Marzia Frozen is pleased to announce an  international  group exhibition of a new genera tion of artists working today. This will be a group exhibition at MARZIA FR OZEN in Berlin\, and will feature a selection of  paintings\, sculptures\, photographs\,  performances and videos.

Martin Kippenberge r was the most restless of post-war German artists\, his fugitive aesthetic based seemingly on a smash and grab attitude towards both high and popular culture. Partially assimilated images and fragments of language would be s muggled into the frame of painting or drawing with the skilled opportunism of an addict on the hunt for a quick fix. This manic sampling was fuelled b y an irrepressible energy that accounts for much of the allure of his activ ity and reputation. There is a flamboyance\, a defiant courting of risk and an easy dexterity that ensure the continuing seductiveness of an unpredict able output.

The compulsive browsing\, the artistic wanderlust t hat makes his various open-ended projects resemble a collection of differen t passport stamps was of course reflected in a nomadic life-style. This suc cession of places in which he almost came to rest: Essen\, Otterndorf\, Ham burg\, Berlin\, Florence\, Stuttgart\, St Georgen\, Cologne\, Paris\, Los A ngeles\, Madrid\, Tokyo\, Frankfurt\, Vienna\, Seville\, Burgenland\, Syros . But this fatiguing litany is as nothing compared to the record of his var ious hotel visits\, deployed crucially in the extensive series of mixed med ia works using hotel stationery. Kippenberger grounded his volatile oeuvre paradoxically in a concept of fleeting provenance. His suitcase aesthetic d erived clearly from a kind of magnetic aversion to the common understanding of ‘home'\; he reversed the usual polarity and consequently never looked l ike he was doing anything more than just passing through. 

What makes this proclivity more than just an individual pathology is not simply the transforming power of an overabundant talent\, but the degree of its Ge rman-ness. Uncomfortable with the idea of heimat in the aftermath of the Se cond World War\, unable to settle exclusively in either West or East\, Germ an identity during the period of Kippenberger's maturity is subject to cons tant displacement. Kippenberger exposes the nerve ends of this condition bu t not in any melancholic or demoralised fashion\; rather\, he embraces the divided sensibility of the post-war era and subjects it to a constant elect rical stimulation. In his paintings of the 1980s and 1990s there is equal e nthusiasm for the appropriation of both communist and capitalist iconograph y.

On the other side of the spectrum\, and on the other side of the political upheavals of the late 1980s and early 1990s\, ‘Untitled (Poli tical Corect III)' (1994) and ‘The Spread of Mediocrity' (1994) restore an agitprop immediacy to the illustration of consumer culture and the techniqu es of global marketing. With a deliberate perversity\, Kippenberger abrades the high gloss of western advertising conventions with the simple technolo gy of the stencil and offers a reprise of the Warsaw Bloc practice of repro ducing the same advertisement design on a hand-made\, individual basis.

With the unification of Germany and the expansion of the European U nion\, this art of constant border-crossings becomes more relevant\, not le ss. Perhaps the most representative embodiment of transitional culture is K ippenberger's serial work ‘Social Box Transporter' (1989-91). This utilizes the form of the gondola\, now almost exclusively a pleasure boat\, but loa ds it with emblematic crates. The same basic craft is rebuilt for successiv e versions\, changing its appearance and composition as it moves forward in time but not in space\, often suspended in the wrong medium (air not water ). All it carries is emptiness\, lack of weight\, and in one version where it 
is stripped down to keel and ribs\, seems on the point of disappea ring altogether. This vehicle for absence is a conveyor for two items\, ‘So zial' and ‘Pasta'\, suggesting an equation between social identity and a no w universal foodstuff that both homogenises and dilutes cultural difference s (to make\, just add water). Its merely superficial divergences from an un derlying pattern stabilize around an icon of tourism\, proposing this as th e fundamental medium of present-day cultural identity. One might contrast K ippenberger's empty vessel with Kabakov's visually similar ‘The Boat of My Life' (1993)\, freighted with a cargo of deep memories whose imprint seems ineradicable and whose cultural specificity weighs the boat down into histo ry. 

