• Martin Kippenberger, Korrekte Syntax (Correct Syntax) (detail), 1987, wood, silk-screen print on Plexiglas, stickers, filing-card holder, 48 7/8 x 11 x 18 7/8". From the series “Peter-Skulpturen” (Peter Sculptures), 1987. All works © Estate Martin Kippenberger. Galerie Gisela Capitain, Cologne.

    Martin Kippenberger

    Hamburger Bahnhof

    Hi, here I am, that must be enough.

    —Martin Kippenberger

    ALL OF BERLIN IS DELIGHTED: Martin Kippenberger is back in town. Contrary to popular belief, it was not in Cologne but here that the artist launched his career. It was in Berlin that he opened Kippenbergers Büro (an “office” specializing in communication) and where he served as bustling manager to the legendary punk club SO36. Inevitably, mention of his name is accompanied by nods to his unbounded lifestyle—as is currently the case at Berlin’s Hamburger Bahnhof, where “Martin Kippenberger: Sehr Gut | Very Good” is framed (via

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  • Erina Matsui, Nightmare Before New Year, 2013, oil on canvas, wire, 27 1/2 x 27 1/2 x 3/4".

    Erina Matsui

    Kunsraum Kreuzberg (Künstlerhaus Bethanien) /

    In “Road Sweet Road,” her first exhibition in Germany, the Japanese artist Erina Matsui showed seven paintings, three wall objects, and a video, in addition to the installation Road Sweet Road mit Künstlerhaus Bethanien (all works 2013), which was literally and thematically its centerpiece, and lent its title to the show as a whole. The psychedelic quality of Matsui’s imagery simultaneously alienates and fascinates: In her self-portraits, for instance, she combines attributes that typify the Japanese idea of kawaii, or “cute,” with surreal deformations. Throughout her oeuvre, Matsui represents

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