Martin Hentschel

  • Martin Kippenberger

    Cynicism is one of the modes through which art can reflect reality, and it is by using this mode that Martin Kippenberger has made a name for himself. The works he presented to the public beginning in the early ’80s were all series of small paintings whose themes for the most part were taken from our media-filled everyday world. The neutrality of the subject matter corresponded to the neutrality of artistic realization, with its seemingly effortless appropriation of 20th-century painting styles. Compared with the early paintings of Gerhard Richter and Sigmar Polke, which are similarly trivial

  • Rebecca Horn

    Even before you took in the individual pieces of Rebecca Horn’s installation, waves of mechanically repetitive knocking, banging, rattling sounds hit your ears, sounds that created a secret relationship among the works and accompanied the visual connections like a subterranean echo. This echo filled the space with an atmosphere that tugged at your feelings without your being able to pinpoint exactly what it was that moved you. No one could have left these rooms without feeling that their senses had been heightened to the utmost, like the narrator in Edgar Allan Poe’s “The Tell-Tale Heart.” The

  • Bernhard Johannes Blume

    Bernhard Johannes Blume, a 40-yearold artist who lives in Cologne, studied with Joseph Beuys in the early ’60s and has made drawings and photographs since the ’70s. He is probably best known to a wider international public through his participation in Documenta 6 in 1977 and in Kasper König’s show “Von hier aus” (From here out) in Düsseldorf in 1984. At that show Blume exhibited a series of large-format, black-and-white photographs that he had made in 1984 and called “Wahnzimmer” (Insaneroom, a play on the German word Wohnzimmer, meaning living room). Here we saw furniture, porcelain, accessories,