拍品專文
A middle-class child in a post-war, guilt-ridden country, he made the burden of his own Germanness the primary target for his vicious brand of humorous troublemaking. While most of his compatriots infused their art with a sense of historical mea culpa, Kippenberger flaunted his identity, amplifying all its problematic connotations. It might be easy to dismiss Kippenberger's identity game as a punk gesture, simply reacting to societal taboos and the intelligentsia's adherence to political correctness. Instead, I see his practice as forwarding a series of strategies designed to multiply misunderstandings and create unstable meanings. His work undermines the conventional thinking about identity politics. Kippenberger offers a liberating, non-programmatic, anti-ideological brand of political art.
(Piotr Uklanski quoted in D. Krystof and J. Morgan, Martin Kippenberger, Tate Publishing, London, 2006.)
(Piotr Uklanski quoted in D. Krystof and J. Morgan, Martin Kippenberger, Tate Publishing, London, 2006.)