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Martel Brondtliaers und des m ite ra über Dieter Rntt^p-Polke zur THeorie des Bad Paînting ^eführ^ ffié

^ .^ H ÀntSngfer^^
Kippenbergers Kunstwollen gehort. „Nur (k)einè KuBSg g jjkSnia e t Ia$sen“ , m r-anscÙ |nni' ^ | i i M O £ p t p ^ S i ^ i â | 9 i
•Tv#«î
*îZÀ*à%àM$$ *£•*■ der BRD-Wirklichkeit zu yemelnen. Die h e rrsch e n d ]^^fe ^It{effensichtliBli als Komplizin dW TûcksM gen m iKenïW irkltete ^
§ J 2 « keit. Seine visuelle „Kakophnnie", in den lannen N afSefilfl^von ihm gleiteten Berliner Punk^-und New Wave tlubs S.0.36

?..
| i r , ^ T,
ip lÿ

-- V/.' 'V''
- , -tecünîsch Vrie ïnhaltlifch àuf.eirie géwisse
den konzeptuellen Gestusvon Duchamp bisXoehlen m k o ip iJie rt^î^ê ^u B li*- Maierei wo die maler scheir Mittel v —
Eigenwert hâfiinrsoffd'enfline Jlrîjprniafer Zeûsheiîsprachë' bîldi^ürélBt^TgegeB das* Elenî;a J ^p ™ d ':d ^ ii& |m m t î i
DumntMalerat leistefsie Aufklanjng.-tbef n î c ir t ^ T lé l^ n lè h ^ ^ d ^ ^ a S lis te n , die wàren. v t l f ^ l î ’e |fe &
sonüetn mit eïnef^b^âleii^ S cJ^^^çifn B fl iïr ig ^ ^ jm S o i|^ n ^ ^ |liîîn ^ ^ ^ p ^ ^ s erk Iarung g e g ^ jffi$ K n ^ É i
•. c -il» ' -> - (KîppenSergëfj'urid,J ie Sc'hreàit bFlw ndkrati8“ - ( ^ r ® iiÉ ^ ^ â ff iÏB f i^ h l{ o m p [iz e n h 'a ï fp S iE ^ P fâ ^ î ^ î ^ n
- __„„„K„K___ ___."'tE-ic-nrA
i isL^WfetichëitisIÂffielCI
1R,frRW

; TradRionsIfnie tvtfn^Wlîîla^ïilà^riËi^.G^rith8r^r:dsyr;iîàt aüch^KippenSiergér


Gedichte end. Hxle slnd ebensS sïfienungslos wie scÜ o^N ie mehr murren niemais kfegîn- e è ç|jiiifem slelfe#*ddn f|
iü s . w iA à Â t=in iChr -s--- - ............... •— , 7wéî sanf Üï S®
Wenn Ich von-sprachlicfien „
. C lanikiff i U h i r l ^ i ^ p I w i i è ' ^ i i j iiië ü d c à n g e i ^ ^ f f l ' É i t e L l ^ i â p e â l i e ^ B M tr nBerbnhflUM «ricMM «1er • ’ : ■
. 9ar Besbnmeil des Bildes s in i sondera weil sefâe '^viB^Zëlâiensprâpfe is l AnlaSIfch der grofien Polka»
,RetrospektïveJiatfe.B.Buchloh 1376 dieFrage gesteiît;,rarum Malerei Ihre’rT^r^gH^^lvVerdfkt. nürZeïchën- und Fornîsprachfel“ '
, (■sein ZÜ konnén. nnd^llf WliftCfiranhoi ewig flt'tlin verzichten
tionlehlon zu
tii mussen. fînhsich nnrlonl/nn
gedanken- !undwderslandsfos
■■«■) niîi)npn4nnrl/«rnn ffrriÂn
fûgên niilln11 1Kippenberqers
salle".' / :
,• Lèistiing liégt' ifÿ j^ ü È w tlie blofie Kombinafion von Bild und Text hinauszugehenÿrià^ié inalerisciien E[emenfcsë(bs|_sp
" * zu•:dTO%Jïsîseren.._Dââiarch gelingt es ihm, die Litèrarisiseru'ng dèr; sü'malistiScfie%,:Mécei. zii verniêlien? &
: ÇlàWfeîtMi^rçaïffihÊr^knnkreter Poeten. Kippenberger verwertdet das Âifabet dervjsupfërtGodeSi deren Bedeutung
r t l p ^ a f t & g vonfiitn*Funk-und Femsêben u.a. k o n d ifio n ie re n i;» ^ ^ '- "

