Martin Kippenberger

Revolution in Cologne


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Martin Kippenberger 1953–1997
Original title
Revolution in Köln
Screenprint on paper
Image: 877 x 598 mm
Purchased 2005

Not on display


With this poster, German artists Martin Kippenberger and Walter Dahn (born 1954) announced their plans for a revolution in Cologne that would take place in the city’s Café Broadway at 11 pm on Friday 25 April 1986. While appearing to embrace claims made by the late Joseph Beuys (1921–1986) that art was capable of bringing about revolutionary social change, the poster’s design actually serves to undermine the older German artist’s ideas. The fractured, disorientating text is almost illegible, while the central image is taken from a Brazilian advertisement publicising incense, icons, and other items for religious worship. Unsurprisingly Kippenberger’s and Dahn’s ‘revolution’ never did take place; instead the performance The Revolution in Cologne Had to Be Postponed was staged at the designated venue (see The Revolution in Cologne Had to Be Posponed 1986, Tate P79098).

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 second folio, Untitled Maniac. Published in 1987 in an edition of twenty-five, each folio contained twenty-one posters made between 1986 and 1987.

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.64.
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

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