Martin Kippenberger How Do I Manage in Wartime with a Broken Leg and Futurism 1985

Artwork details

Artist
Martin Kippenberger 1953–1997
Title
How Do I Manage in Wartime with a Broken Leg and Futurism
Hoe kom ik in Vredestijd met Botbreuken en Futurisme klaar (Wie komme ich in Kriegs-zeiten mit Beinbruch und Futurismus klar)
From T.Ü.
Date 1985
Medium Screenprint on paper
Dimensions Image: 850 x 591 mm
Collection
Tate
Acquisition Purchased 2005
Reference
P79086
Not on display

Summary

This poster was produced on the occasion of German artist Martin Kippenberger’s exhibition of the same name, which was held at Galerie van Beveren, Rotterdam, in the spring of 1985.

Though prolific as a painter, sculptor, musician and writer, the 178 posters created by Kippenberger throughout his career form a significant body of work. Normally created as screen prints or lithographs in standard advertisement sizes, they were used to promote a wide variety of events from art exhibitions to upcoming parties. From 1986 Kippenberger began to group his posters into folios, though these were united more by date than by similarity of style or function. This work forms part of the first folio, T.Ü., which stands for ‘Title Überflussig’ (Title Unnecessary). Published in 1986 in an edition of sixteen, each folio contained seventeen posters made between 1984 and 1986.

Kippenberger’s posters belong to the mass of apparently supplementary material produced by the artist throughout his career that parallels his work in painting, sculpture, installation and performance. However, like his books, pamphlets and literary and musical projects, the posters share with his more conventional artworks the desire to undermine the accepted structures of the art world by defying attempts to understand his artistic output as a whole, by blatantly embracing collaboration, and by actively involving himself in the promotion and reception of his work. As the artist Jutta Koether wrote on the occasion of the 2006 Kippenberger exhibition at Tate Modern:

Martin’s posters best represent him and sum up the range of his ability: the humour, the social critique, the clever combination of provocative images and allusions. They were critical and politicised, perfectly expressing his ideas and his personality.
(Jutta Koether in Tate Etc., no.6, Spring 2006, p.36.)

Further reading
Bice Curiger and Guido Magnaguagno, Martin Kippenberger: Die Gesamten Plakate 1977–1997, Cologne 1998, p.50.
Doris Krystof and Jessica Morgan (eds.), Martin Kippenberger, exhibition catalogue, Tate Modern, London 2006.
Ann Goldstein (ed.), Martin Kippenberger: The Problem Perspective, exhibition catalogue, Museum of Contemporary Art, Los Angeles 2008.

Lucy Watling
March 2012

About this artwork