’ v p p T S » -v
ïîs?*ei. .
narrative Organisation einer Bildeleffibnte drângt Kippenherger auGh dazu, die Bilder selbst wie Buchstaben zu mehrteiligen
zu fiigen. zu.Quadrupeln oder Zu 2^eihen mit je 5 Bildern (..Nuit Bock auf Ideen") oder mit je 3 Bifdern (..Schade, daB
; das nicht m ehr^tej^bçndart^oderjgfzu^Bfleihen mit je 7 Bildern („BlaB vor Neid stehter vor deinerTür"). Esist nicht
|ehr der dadurch■ênt^bendf'assoziàTvë, Cfèraktefïrdet, zu diesen Reihunqen fiihrt, sondern das sprachliche Moment der
L , ^ .
iîierim ti^im ® m dèléni™ ëF^BriS% ifîrem |dynam iscben Ineinanderdringen und Verschieben zum
■^QtSMa^s: ___ l - i _________ _____________ i _____i__ ■ _____ i __ _________
fénle'Rroblero? nurridikiilisiert werden konnten, wie es
....................... “ die gestische
mètardimensionale
analysiér-
zogên.?Sem?mehrdimensionaI&jAbffildîmgsfechnik, welche die
- - i- - ^aufw elst^w obei die Teile dès

1 --

^ ",^ * ^ J^ ucinij“ îïscni ftuuicii, uc^uMuiumiiB^^vtsuBiie^t^^goiBiaracnBntrDDiscnanBn^ui^iucni in oie LBiiscnriTiBn wiru enBicnifir^


X ÿC -durch den Tod der Mutterf'^ûtter glelchWahrheit tote IHutfer gieicftWirkDchkeit “ Wènn scfidn Biirgermeister des Sozlalstaafés#!
di|, KrealiSritât nicht meifegj[i%Jg jjK kleinlaut bleiben undihn ba rscbw iderlegeh:^, ^
, ’ "-_ '-J 8 BsçMenscb muB zur Post g e h ^ ^ T p ^ ^ n s ^ b j l ^ it l s M â È i ii i ï r i e i n Teil der sprachlichen Organisation von.ltfpp^v* s-s*s
: Bjlde'rn; wa der-PmseL nicht nur marr^^ndèiiîvlûreli^siifelbt^unEf:’ Diese Bifdsprache ist in derTat beredter Spiegel der% *f®s*
, -X-;'
*■^-4 - . ' bundèsdéutschen BernTfitseinslandschatt ïoÉ^Geheîmdienst am Nacfitfen" über „Onkê! Bonbon" utifhrStrahlemann aus de m X , '*
- ' oftentïichen D ie n s k^ bèkannt dûrch'FilmÆFpk.Xérnseien und Pollzeirufsâulen" zu “„War Gott ein Stüinpdr“ r Eiii polemisctTer'pV' Z* -
~ " -Êhfonist bundesrepubükanfa^er WtrklidltkéiË dm en;bjflBrë->Bildflndunpn undiynischen Texte, dessenjmpertinenz, subversive^''’ v , " * \
Witz MVntfsdiijiœit eine jM h enfizitit in^ffer Triditian;eines Daumièr.-,Hogarth,- Ènso}.'|orçierèn.-Se[ne B i ld s p r a c h e : s e t z ^ ^ | p ^ S f y
uirifâssénde hîscfiê Gëagèls|bër’s tefr fièifielun'g und KréuzzügerêrgieBf er sie über die Brutalriit und Opportumtât
ùnserér-tBi sffaben Sii;w |^7ürs" CÉèiriékâirfirHé>rlEdlu1nbui“ ^Besuch ]mJiroshima Muséum mit Punktetabelle von
^ KofinlecImP'].

