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拍品专文
'Shh. If you can sneak past Daddy without waking him, you can have that midnight snack you're craving before going to sleep. But it's going to be tough - there are stumbling blocks everywhere. Don't step on the cat's tail. And watch out for those roller blades that didn't get put away' ('Don't Wake Daddy' quoted in After Kippenberger, exh. cat., Museum Moderner Kunst Stiftung Ludwig, Vienna, 2003, p. 199).
This excerpt is taken from the instructions of the child's game 'Don't Wake Daddy' that Martin Kippenberger had brought back with him from his 1993 trip to St Louis. Appealing to the artist's taste, the packaging was bright and the game's rules had an underlying dark dynamic, encouraging the player to satisfy their own trivial desires by undermining parental authority at the risk of punishment.
A perennially nomadic artist, Kippenberger delicately touches on the messy theme of 'home' in these five drawings, engaging as he does with the cartoon images on the playing cards of 'Don't Wake Daddy'. In the game the cards represent potential noises that might wake up 'Daddy'; the present works offer five such mishaps - roller-skates to trip over, a cracked egg, a blasting stereo, crashing pans and a toy drummer. Always recycling imagery, Kippenberger found a signature motif in the egg, a banal comedic device that, in the case of his seminal self-portrait drawings, literally becomes part of the artist. Like these five drawings, Kippenberger's graphic representations of himself were on hotel paper and demonstrate his considerable skill and range as a draughtsman. Not only forming part of Kippenberger's 'Don't Wake Daddy' series, there is argument that his graphic works on hotel paper should be seen as a larger whole. As Pamela Lee observes, '...there are drawings by Kippenberger and then there are the Hotel drawings. No matter how intriguing, banal, or absurd their individual content...it is the systematic nature of his chosen ground that announces the totality of a corpus...The ubiquity of hotel stationary thus stands in for the itinerant values of the artist' (P. Lee, quoted in 'If Everything is Good, The Nothing is any Good Any More: Martin Kippenberger, Conceptual Art, And A Problem of Distinction,' in Martin Kippenberger: The Problem Perspective, exh. cat., Museum of Contemporary Art, Los Angeles, 2008, p. 204).
Evidently an important theme for the artist, the Don't Wake Daddy drawings developed into a series of sculptures. Employing the same Tyrolean carver who had transposed the images of his crucified frogs onto wood using a semi-automated carving technique, the sketches were carved onto brightly coloured panels. Highlighting the oppressive humour of the panels, the artist divided up the space around each one with picket fencing, pictorially referencing the imagery of an allotment. Not a jibe at the bourgeois, the allotment allowed Kippenberger to address his immediate social sphere; the confinement and collective grouping of artists.
This excerpt is taken from the instructions of the child's game 'Don't Wake Daddy' that Martin Kippenberger had brought back with him from his 1993 trip to St Louis. Appealing to the artist's taste, the packaging was bright and the game's rules had an underlying dark dynamic, encouraging the player to satisfy their own trivial desires by undermining parental authority at the risk of punishment.
A perennially nomadic artist, Kippenberger delicately touches on the messy theme of 'home' in these five drawings, engaging as he does with the cartoon images on the playing cards of 'Don't Wake Daddy'. In the game the cards represent potential noises that might wake up 'Daddy'; the present works offer five such mishaps - roller-skates to trip over, a cracked egg, a blasting stereo, crashing pans and a toy drummer. Always recycling imagery, Kippenberger found a signature motif in the egg, a banal comedic device that, in the case of his seminal self-portrait drawings, literally becomes part of the artist. Like these five drawings, Kippenberger's graphic representations of himself were on hotel paper and demonstrate his considerable skill and range as a draughtsman. Not only forming part of Kippenberger's 'Don't Wake Daddy' series, there is argument that his graphic works on hotel paper should be seen as a larger whole. As Pamela Lee observes, '...there are drawings by Kippenberger and then there are the Hotel drawings. No matter how intriguing, banal, or absurd their individual content...it is the systematic nature of his chosen ground that announces the totality of a corpus...The ubiquity of hotel stationary thus stands in for the itinerant values of the artist' (P. Lee, quoted in 'If Everything is Good, The Nothing is any Good Any More: Martin Kippenberger, Conceptual Art, And A Problem of Distinction,' in Martin Kippenberger: The Problem Perspective, exh. cat., Museum of Contemporary Art, Los Angeles, 2008, p. 204).
Evidently an important theme for the artist, the Don't Wake Daddy drawings developed into a series of sculptures. Employing the same Tyrolean carver who had transposed the images of his crucified frogs onto wood using a semi-automated carving technique, the sketches were carved onto brightly coloured panels. Highlighting the oppressive humour of the panels, the artist divided up the space around each one with picket fencing, pictorially referencing the imagery of an allotment. Not a jibe at the bourgeois, the allotment allowed Kippenberger to address his immediate social sphere; the confinement and collective grouping of artists.