Not on display
This poster was produced by German artist Martin Kippenberger on the occasion of his exhibition of sculptural works held at Galerie Bärbel Grässlin, Frankfurt, in the autumn of 1985. In the centre is a black and white photograph of the artist seated among his sculptures, underneath which is image of a young street urchin. In the background a wallpaper-like pattern has been formed from banknotes, coins and symbols of industry, alluding to Frankfurt’s wealth as the then-financial capital of West Germany.
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.)
Bice Curiger and Guido Magnaguagno, Martin Kippenberger: Die Gesamten Plakate 1977–1997, Cologne 1998, p.56.
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.
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