KippL ist eïn unglaublich guter Maler. Inèbesnniferr selnVlelziéii Rlfiler 8lnri ^n7usatjéfc;;prnfRS^rinnller“ ggiynrrfmt D ÎL '
f-r * metonymischen Transparenzen und die BifdtextbezügejiaBen sich in Ben Euizelbüdenfverdichtèt Jlazu kommt efrçBlendoismus der _ ’ i
Stille Nicht nur Texte Und Biider werden ineinanfl^ gBbïendX'BuchTersmbiedmi^ Slife~Diese pi^odei#TinverscB|'m theif .-.Jj
negiert einerseits jeden von der.Geècliichte oktroferti&flusd'ruckSzwang und dasdamit iMiîndenè ïardinglichie ^ e b e n r f i i B l i i f f ^ % ^ ^ ^ ? '
andrerseits auf der Erkenntnis. daB jeder Stil. auÀgwenn'er nôch so dissident, individuel! sou<rerâif1iid d 'a ü f le 'h n e n d ^ r , ^ J " Ij^ / t ïX / ^
schlufiendlich doch nur eine Strategie des ErfoIgs-walÉmim Muséum, der AngepaBtheit oder in elnem gutgeheïztèn Kunstspedi-^'Cjlj’X - £ ^ 3
tionslager zu landen. Disse Malergeneration zerlegt m ^SÈJteroen* und Heiligenlegendèn der Malereigeschichte und s ü c h t g î é i c f c ^ ^ ® ^ ^ ® 5
der Erfolg. lautstark und schamlos, den andere verscM Æ bèr umso tiefer ersehnt baben. Oie Spielregèï riOurch diB Pubertât zurnïê
j&S

machinelikeness" (0. Wiener) being satisfied? A contermpoiSrÿsensibility has discovered style to be nothing other than sham. I n ^ ^ ^ É É
Its entrails. Germany's lost greatness is rummaged up. This ostentaciousness which is laid on thick is now being rejected Y~
m
simulative of a lost bourgeois souvereignity. Kippenberger doesn't want to bave,a thirigto do.withjherallusion of such v lta lity .~ - Y ' Y
If he approaches truth, it is in shoes which doh‘t necessarily bave ^o-^f^tfiouCTnd marks.afÔ£iîBTlmowS;ttiat ‘‘pretty shoes h a v ë Y J Y i-
thin soles** (Kippenberger). as the title to on of his paintmgs read^ilj^^orld^^sorragates'and 'sfmulalesrdlis^ruplures of which % V '. " ; :
can only be covered up by a layer of color that'is just ^ B ^ ^ ^ ^ I ^ ^ i r a n p n ^ n p a à M M ^ a d q a ^ s I r a l i g h s -l* '"'f
È#
for protecting oneself from kitsch and a

