Martin's installation is about drugs in my opinion. I am not surprised - the old town and especially "Red light district" overload by drugs and drugs dillers. I thought about it and I realised that it is probably very difficult for Amsterdam's parents to educate their children about drugs. I don''t know...I think it is wrong. But...there are no legal drugs in Liverpool but anyway are a lot of drug addicted people.
Martin Kippenberger, Dortmund (DE) 1953 - Vienna (AT), 1997
Untitled, 1989 Metal, glass, light bulb, cable
Untitled, 1989 Metal, glass, light bulb, lacquer, cable
Untitled, 1989 Metal, glass, light bulb, lacquer, cable
Kippenblinky, 1991 Plastic, cardboard, wood, metal, light bulb
Jetzt gehe ich in den Birkenwald, denn meine Pillen wirken bald / Now I Am Going Into the Birch Wood, My Pills Will Soon Start Doing Me Good, 1991
Cardboard, plastic, offset prints, metal, wood
Collection Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne
Martin Kippenberger’s work centers on the role of the artist in the culture, drawing upon popular culture, art, architecture, music, history and his own life. He was an exceptional appropriator— nothing and no one is sacred—and much of his work can be viewed as self-portraiture, as he adopted, transformed and absorbed his subjects. Birkenwald was first produced as a room- size installation using the trunks of actual birch trees installed from floor to ceiling in his exhibition at Galerie Anders Tornberg in Lund, Sweden, in 1990. The title reflects Kippenberger’s play with language, as he reconstructs a forest complete with over- size pharmaceuticals and branded pills to enhance the journey. Kippenberger typically produced alternative versions of many
of his works, and presented here is the “artificial” and “portable” version using photographic replicas of the original birch trees, together with a selection of Lanterns, which he began to produce in 1988 in the south of Spain. Twisted, bent, turned into a periscope and made split-legged, their anthropomorphic qualities can also be read as self-portraiture.
Untitled, 1989 Metal, glass, light bulb, cable
Untitled, 1989 Metal, glass, light bulb, lacquer, cable
Untitled, 1989 Metal, glass, light bulb, lacquer, cable
Kippenblinky, 1991 Plastic, cardboard, wood, metal, light bulb
Jetzt gehe ich in den Birkenwald, denn meine Pillen wirken bald / Now I Am Going Into the Birch Wood, My Pills Will Soon Start Doing Me Good, 1991
Cardboard, plastic, offset prints, metal, wood
Collection Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne
Martin Kippenberger’s work centers on the role of the artist in the culture, drawing upon popular culture, art, architecture, music, history and his own life. He was an exceptional appropriator— nothing and no one is sacred—and much of his work can be viewed as self-portraiture, as he adopted, transformed and absorbed his subjects. Birkenwald was first produced as a room- size installation using the trunks of actual birch trees installed from floor to ceiling in his exhibition at Galerie Anders Tornberg in Lund, Sweden, in 1990. The title reflects Kippenberger’s play with language, as he reconstructs a forest complete with over- size pharmaceuticals and branded pills to enhance the journey. Kippenberger typically produced alternative versions of many
of his works, and presented here is the “artificial” and “portable” version using photographic replicas of the original birch trees, together with a selection of Lanterns, which he began to produce in 1988 in the south of Spain. Twisted, bent, turned into a periscope and made split-legged, their anthropomorphic qualities can also be read as self-portraiture.
