First the Feet
By Roberto Ohrt. Excerpt from the book 'Kippenberger'
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Selbstjustiz durch Fehleinkäufe (p. 121) was the name given elsewhere to products like these. The very first word of this picture title explains the mechanism of the functional error. Selbstjustiz was first employed because of ist sound, and is a wrongly constructed compound which then draws the words that follow into its misery. Based on the somewhat paradoxical construction "Selbstmord" [literally: "self-murder", the standard German word for suicide] , "Justiz" was meant not so much as "justice" rather as "punishment", justified perhaps, but jumping to conclusions certainly. Nonetheless, "Selbstbestrafung [self-punishment] durch Fehleinkäufe" is no more correct, because for the act of "Selbstjustiz" there must be "self-authorization". The consumer has in an unforeseen way activated a lawless zone and thus brought about an unwelcome loss outside the social contract. The balance of social justice in the social market economy, which sells its citizens a share in affluence only under pressure, is seriously disturbed if these citizens do not properly master the art of self-service. Thus all that remains of the hot design in black-and-white is a meagerly painted space. The pockets are full, but of the wrong things. So what's the point? No money for threads any more, expelled from Eden, and banned from the Edeka supermarket chain.
Peter originates from a chain of bogged down decisions. It is the self-made objet trouvé packed in a lost plan. In the book Psychobuildings, Martin Kippenberger mixed these things with the curious exhibits of the public space, the stories of the accidents that happened there, and the errors of the "art on buildings" program, but also with the confusions only the wave of one's head allowed one to observe, like the drunk who could find no support from his girlfriend, the lamp post, and afterwards believed she had danced his circling onto the ground in front of him (p. 150/151).
The painting in Peter was represented by the so-called Preisbilder [prize pictures] . They demonstrated a "free art" competition, and acted out their playwithin-a-play with a talent for performing as a bad amateur. The checkerboard pattern was prescribed for the terrain of the task: "abstract painting". The key word was secured through Neo-Geo, Color Field or Op Art. Every picture discussed the details of style, the values and the variations on its own. The painter of the 1st Prize (p. 142) primed his canvas with a bronze paint, for example. Metallic antique-pink established its decision convincingly through the introduction of an unusual material, and thus reminds us of Blinky Palermo, although he, the prize winner, has not been able to get away from the development of his autonomous contribution through the heroic achievement of his inaccessible role model. The high degree of self-referential elements is also noteworthy, the way in which rhizomatic elements and geometry find themselves in a productive balance and yet painterly values are admitted as part of the conflict of means. (And only the "steps of knowledge and success" betray to the reader that the jury here misunderstood itself as the reference and theme.)
The 9th Prize (p. 143) too is turned into a portrait of the jury, for the picture - once more painting by numbers and opinions - shows the moment in which the artist appears to the jury as an idea of the artist. Actually, the candidate missed the point of the subject. The checkerboard still can be made out in the canvas only as a relief. The jury however has to recognize that the painter was overwhelmed during his work by a vision and as a result awards it one of the top ten prizes. He yielded himself to the intensity of his inspiration with all that that involved, and ultimately did not shy away from standing alone and totally abandoned, outside of all agreements, and in an empty uncertainty at that abyss to which his picture still bears witness. That he pursued this path uncompromisingly right to the end is honored by the jury as a special achievement, even though some uncertainty in the hand of the artist could have been noted - as far as the content is concerned, the light green contour in the smooth slope contradicts the lack of prospect as thematized. For this reason, 9th place is fair.
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Selbstjustiz durch Fehleinkäufe (p. 121) was the name given elsewhere to products like these. The very first word of this picture title explains the mechanism of the functional error. Selbstjustiz was first employed because of ist sound, and is a wrongly constructed compound which then draws the words that follow into its misery. Based on the somewhat paradoxical construction "Selbstmord" [literally: "self-murder", the standard German word for suicide] , "Justiz" was meant not so much as "justice" rather as "punishment", justified perhaps, but jumping to conclusions certainly. Nonetheless, "Selbstbestrafung [self-punishment] durch Fehleinkäufe" is no more correct, because for the act of "Selbstjustiz" there must be "self-authorization". The consumer has in an unforeseen way activated a lawless zone and thus brought about an unwelcome loss outside the social contract. The balance of social justice in the social market economy, which sells its citizens a share in affluence only under pressure, is seriously disturbed if these citizens do not properly master the art of self-service. Thus all that remains of the hot design in black-and-white is a meagerly painted space. The pockets are full, but of the wrong things. So what's the point? No money for threads any more, expelled from Eden, and banned from the Edeka supermarket chain.
Peter originates from a chain of bogged down decisions. It is the self-made objet trouvé packed in a lost plan. In the book Psychobuildings, Martin Kippenberger mixed these things with the curious exhibits of the public space, the stories of the accidents that happened there, and the errors of the "art on buildings" program, but also with the confusions only the wave of one's head allowed one to observe, like the drunk who could find no support from his girlfriend, the lamp post, and afterwards believed she had danced his circling onto the ground in front of him (p. 150/151).
The painting in Peter was represented by the so-called Preisbilder [prize pictures] . They demonstrated a "free art" competition, and acted out their playwithin-a-play with a talent for performing as a bad amateur. The checkerboard pattern was prescribed for the terrain of the task: "abstract painting". The key word was secured through Neo-Geo, Color Field or Op Art. Every picture discussed the details of style, the values and the variations on its own. The painter of the 1st Prize (p. 142) primed his canvas with a bronze paint, for example. Metallic antique-pink established its decision convincingly through the introduction of an unusual material, and thus reminds us of Blinky Palermo, although he, the prize winner, has not been able to get away from the development of his autonomous contribution through the heroic achievement of his inaccessible role model. The high degree of self-referential elements is also noteworthy, the way in which rhizomatic elements and geometry find themselves in a productive balance and yet painterly values are admitted as part of the conflict of means. (And only the "steps of knowledge and success" betray to the reader that the jury here misunderstood itself as the reference and theme.)
The 9th Prize (p. 143) too is turned into a portrait of the jury, for the picture - once more painting by numbers and opinions - shows the moment in which the artist appears to the jury as an idea of the artist. Actually, the candidate missed the point of the subject. The checkerboard still can be made out in the canvas only as a relief. The jury however has to recognize that the painter was overwhelmed during his work by a vision and as a result awards it one of the top ten prizes. He yielded himself to the intensity of his inspiration with all that that involved, and ultimately did not shy away from standing alone and totally abandoned, outside of all agreements, and in an empty uncertainty at that abyss to which his picture still bears witness. That he pursued this path uncompromisingly right to the end is honored by the jury as a special achievement, even though some uncertainty in the hand of the artist could have been noted - as far as the content is concerned, the light green contour in the smooth slope contradicts the lack of prospect as thematized. For this reason, 9th place is fair.
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