Thisism oreoriessw hatR udolf “KlpplMtwâràSdit^sn^cb^.^:^. >’ **' ' ri


i ® i . Insteadofstyleas^am rs^lo^sfrab^^ol^ùpjq^affljfcfiftpf^patofrnga|^jiiiH ng7'jilntingjsÇm edlum ^OnfywhefpaintingJpLYYY''
'Y'-*' ■.: isplacesintlHt'pe^W yNlJÉ$slillabletojhâ'kÈ^âf^^sratrôut^üM im flr6nlyfrom fhlipe'repeâtv^xahpàin^rngstilf
\Tl iegitim
ized.Painting^undelstoo^ÎSttifefsense^is^m
t-[usU
rm iteâtomêfejypictorïafm eânsTbuT^slsôutllizesbtherstrategies1nYtY "3
w m , dealing yspglg^
f
gë acBw grt
M il
B Wia^ ^ ("ornoiYY« /
either!"
.....
é /\J n lleuo
fg^^^^rfrtîr^J^ttfofligiit-irâfnting^mfieff.oÇboasting^ïnbiTândterpëntTne,w
hichyisuallyaffirme Ùïènon-confirm
ity^Y.YYY
U S ‘ H /t a new conl^ i n^groii^^fifl wdntto S&kejpo,tfie.îbprof Cocietÿ~l(lppïlsls hls brush to taîfcout otturn: heactually speâkSi„: {-i
I v’^ jp iw k » ^oi^ra^^i^^i^^^iEifederaEj£eçtn^ki^à^^^^stëmbWfîèfeas:^lièts;wou)dn*t even ta k à îf(Y ^ Y Y 'Y 7 y Y
h t f l f t f i K î ^ î l i g n o r a i Y - ' *•$
î fi§ é È \M n m i> Â behavior.
ormed hehavinr (“
f “ în
fn the m
w iifa
i d lM
s i^^BpS H
iS ^ M & w M m Ë f i ^ ( t i a |! j ^ ^ g | | | ^ S ^ ^ S ^ j | ^ g|^ f cesspool of pictlirr
. ton Pinsel .aus.i (Schuldt) is being extolled ilG e rm l Ifelne^rÊimjûdeiitlfsinkingin^Kippenberger's p a i n f f r t ^ ^ ^ ? ^ * ^ ^
^ 'flin ite denken he ihfiiWs i g i tb a . wdrld that has he j j u j j jjg jjjjn {„ g ,, b e t f é t ^ ^ t ’? ^ ? - t&
Bretoh and Dali fdrmerly fought over the n ^ ^ à ^ o î ^ t i â è i ^ o i i d B f î s bad taste. This experimenting w ifli, '~-
J » (Senwidening one's knowledge througif'failure" calr be found m-the c ^ to the exhibition of work by BQttoef, '
m __ ^ ifrger and Oehlen) isihe attempt-to obSffi,the lasf possible formulàtidhè'andto fait out of the most hiddèrcbnventioiisï This -
là sle ^M e ^Iza ra , Jreton. Marcel B rp ô & e is wèlt a s> é r Dieter Roth and Polke to the theory of Bad Painting which represênts ? : ^
ogmnntgWKippenbergei^s Sri wilM'Allôwing only oneari to arisd3 was It seems, the slogan with which any solidarity with V ;
^mraffTéàlity m s denled M domlnating art was apparently considered as an accomplice of a retrograde^miserablè;
aindErreal^Hjsvîsuak"McophonyvrJnhaIèadufmgïong]ïigfttsatthBBérlïhpun^a'ndnew^^^
;Y ^W ®iiSBgâfis, Bêrrâe|afjw îiicRhasbicornei’sufvivalrÀiCdfthescené,sotontyactedastheslaveofThehandand?m
woman — lik îï iJB.H yËm icInîerm inglîng'ofiiîo'gansindbrush'strokes,hehastransform edréafityinanindividuaiw ay:R ealityaswellas,: ;
prefeosecàfpow ër.w erebroughtintoperspective.W hereasgesturalandexpressivepaintingactùallyextolssuppression;'
-î”-’ Afterpaintinghàshttn^ftfnb^ïÎÈedfl’eadfiuniiredsôftinteslitibèfàurseq| [ï^rtiifeipd;Iponineôùsiùbjèctiviÿ3ndthepaintingJm aterial(themorecoforthatdrips(hebetlerthe.painter)—aliof;.
itisIctuàliy fieroic,asalsoignorancedoesi
/ - >-î »nolJusfcbncerneâw ithpaintingperse. By•rèsorting.fiü^o.itsow n !nBefgW Ç^ebnsciousriésspaintirrg:ftefpshea(ïrëalF^ilDnepFcfurestflewarId.saasitis,correspondingtothehêadsofthose'3 ~;
s* «• J sfâbllizes8sfonctionofoonservingtlijrpast, foaking¥ïiètouraroundail ofvÂi^W ral ând^nÊI _ ASfaffifîtfftbtheirhands.^iïontaskm om ^-1readth epaper“isstaled.inthecataloguetothe19B 4exhibitiongfworkby
asFuturisnr,D
adaïsitirSurrealismandanll-artis^s^|l:-a^;ytfaItÈ?ïS.errtei;;' Man Ray . le^KippénhergerandO ehlen’beldaf.Essen. . .
Y ~ -■ 'Y ?'!,jwâfc|ttys'Yvfe^K fdïli.etc.hâvebroughtaboutatransforntaliodinfiictorial-^^^iW bkibgw hich^ cow ardlceofa .4 *' T h i tirai grand plïasê of German painting, the epoch ôf “ Capitalist Realisih“ |since 1962) in which Gerhard Richter and Sigmar
tismfbpksaw ayfrom.Whyshouldpaintingontyhâvetoffvefrom .th.eS^th?Styhatitendslipinthiripsertofbad '7k1 ^ÿ/4^ - Phlke.ffgùrêd,référredtoapictureofrealitypresentedbythew
orldtiïjm ediaîa goods and to trivial dimensions of everyday iife
:média^nd
ô^&'-ifiei:'girêat-expressivegeshfre’representO ther m achinesforsym bolsoftheij*3j^v>;\ ' :Y. ' 4 44", >i^i_*l^fsock;p icturesand'‘W hycaift(.stopsmoking7"byPolke.‘Toiletrbll"aQdthei foldable “Dryer" with a text inscription from
';|€/ 1 ,.' ■ , '•

-*■' ’ ‘ £*■"y-
t&L'j’ï
%+ziï
- * àrfisfs and ff ie ^ ^ W e i^ r.|^ n è ^ ^ à îâ b .
tlie very few that cair fie considêred reaijy contempnra^amt fieJeg^hfiizi^istoncatl^Besides. the aspeclTif fialiiting as a ... ^
strategie medium, fliere is a second one characterafic of Kippenbitgèt^TiOÏÏMffi'sifiB^è^rfengi ifs formai Sign îangûagé"..the ^ “ ' J-' • "-1
inscription oftexts in the painfîhÿsÂnaloquevbt anothèrTiné of^lraîîïtiai^^^a'chim^ïniA^jtFirïMin Blaire m Rirnter Bnist

