Hamburger Bahnhof<\/a> exposa 300 dels seus treballs amb motiu del que hauria estat el seu 60\u00e8 aniversari, desplegant l’univers pl\u00e0stic que Kippenberger va crear en les seves dues \u00faniques d\u00e8cades de magnific\u00e8ncia. Des del punt de vista formal, l’exposici\u00f3 no es configura a partir de per\u00edodes de la seva biografia, sin\u00f3 que s’articula al voltant de temes. Un viatge lliure pel microcosmos d’un artista extravagant i enginy\u00f3s, en cert sentit nihilista i an\u00e0rquic. Alguns perceben certa cr\u00edtica social en el seu art, d\u2019altres cap.<\/p>\nKippenberger continua dividint l’opini\u00f3 p\u00fablica 16 anys despr\u00e9s de la seva mort: Des del diari alemany “Tagespiegel” es critica que aquesta exposici\u00f3 arriba tard a Berl\u00edn i sense una veritable preparaci\u00f3 exhaustiva pr\u00e8via. Se li retreu la manca de profunditat; an\u00e0lisi; connexions; cat\u00e0leg; l’abs\u00e8ncia d’obres culminants, potser perqu\u00e8 la major part de les seves obres pertany a col\u00b7leccionistes privats; \u201cd’un museu s’esperava molt m\u00e9s”, proclamen. “Die Zeit” per la seva banda, el corona com el rei de la cultura ‘trash’ que sempre va voler ser i posa en dubte que fos un artista excepcional, ja que sens dubte no va ser el primer a minar el clix\u00e9 de l’artista-geni.<\/p>\n
En l’exhibici\u00f3 ‘no retrospectiva’ es troben entre d’altres “Paris Bar” (llen\u00e7 de gran format en el qual apareix el quadre original que penja de la paret del fons de l’emblem\u00e0tic bar, que tamb\u00e9 va pintar ell -el quadre dins del quadre-); les granotes crucificades (autoretrat-escultura de t\u00e8cnica mixta que va causar la indignaci\u00f3 del Papa, missiva inclosa), sense obviar les picades d\u2019ullet a Beuys. En els cartells exposats, sovint s\u2019hi reconeixen autorefer\u00e8ncies, en el disseny dels quals Kippenberger feia servir s\u00edmbols o iconografia personal.<\/p>\n
A m\u00e9s de material biogr\u00e0fic, s’exhibeixen exemplars de la revista “sehr gut – very good”, de la qual en va ser art\u00edfex, i que d\u00f3na nom a l’exposici\u00f3. La publicaci\u00f3, que va arribar a superar el centenar d’exemplars, va sorgir a partir dels onze c\u00e8lebres “sehr gute Bilder”, realitzats en llen\u00e7 blanc amb cal\u00b7ligrafia infantil del mateix color extreta de les valoracions que un nen de 9 anys va fer de la seva obra. Una altra de les parets est\u00e0 ocupada per la s\u00e8rie “Uno di voi, un tedesco in Firenze”, pintada durant la seva estada a Flor\u00e8ncia a partir de fotografies i postals, presentada a Berl\u00edn en la seva primera \u2018solo-exhibition\u2019 l\u2019any 1977. En un rac\u00f3 topem amb l’escultura de mida natural “Martin, ab in die Ecke und sch\u00e4m Dich” (Martin, al rac\u00f3, hauria donar-te vergonya) (1989) creada en resposta a un article publicat en una revista alemanya d’art on se l\u2019acusava de ser un borratxo c\u00ednic de pol\u00edtica reprovable.<\/p>\n
A “Heavy M\u00e4dels” pertanyen els dibuixos sobre paper corporatiu o una infinitat de factures de restaurant, signes d’una vida itinerant. S\u00f3n les 52 fulles de l’Hotel Chelsea de Col\u00f2nia, al Caf\u00e8 Central del qual en Kippenberger anava amb regularitat, ja que no estava lluny del seu estudi. Pel cinqu\u00e8 aniversari del caf\u00e8, l\u2019any 1989, va pintar en els miralls del local retrats de Louise de Funes, actor franc\u00e8s encasellat en papers de \u2018loser\u2019 perpetu. Alguns d’aquests miralls tamb\u00e9 formen part de la mostra.<\/p>\n
La seva obra \u00e9s un reflex de la seva vida: integra cultura underground; pop; punk o realisme socialista a partir d’aspectes purament banals carregats de sincera -de vegades pat\u00e8tica- ironia. Dandy; noi dolent; showman; de car\u00e0cter burleta; transgressor; comunicador verbal fins a les \u00faltimes conseq\u00fc\u00e8ncies. Martin Kippenberger no era m\u00e9s que un exhibicionista, la carrera del qual va estar marcada per l’exc\u00e9s; l’excentricitat i l’experimentaci\u00f3. Va admetre sense embuts la seva ‘condici\u00f3’ d’alcoh\u00f2lic, burlant-se alhora de s\u00ed mateix i de tal \u00bfcondici\u00f3?<\/p>\n
Artista prol\u00edfic i irreverent, c\u00ednic amant de la controv\u00e8rsia i la confrontaci\u00f3, a Martin Kippenberger se l\u2019engloba en el corrent del neoexpressionisme alemany com a part dels \u2018Neue Wilde\u2019 (nous salvatges), al costat de Georg Herold; els germans Oehlen o G\u00fcnter F\u00f6rg. Als nois dolents del neoexpressionisme alemany va unir-los la rebel\u00b7lia; la provocaci\u00f3; la llibertat creadora, qualitats que poc o res de nou van aportar a l’esdevenir de l’art. No obstant aix\u00f2, Kippenberger es va esfor\u00e7ar en polir al personatge, desmuntant el mite de l’artista. M\u00e9s que un com\u00fa antiheroi, Kippenberger va ser tot un s\u00faper-antiheroi, aspecte en el que sens dubte, s\u00ed que va innovar.<\/p>\n","protected":false},"excerpt":{"rendered":"
La immersi\u00f3 de Martin Kippenberger (Dortmund, 1953) a l’escena alternativa i l’ambient hedonista subversiu del Berlin oest de finals dels setanta i principis dels vuitanta va ser plena. El seu…<\/p>\n","protected":false},"author":1291,"featured_media":7773,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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