all works by Martin Kippenberger at the exhibition "Sehr gut, Very good" (23.02 - 18.08.2013), all images by artfridge, courtesy Hamburger Bahnhof - Museum für Gegenwart, Berlin
Today, on the 25th of Februrary 2013, Martin Kippenberger would have turned 60. On this occasion the Hamburger Bahnhof - Museum für Gegenwart in Berlin dedicated the large retrospective "Sehr gut, very good" to one of Germany's most talented enfant terrible. Most of his friends are sure, that he would never have believed, how successful and academically accepted he became after his early death in the age of 44. He would have laughed, they say.
"Kippi", as they called him, seemed to have loved and hated life with the same intensity. He found his solution for frustration and depressions in humor and alcohol. Both, his charm and his provoking offenses protected Kippenberger from his own insecurity of finding a place in the art world. Not only in the lettering of his works, but also in his countless posters and flyers, Kippenberger's unique humor is apparent. He was, and somewhat still is, a trendsetter. One of those very few, constantly coming up with new ideas, really rebelling and acting, experimenting and reflecting - managing to produce satirical, critical and aesthetic art pieces.
"Kippi", as they called him, seemed to have loved and hated life with the same intensity. He found his solution for frustration and depressions in humor and alcohol. Both, his charm and his provoking offenses protected Kippenberger from his own insecurity of finding a place in the art world. Not only in the lettering of his works, but also in his countless posters and flyers, Kippenberger's unique humor is apparent. He was, and somewhat still is, a trendsetter. One of those very few, constantly coming up with new ideas, really rebelling and acting, experimenting and reflecting - managing to produce satirical, critical and aesthetic art pieces.
The exhibition starts in two smaller rooms on the first floor, where Kippenberger's relatively unknown series "Sehr gut, Very good" (1991) is displayed. Following the artist's hanging instructions, the grey and minimalist canvases are embedded(!) into the walls. For these eleven works, he asked the nine-year-old son of a friend to describe several art works from a catalogue each in one sentences, adding the adjective 'Very good'. For the final piece, Kippenberger projected the reports onto grounded canvases.
The show continues throughout all the 6000m2 of the Riekhallen, a tubular space behind the main museum's building. Kippenberger's series and his influences are merging into each other, offering a grasp of the artist's mind: His short experience as the co-owner of Berlin's famous punk club SO36 in the late 1970s; his famous "Paris Bar" painting, which he gave to the owners in order to get free food and drinks; his Hotel Chelsea drawings; the bended lantern, which he exhibited at the Documeta IX; and of course a range of ironic to tragic self-portraits, which have been an important part of Kippenberger's cynical self-exposure. Lots of space is given to his series "Lieber Maler, male mir" (Dear painter, paint for me), for which he commissioned a poster painter to produce photorealistic paintings, questioning the idea of genius artist.
Kippenberger cannot be seperated between work and life, which is why the museum states that the exhibit "however does not intend to be a retrospective, but rather an approximation of both the private and public persona of the artist Martin Kippenberger." Paintings, drawings, installation, music and exhibition posters are accompanied by portraits of the artist, showing him in different periods of his life. This juxtaposition feels right, in fact, in might be indispensable for an understanding of his expansive work. Chapeau, Mr. Kippenberger!
The show continues throughout all the 6000m2 of the Riekhallen, a tubular space behind the main museum's building. Kippenberger's series and his influences are merging into each other, offering a grasp of the artist's mind: His short experience as the co-owner of Berlin's famous punk club SO36 in the late 1970s; his famous "Paris Bar" painting, which he gave to the owners in order to get free food and drinks; his Hotel Chelsea drawings; the bended lantern, which he exhibited at the Documeta IX; and of course a range of ironic to tragic self-portraits, which have been an important part of Kippenberger's cynical self-exposure. Lots of space is given to his series "Lieber Maler, male mir" (Dear painter, paint for me), for which he commissioned a poster painter to produce photorealistic paintings, questioning the idea of genius artist.
Kippenberger cannot be seperated between work and life, which is why the museum states that the exhibit "however does not intend to be a retrospective, but rather an approximation of both the private and public persona of the artist Martin Kippenberger." Paintings, drawings, installation, music and exhibition posters are accompanied by portraits of the artist, showing him in different periods of his life. This juxtaposition feels right, in fact, in might be indispensable for an understanding of his expansive work. Chapeau, Mr. Kippenberger!
Sehr gut, Very good
23rd of February - 18th of August 2013
Hamburger Bahnhof - Museum für Gegenwart23rd of February - 18th of August 2013
Invalidenstraße 50-51
10557 Berlin
Germany
Opening Hours: Tue, Wed, Fri 10-18h / Thu 10-20h / Sat-Sun 10-18h
all works by Martin Kippenberger at the exhibition "Sehr gut, Very good" (23.02 - 18.08.2013), all images by artfridge, courtesy Hamburger Bahnhof - Museum für Gegenwart, Berlin