Franz Kafka Amerika

August 30, 2017
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German artist Martin Kippenberger produced this poster in the celebration of their large-scale installation of the same title, constructed within Museum Boymans-van Beuningen in Rotterdam, in February 1994. Talking about Czech-born writer Franz Kafka (1883–1924) along with his unfinished novel Amerika – which explored United states utopianism from the perspective of a European immigrant – Kippenberger’s subject promises a ‘happy ending’ to the story; the poster’s design pairing positive, movie poster-style text against a somewhat menacing deep red background.

Though respected as a painter, sculptor, musician and publisher, the 178 posters developed by Kippenberger throughout his career form an important human anatomy of work. Normally produced as screen prints or lithographs in standard ad sizes, they certainly were regularly market a wide variety of activities from art events to upcoming functions. From 1986 Kippenberger began to cluster their posters into folios, though they were united much more by day than by similarity of design or function. This work, however, ended up being never a part of these types of a folio.

Kippenberger’s posters fit in with the size of apparently supplementary material created by the musician throughout his career that parallels his work in painting, sculpture, installation and performance. However, like his books, pamphlets and literary and musical projects, the posters share with their even more mainstream artworks the aspire to undermine the accepted frameworks associated with the art globe by defying tries to understand their artistic production as a whole, by blatantly embracing collaboration, and by earnestly concerning himself within the promotion and reception of their work. Due to the fact singer Jutta Koether composed on celebration of 2006 Kippenberger event at Tate contemporary:

Martin’s posters best represent him and sum-up the number of his ability: the humour, the social review, the clever mixture of provocative images and allusions. These were critical and politicised, completely articulating his ideas along with his personality. (Jutta Koether in Tate Etc., no.6, Spring 2006, p.36.)

Further reading
Bice Curiger and Guido Magnaguagno, Martin Kippenberger: Die Gesamten Plakate 1977–1997, Cologne 1998, p.195.
Doris Krystof and Jessica Morgan (eds.), Martin Kippenberger, convention catalogue, Tate Modern, London 2006, pp.26–37.
Ann Goldstein (ed.), Martin Kippenberger: the issue Perspective, convention catalogue, Museum of modern Art, la 2008.

Source: www.tate.org.uk
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