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拍品专文
'You can't stand yourself next to every picture you paint and explain things. Pictures have to talk for themselves. Mostly the pictures you first set store by are not the interesting pictures. It's the imperfect pictures that go on creating some sort of tension.' (M. Kippenberger quoted in 'Completing Picasso', Interview between Martin Kippenberger and Daniel Birnbaum, in: Martin Kippenberger, exh. cat., Tate Modern, London 2006, p. 62)
Charismatic and irreverent, Martin Kippenberger is remembered for his conceptual and expressive transformation of the 1980s and 1990s art-scene. Waging a one-man assault against the art world's status quo, Kippenberger was bent on destabilizing the Post-War German paradigm, with its prescriptions for style and ideology. Employing multiple media and techniques, Kippenberger's art offered an itinerant sensibility, a programmatic "stylessness" and iconoclasm for which any subject was game. As representative of "strategic dilettantism" (Roland Schappert) he embodied the spirit of the time.
'Anything he encountered, experienced, or observed, whether people, ideas, or images, could elicit a work. No subject was sacred, and Kippenberger drew equally from popular culture, art, architecture, music, politics, history, and his own life and work as sources, styles and subjects. Kippenberger embraced failure as a generative strategy.' (A. Goldstein, 'The Problem Perspective', in: Martin Kippenberger: The Problem Perspective, exh. cat., The Museum of Contemporary Art, Los Angeles 2008, p.39)
'During the course of the 1980s, Martin Kippenberger appropriated numerous motifs and figures as his signs. Some were already there before he even started looking at them; others were deliberately selected and activated: the Capri, the lamp post, Father Christmas, the egg theme, the canary, the man in the corner, Fred the Frog. They all came to be recognized as his self-willed companions, as figures in the ensemble of his thought' (Roberto Ohrt, Kippenberger Paintings, exh. cat, Museo Nacional Centro de Arte Reina Sofia, Cologne 2004, p.40).
From 1988 onwards, Kippenberger began looking through earlier works, sorting them. It was during this period that his mascot the Santa Claus - Kippenberger referred himself as "the holy Saint Martin"- became a memorable element of his new standard repertoire.
Krieg Böse is one of a series of paintings by Martin Kippenberger featuring one of his most celebrated recurring motifs, the Santa Clause. Untitled (Krieg Böse) - the formulation of the title is typical of Kippenberger's penchant for leaving out the article when speaking - shows an abstract tank with a female figure partly dressed like Santa Claus partly naked on it. She is protesting on the front deck of the military vehicle. The figure stands in front of the gun turret, while the tank's enormous snout stretches above her. This caustic work does not shy away from political commentary. Untitled (Krieg Böse) comments on the German protest culture of the eighties on the one hand and on the other hand it hits out at the regressive, presumptions energy of warmongers. It makes fun of the simplifying scheme of "good" and "evil".
Charismatic and irreverent, Martin Kippenberger is remembered for his conceptual and expressive transformation of the 1980s and 1990s art-scene. Waging a one-man assault against the art world's status quo, Kippenberger was bent on destabilizing the Post-War German paradigm, with its prescriptions for style and ideology. Employing multiple media and techniques, Kippenberger's art offered an itinerant sensibility, a programmatic "stylessness" and iconoclasm for which any subject was game. As representative of "strategic dilettantism" (Roland Schappert) he embodied the spirit of the time.
'Anything he encountered, experienced, or observed, whether people, ideas, or images, could elicit a work. No subject was sacred, and Kippenberger drew equally from popular culture, art, architecture, music, politics, history, and his own life and work as sources, styles and subjects. Kippenberger embraced failure as a generative strategy.' (A. Goldstein, 'The Problem Perspective', in: Martin Kippenberger: The Problem Perspective, exh. cat., The Museum of Contemporary Art, Los Angeles 2008, p.39)
'During the course of the 1980s, Martin Kippenberger appropriated numerous motifs and figures as his signs. Some were already there before he even started looking at them; others were deliberately selected and activated: the Capri, the lamp post, Father Christmas, the egg theme, the canary, the man in the corner, Fred the Frog. They all came to be recognized as his self-willed companions, as figures in the ensemble of his thought' (Roberto Ohrt, Kippenberger Paintings, exh. cat, Museo Nacional Centro de Arte Reina Sofia, Cologne 2004, p.40).
From 1988 onwards, Kippenberger began looking through earlier works, sorting them. It was during this period that his mascot the Santa Claus - Kippenberger referred himself as "the holy Saint Martin"- became a memorable element of his new standard repertoire.
Krieg Böse is one of a series of paintings by Martin Kippenberger featuring one of his most celebrated recurring motifs, the Santa Clause. Untitled (Krieg Böse) - the formulation of the title is typical of Kippenberger's penchant for leaving out the article when speaking - shows an abstract tank with a female figure partly dressed like Santa Claus partly naked on it. She is protesting on the front deck of the military vehicle. The figure stands in front of the gun turret, while the tank's enormous snout stretches above her. This caustic work does not shy away from political commentary. Untitled (Krieg Böse) comments on the German protest culture of the eighties on the one hand and on the other hand it hits out at the regressive, presumptions energy of warmongers. It makes fun of the simplifying scheme of "good" and "evil".