~ " ’ , :î "j! s " î 10u!fl'ï o^protésj jb. its.rjerdmt of^bèîn^nolhing;mhë^®aif a ^ ^ â ® |fi^ jâ T ^ u ^ è î^ ïJ k 'D *o rentrance word languagc"..
' Klppenbefger has archieved nr"going beyontf lhe mere combinahSn iftlmage and text having proceedêf fo arrange thè^fctÔMaf j '
. ‘.éléments as salariguage
language in;ifsëlf.‘
m itsëlf By this hehas
Bytlïis, heâas succeêStTin
s u c c e e d l'd m
i^ ^ rd iif^ T îl^ ^ e x p lo ifa tîo n ôf Surrealkt n p i n i i r i t r i s w e i ^ É f t l i
ê S S s s æ S j'* • ' - a ’. - l ,
commonplaces typicaf forsomtT concrets poets Kipf -1' ''
daify in the consumptiùnjrfmedia, such as filrif

~i - P e yvay. iti: :whiGh rir^s. piçtui^-'element¥ aTré-arranged'îriirFà^el^îéli^l^|>{rên&etrg^^{i^âfi^^f^.fhe pictures like the letfers of the
^ : alphabet: he.cteates rows ransisting àWiiiTierous pie'ces,:guadrugfe^ftfé'r&iMn‘be'two Fows;eâ^nnsisting of five pictures (“ No" ” -
j;: i Ze^ for-ldeas;‘). p s r ^ itconsisfing^of.three picutes èâch:^lIog;d^^;Wols' c a i t f d n n r ».en three rm n i m
pictures f“|aIe.out.nf[ealousy,-he stands before your d o b r f % |t |^ ‘É ^ ^ u c h :a i^ ® ti^ M ç ^ & is io n th a r e v o le s fr o n tfh is a n d * - ,
. Jeads tom fi a ^ n g e m i e i i l s ' ^ f f i j g o b l f é stroetarlng of M* > \ - r
picture éléments as can be seen in theîr tfynamic fntérpehefrafiôn anîslnfting has led Kippenbergerlo fhe ’ * pnded riimensionality
> of painting which enableçhim-fo adéguâtely grasp multî-dimënsfoHaP realîtŸ. This developed at a time when problems* inhérent to -, "
Pa'n,'nS ■ÊhMfd oniy be rêdiculized as fiis'triend Biittner did explîcftlÿ îfr his sériés “The problems of minigolf in European p a in tin g " ’ « z J '~ ,
and when the gesdural mode of expressfbri'Âas turning into parlor-xoorh painting.-The Structuralists werethéobes whasuccéedel'^ • *. •* n
in analioinnniiHriro oc o i r : _■
_-u. _Iz j ____ '»u- ________S* **#

' ■ y. I~C, ; „,~


■'
V^' X^v v
■-V .
ii?
~ ,* .
■v|ssK. ■/ :
X

iiê.

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This technique unfolds an "inner logic" in the sense of adiachronic transformation, gi'ving the objective picture world irri
relationships, spàces and even contours. The dream-like nature of language is sometimesjreînfdrmed by means of the techniques i
collage and transparency. By the same token, the transparencies point at theJinguistic nSurejfthese,picÉres>since a dream is in
tact a metonymis language. This métonymie language in Kippenbergfer^s. pa:-*r- - ;,Wifcfi-feeds- on- délimitations and shift
■ délimitations, enables one to ward off the invasion of a false pubÜiÉ^|àng'ua^^^Ê^^^kthg;fnta>th^mèdrarand_woods world tl
codes our consciousness, Visual codes, false messages ?“Tfîe fligRttodèwspapersjs fâcfRjatedbytee death
of the mother. Mother equals truth. dead m othe^ei^Kaeafif^ltfhê^m qlofèin a sociaptate complâîîi r is no longer
a big issue, one shuuld not remain mee^irfitrE-jrepïy^gr,iifftÿî^Evefyotie -il as to j-g fto the post office".

