Martin Kippenberger was born on 25th February, 1953 in Dortmund in Germany. His artistic style took him though absurdist projects; his works of art emphasized his satirical sociopolitical perspective and theatrical personality. He was a sculptor, painter, installation artist and print maker. He ventured into a variety of creative outlets in his career: writing, acting, promoting a punk rock night club. Subsequently he settled into shaping his career as an artist. He was completely taken in by the romantic notion of an artist being a heroic figure. He took this a step further by fuelling his artistic ventures by blatant self publicity that was more often than not considered visibly narcissistic. His impudent actions inflamed a response. These actions included construction of real entrances to a fake global subway system, using an abandoned slaughterhouse to open an art museum. These bizarre motions figure as proof that his art was closely linked to his roguish behavior and to his cult persona. Kippenberger produced an assortment of art works that include prints, installations, paintings and sculptures. These pieces of art that are fitting and are representations of art history, his life experience and political governance. His was rebuffed any media or trademark style. As an alternative, his work gladly embraced any platform... show more

Martin Kippenberger was born on 25th February, 1953 in Dortmund in Germany. His artistic style took him though absurdist projects; his works of art emphasized his satirical sociopolitical perspective and theatrical personality. He was a sculptor, painter, installation artist and print maker. He ventured into a variety of creative outlets in his career: writing, acting, promoting a punk rock night club. Subsequently he settled into shaping his career as an artist. He was completely taken in by the romantic notion of an artist being a heroic figure. He took this a step further by fuelling his artistic ventures by blatant self publicity that was more often than not considered visibly narcissistic. His impudent actions inflamed a response. These actions included construction of real entrances to a fake global subway system, using an abandoned slaughterhouse to open an art museum. These bizarre motions figure as proof that his art was closely linked to his roguish behavior and to his cult persona. Kippenberger produced an assortment of art works that include prints, installations, paintings and sculptures. These pieces of art that are fitting and are representations of art history, his life experience and political governance. His was rebuffed any media or trademark style. As an alternative, his work gladly embraced any platform that expressed his ideas. The repercussions of the fall of the Berlin Wall had a following of a group of young rebellious German artists who wrestled with this consequence in the formation of Junge Wild. Kippenberger participated with this group. Albert Oehlen, Jorg Schlick, and Wolfgang Bauer were fellow artists with whom he formed the Lord Jim Lodge Group. Members of this group were required to integrate in their works, the group’s slogan, “No one helps nobody”, along with the logo of a sun, hammer and breasts. His skeptical outlook echoed in his opinion that art is what you can get away with. As a result, his work criticized the traditional methods used to produce art, as well as the art market. He died prematurely on 7th March, 1997 in Vienna, Austria, shortening his fruitful profession. His career was manifest with his notorious dogma and multitalented style. In the art world he was regarded as its court jester. Nonetheless, at the end he is remembered as someone who made an emphatic iconoclastic statement. Martin Kippenberger’s works of art include: A Quarter of a Century. Kippenberger as One of You, Among You, With You produced in 1978 part of the Tate Collection, London, England; Kippenberger on the Theme of Fucking,Boozing and Selling produced in 1982 part of the Tate Collection, London, England; War Is Not Nice produced in 1985 part of the collection at the Museum of Modern Art, New York, U.S.; Self-Portrait produced in 1988 part of the Saatchi Collection, London, England; Martin, Stand in the Corner and Be Ashamed of Yourself produced in 1990 part of the collection at the Museum of Modern Art, New York, U.S.; Paris Bar Berlin produced in 1993 part of the Saatchi Collection, London, England; Balla Balla produced in 1994 part of the collection att the Museum of Modern Art, New York, U.S.
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