Possessed by a raging Dadaist spirit, an invincible ambition and a devastating sense of humour, today Martin Kippenberger is considered the key German artist of his generation—a recognition he never enjoyed during his lifetime. The tireless worker and ardent artistic collaborator found every medium to his liking: painting, photography, installation, sculpture, audio records, books, concerts, exhibitions and even museums. Unsurprisingly after a life lived at full speed, the invitations and [...]
Possessed by a raging Dadaist spirit, an invincible ambition and a devastating sense of humour, today Martin Kippenberger is considered the key German artist of his generation—a recognition he never enjoyed during his lifetime. The tireless worker and ardent artistic collaborator found every medium to his liking: painting, photography, installation, sculpture, audio records, books, concerts, exhibitions and even museums. Unsurprisingly after a life lived at full speed, the invitations and posters alone for his shows constitute a body of work in themselves. His sarcastic self-portrait dressed as a cleaning lady, Helmut Newton für Arme (Helmut Newton for the Poor), made for the invitations to his first photo show at the Galerie CDD in Dusseldorf in 1985, is a way for OSMOSCOSMOS to distance itself from a whole swath of erotic photography.