The focus of Kippenberger's last years was never far remove d from the realization of culture as spectacle\, as object of consumption r ather than as embodiment of a structure of relations in time and space. Thi s seems to be the obdurate message of the series of watercolours all depict ing an individual closed book superimposed with a magnifying glass. Intense scrutiny of the cover will reveal nothing of the hidden content\, and yet Kippenberger's obsessive resumption of the same gesture argues for the para lytic condition of postmodern culture\, confined within a perpetual present cut off from the history of its origins. Displayed together\, this archive of the illegible turns the exhibition into a manifestation of Debord's ima gining of the demise of art\, 
at a moment in history when the artefac ts of all cultures of all ages are presented simultaneously in the same ter ms of intelligibility.

Martin Kippenberger always went too far. Going too far was what the German artist did\, in art and in life. It was s aid he once bought a dilapidated petrol station in Brazil and renamed it Ga s Station Martin Boormann\, after the Nazi war criminal. It was also rumour ed that he installed a telephone line\, with the greeting "Boormann... Gaz" on the answerphone. He certainly had a photograph taken of the service sta tion\, which he blew up to wall size for an installation.all his work is th at. He wants to really invent and with every piece to make something new an d to be real avant-garde. All day long and with all of his heart he really does believe in nothing else but in art. He doesn't define it\, his father was an artist\, he is an artist and his friends are artists.

Kip penberger\, who died in 1997 at the age of 44 from cirrhosis brought on by his prodigious drinking\, was a live wire. He spoke in pungent aphorisms. H e called exhibitions “a running gag.” Art schools were “the most stupid of all educational institutions.” The art market was like “screwing your dick to the wall.” (A nude photo of the artist suggests this would have been an extensive task.) He referred to himself variously as “a woman\,” “an alky\, ” “a sales representative\,” and “the holy Saint Martin.” 

He le d a peripatetic life. Early in his career he settled in Florence\, trying t o become a film actor. Then he moved to Berlin\, where he co-founded the ga llery/crash pad “Kippenbergers Buro\,” ran a nightclub\, and started a punk band. In one memorable incident\, he went into a bar and acted like a Nazi until patrons beat him up. Then he painted a picture of himself\, battered and bandaged. (Another aphorism: “You may behave like an asshole\, but you must never be one.”)  

This  international group  exhibition  i s  an  Hommage  a this  important artist  on  the late 20th Century.
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LOCATION:Marzia Frozen\,Neumagener Straße 27 Haus 7\nBerlin\, 13088Germany SUMMARY:AFTER KIPPENBERGER\, Francesca BALACCO\, Martin BECH-RAVN\, Irina GUSTAVSSON\, Henry KLEINE\, Anne Sophie Lorange\, Greig MENDEL\, Helen MOUL INOS\, Carla POGGI\, Javier Ramirex\, Robbekah RITCHIE\, Rosy SCAPPARONE\, ARTIST OLIVERA VELKOVA\, Frieda WIONZEK END:VEVENT BEGIN:VEVENT DTSTAMP:20171023T153115Z UID:140721 DTSTART:20101211T190000 DTEND:20101211T000000 LOCATION:Marzia Frozen\,Neumagener Straße 27 Haus 7\nBerlin\, 13088Germany SUMMARY:AFTER KIPPENBERGER\, Francesca BALACCO\, Martin BECH-RAVN\, Irina GUSTAVSSON\, Henry KLEINE\, Anne Sophie Lorange\, Greig MENDEL\, Helen MOUL INOS\, Carla POGGI\, Javier Ramirex\, Robbekah RITCHIE\, Rosy SCAPPARONE\, ARTIST OLIVERA VELKOVA\, Frieda WIONZEK END:VEVENT END:VCALENDAR