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LEADAPRON • 554 HUNTLEY DRIVE LOS ANGELES CA 90048 • 310 360 0554 • LEADAPRON.NET • BY APPOINTMENT ONLY<br />
Martin Kippenberger Heavy Burschi (Heavy Boy)<br />
Kölnischer Kunstverein, Köln, 1991. First Edition. Quarto. Softcover<br />
stiff wraps. Fine condition with very limited shelf wear.<br />
Scarce catalogue for <strong>the</strong> exhibition held at <strong>the</strong> Kölnisher Kunstverein,<br />
Now. 10 - Dev. 22, 1991. Kippenberger’s exhibition,<br />
Heavy Burschi, brings toge<strong>the</strong>r many of <strong>the</strong> defining <strong>the</strong>mes of<br />
his practice, both in terms of media and its process of production.<br />
Kippenberger asked an assistant to make paintings based<br />
on images from all his catalogues, but he was unsatisfied with<br />
<strong>the</strong> finished canvases. he ordered all fifty-one paintings to be destroyed,<br />
but first had each photographed, reprinted to its original<br />
size and framed, exhibiting <strong>the</strong>m toge<strong>the</strong>r with <strong>the</strong> remnants of<br />
<strong>the</strong> paintings in a skip, as a single installation. Kippenberger’s<br />
actions echo <strong>the</strong> heroic gestu<strong>res</strong> of destruction and renewal that<br />
run throughout Modernism, particularly in <strong>the</strong> work of post-war<br />
German artists such as Joseph Beuys and Anselm Kiefer. With<br />
his familiar barbed irony, however, Kippenberger’s gesture is<br />
anything but an affirmation of <strong>the</strong> redemptive power of <strong>the</strong> artist.<br />
Heavy Burschi exposes <strong>the</strong> violence inherent in acts of destruction,<br />
emptying <strong>the</strong> gesture of its heroic connotations of cultural,<br />
political and spiritual rebirth.<br />
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