'A s a c h ro n icj^o le m iz in g E jË rm a fw ê ali^^R ^^a e^p ictur^in iirn g s aÂd cynlcarslogans,


I .g humor and^&K^^r^jgethertrêsûî^-ÎN'an^âutïiefltïci^ in lfiê tradition,ôf à.Dâumier, Hogarth, Ensor. His picture language c r e a ^ ^ ^ ^ g | ^ :' ÿ ^
m p r e h e n s i ^ ^ i l r ê h ^ ï i u i m ^ â l d l ^ l i g â i ï ^ j i n f crusaBtng hefèt&lhese put on the brutatity and opportunlsm of today's „
^ oçdompreheris
^J,v rta r ld . (‘7 o t ^ ^ ® ^ ^ n ^ i n g '^ î ^ i l l r ^ l i i H ^ S ^ ^ V | s lE a n h ^ H i s o s l i i i t i a M useuinwith dot charts fiy K f i h n l e c h n à ^ ^ | S | g ÿ | | i | ^
- iùi a
ujji^ an în^feiS Tyigooï ^{M e ^^^p M ri^fl^'flis ' ja^-pàintirigs' fiave‘ gofterr inbre ^pfoTiBSsionâI ; so to speak. The métonymie ;; ^ ' -
icies and ifië'pîctare text rè liiw fc riSt t ^ ^ wiwM^ aMw^ fciiSKaiï^i^»iJh(W |HaapainlBBgnÉ^^sJ^ccom panled by a n ^ V i ; ’v v ; ^ f f
fanatic passion to blend d if ^ ^ m ^ ^ ï ^ ^ ( À , 0|ritipËtmrand^iiiages'îhtërinfngtè,. but also varions styles. On the one h a n d ^ ^ ' ^ T . ^ ^ ^
modem imperinence rejectslhe c o m p lis io ^ p ja p re s s oneseîf which bas beetrforced on us by fiistory and the way o f f ^
un rDPiiltinn fm m fhio fin thn n ttM p ^ n n if,^ fK in 'n n u ^ a n n ir'ln '.h Q (» a(iJw î.iiiA 'raQ ln 'ifirin fh o f M inm ohilo h m iin M ar^ v S^ iK '
^^e x perïe ncing tfifngs resulting front this. On the that every style, however
Jdissidentaindividual and souvereign or réhellfousit w a ^ ^ ig ^ irÿ ^ ^ n 'tiie J â s f ihâfysls à'strategy aimed at success. éven if only
s ; 4 ‘ J o end up in a muséum of^conformity oN n the-well-heatedmrehdusejfan art.sliippjng company. This génération nfpainters -,, ,
* R ”, undoesjhelegendsof saiirfsand^fîerôêslïiifêfar^d^rffithe^fiislûry^pâintîrigancl lopksfor.successrightfromtliestart. This they do:,
a îoudly and shàmelisslyT tfiery get to whatothers^nc^yEàrned for shamifullÿi&ut ail ÎKilmore prôfoundjÿlfhegaibêr rule “Througb :-
^% ^BerÇ ^S^uccra£^tKippënfei^er;^|g3|^afm s’â ï tfié o r S ftt|& ç ï^ ^ unveil. Stylée \ S ||§
i ^ m c ^ ^ i q i ë s ^ e s ^ l J ^ è à ’ ÉtTeaciïptitersbihajf'ffi^frë'ptïtafffatftëH|[ftfpérs^èctîvè.thisrs'especially ' ' - Ç § |
inë^misiderè'fhtfJnsie sl^œ ^ireTheirtankw ifhfflvialities of daily mythology, which are faded in as well The only
reotyplng is to ëfthër stress the. stéréotypé nature df style or to foilow Kippenberger m swimming from

por^ültpàTiflefs'i f J own création. KippenbergerV'* tm :-


J.H’ . - . . . ....... .
a&îhti4iu- ” ” - :s,r‘--“
stytegWhrch.isupresenf ^ “^ - - '“ ïhesçete-Tir and Iris' beîrig-li#|itpst-iScondi: mâkes-b sélection of iconographie'?
inhis,
riftéà wltfeàn'îndividual puncfâothâtthe mask of collective supression falls from

frienïBüttner. he is a portraitist of the social State. They refleét o f lld rôle of art in the machinery of social contrai. Like
MilIet; Delacrofx,..TTpurbet and* Baudelaire whose Danyism siiîne^tlirough in their triuphant imertinence, they reaettb
idnarysriciàl.;ch"anges. î u t how should an artist prtfduce p ô l i t ic a l | i il i | p f i M e r j y s no longer any révolution or worker's

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