation, from which his topsy-turvy metropolis might aspire.
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Martin Kippenberger
NYZRA

1985

Oil and Silicone on Canvas

155 x 180cm
Martin Kippenberger developed an elaborate concept of aesthetics where the trivial and the subcultural became as influential on his working practice as the masterpieces of art history. Often sparked off by the banality of life, by politics, media and advertising, for Kippenberger there was no subject which could not be turned into art.

In New York zum Russich Abbinden the romance of the New York skyline is dramatically broken by a fusion of compositional and painterly effects. Taking a subject as serious as the Cold War which had reached a critical moment in the mid-1980’s, the work consists of four quadrant canvases joined together within a single frame, placing a permanent ‘crosshair’ on the New York landscape. The hairline gaps between the canvases and the thick silicon under and over the painted surface add a dramatic sense of fragility and corruption to this universal symbol of Western capitalism and power.
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Martin Kippenberger
Untitled Lieber Maler, male mir
 (Dear Painter, paint for me...)

1983

Oil on Canvas

200 x 130cm
Rooted in the daily life of the painter Ohne Titel (Lieber Maler, male mir
) is a work that demonstrates this consistent aspect of Kippenberger’s work more clearly than most. Shot from the back, the photograph on which the painting is based depicts two evidently close and almost tragi-comic figures heading on a bar crawl through the streets of DĂŒsseldorf. The ordinariness of the scene and the fact that it is daylight with the streets still full of people underscores both the mundaneness and the gritty realism of the image. It is both an intimate and tender image of ordinariness, made epic and extraordinary by its magnification and translation into a slick photorealist oil painting.

Lieber Maler, male mir
(Dear Painter, paint for me
) is one of the earliest and most important series of Kippenberger’s works. It is a series of twelve paintings that Kippenberger commissioned to be made for him by the film poster painter known as ‘Mr Werner’. The delegation of the making of this series of paintings to another is not only a clear dig at the earnestness and supposed ‘authenticity’ of the very ‘painterly’ Neo-Expressionist art, then currently in vogue in Germany, but also a firm statement about Kippenberger’s sense of identity as an ‘art/business/life artist’. As such the Lieber Maler, male mir
 series forms one of the few lynchpins through which much of the later diversity and eclecticism of Kippenberger’s oeuvre can begin to be understood.
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Martin Kippenberger
Deep Little Throat

1991

Pigment and Latex on Canvas

180 x 150cm
Deep Little Throat reverberates with perverse seduction. Made from fetishist black rubber, it bares all the boiled-over passion of a randy night in the sack. Depicting two ‘pillows’ bouncing on a diving board, Martin Kippenberger takes a dumbed-down, humorous look at sex with its awkward subculture of taboo and embarrassment.
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Martin Kippenberger
Untitled (Floating Figures)

1982

Oil on Canvas

170 x 183cm
Borrowing equally from graffiti and traditional avant garde painting O.T.’s strange floating figures are reminiscent of surrealist artists such as Joan Miro, while its impoverished style and construction keeps in line with Martin Kippenberger’s populist values.

By piecing together 7 canvases, Martin Kippenberger creates the illusion of grandeur - an image too enormous to be contained in just one. Untitled trades in high-art esteem for a certain comic brutality; it’s beautiful and stupid at the same time, a re-invention of abstract painting for a sophisticated and grown-up Hanna-Barbara generation.

ARTICLES

KIPPENBERGIANA
Alison M. Gingeras
Avant-Garde Sign Value in Contemporary Painting


‘Kippenberger polluted the idea of the grand gesture; his production revealed a motivation designed to extinguish reverence rather than compound it. He took responsibility for the contexutalization and dissemination of his ideas and did not wait for the museums to catch up. Kippenberger was political, but that was not his central thesis; it was just another set of rules to exploit.’ (1)

Lucy McKenzie on Martin Kippenberger

The Museum has finally caught up with Martin Kippenberger. So have scores of younger artists. Eight years after his (premature) death, his legacy has finally begun to infiltrate a ‘mainstream’ narrative of art history. The recent, widespread acknowledgement of Kippenberger’s significance is not all that surprising given that many artists are often celebrated posthumously. Lack of recognition can be attributed to numerous factors – in some cases the meaning of an artist’s work would be out of sync with the social or political climate of their lifetime. Sometimes an artist’s practice is too underground, radical or “advanced” for its time. None of these more conventional scenarios adequately explains the late recognition of Martin Kippenberger’s significance.

Read the entire article


Albert Oehlen Speaks about Martin Kippenberger

"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."

"He doesn't think that life is art and everything he puts out is good. He really works on it but he works so extremely much that it looks like everything is art. His selection process is 100 times greater than other people's. He can do it because that's what he's doing all day long, he's collecting all day long."

Read the entire article
Source: postmedia.net


Joking apart.

He was accused of nazism, sexism, buffoonery, alcoholism... but Martin Kippenberger's greatest enemy was himself. Adrian Searle looks back on a deadly serious jester.

Tuesday December 2, 2003 The Guardian

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.

Read the entire article
Source: guardian.co.uk