Dimensions: image: 827 x 583 mm
Copyright: © Estate Martin Kippenberger/Galerie Gisela Capitain, Cologne | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is a poster, "Nine Reasons to Raise the Prices," by Martin Kippenberger. It's striking with the monochrome red, showing a capsized boat and two figures. It feels very pointed, but about what? What's your take? Curator: It's a fascinating piece, especially when considered through Kippenberger's lens of institutional critique. He was deeply skeptical of the art market. This work, with its provocative title, is inherently a commentary on value—who decides it, and why? Editor: So, the title is sarcastic? Curator: Precisely! He's forcing us to confront the sometimes arbitrary and often exploitative nature of art pricing, and the commodification of artistic labor. What do you think the figures by the boat might represent in that context? Editor: Maybe artists, exposed and vulnerable? Curator: Exactly! Kippenberger often used irony and self-deprecation to highlight these power dynamics. It's a reminder that art exists within a social and economic framework that profoundly shapes its meaning. This gives me lots to think about.
http://www.tate.org.uk/art/artworks/kippenberger-nine-reasons-to-raise-the-prices-p79120
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This poster was produced to promote a lecture given by Martin Kippenberger and fellow German artist Albert Oehlen at the Art and Design School in Cologne on 9 November 1987. Standing in front of a boat that has run ashore, Oehlen and Kippenberger pose in oversized white underpants, with dressing gowns hanging over their left arms. The scene consciously recreates American photographer David Douglas Duncan’s 1962 photograph of the artist Pablo Picasso wearing similar attire, which became a symbol for Kippenberger of masculinity, the power of artistic fame, and the inevitability of aging (see, for example, I Could Lend You Something, But I Would Not Be Doing You Any Favours 1985, Tate P79090).