Gitarren, die nicht Gudrun heißen

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On 26 February 2003, Martin Kippenberger would have turned fifty. In his memory, gallerist Max Hetzler has dedicated a book that rekindles our memories of this enfant terrible of the art world, who passed away six years ago. The publication features personal testimonies from artists, critics, art historians, and authors who reflect on Kippenberger as a friend, role model, and source of irritation. Albert Oehlen recounts their intense artistic debates from the late 1970s, while Peter Pakesch shares his experience with Kippenberger, the “utopian campaigner,” driven by a desire to engage with the world and art. Merlin Carpenter, Kippenberger’s former assistant, describes the “Kippenberger system,” where diverse ideas fueled his creative output. Stephan Schmidt-Wulffen analyzes how public discourse shaped Kippenberger’s identity, emphasizing the importance of role-playing in his art. Martin Prinzhorn questions the relationship between Kippenberger's art and his persona, which often seemed to merge. Mayo Thompson recalls Kippenberger’s restless spirit, and Werner Buttner notes his tendency to mock even his own funeral. The book’s design enhances the exploration of Kippenberger’s artistic labyrinth, showcasing pictures, invitation cards, and snapshots that give him a vivid presence throughout.