Edited by Marcus Andrew Hurttig, Stefan Weppelmann. Text by Marcus Andrew Hurttig.
On Kippenberger's utopian portals into an imaginary global transportation system
In the early 1990s, Martin Kippenberger (1953–97) developed the idea of a global underground network: METRO-Net. Although it is one of the artist’s most fascinating projects, his premature death in 1997 meant that it could only be implemented in rudimentary form. In 1993, a metro entrance was built on the Greek island of Syros, followed by two more: one in 1995, in Dawson City in Canada, and the other in 1997, on the new Leipzig exhibition grounds. These structures proposed a means of traveling in the boundless space of the imagination: without the willingness to visualize tunnel tubes and moving underground trains, this project remains a “nonsensical building plan.” But the moment we accept the artwork as a mode of transport for “mind travelers,” then the full power of this work unfolds. Documented in this volume, Kippenberger’s METRO-Net was intended to counter life’s predictable, rationally oriented parameters with a romantic sense of the world.
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FORMAT: Hbk, 7 x 9 in. / 144 pgs / 130 color. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $48 ISBN: 9783959054850 PUBLISHER: Spector Books AVAILABLE: 4/26/2022 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA AFR ME
Published by Spector Books. Edited by Marcus Andrew Hurttig, Stefan Weppelmann. Text by Marcus Andrew Hurttig.
On Kippenberger's utopian portals into an imaginary global transportation system
In the early 1990s, Martin Kippenberger (1953–97) developed the idea of a global underground network: METRO-Net. Although it is one of the artist’s most fascinating projects, his premature death in 1997 meant that it could only be implemented in rudimentary form. In 1993, a metro entrance was built on the Greek island of Syros, followed by two more: one in 1995, in Dawson City in Canada, and the other in 1997, on the new Leipzig exhibition grounds. These structures proposed a means of traveling in the boundless space of the imagination: without the willingness to visualize tunnel tubes and moving underground trains, this project remains a “nonsensical building plan.” But the moment we accept the artwork as a mode of transport for “mind travelers,” then the full power of this work unfolds. Documented in this volume, Kippenberger’s METRO-Net was intended to counter life’s predictable, rationally oriented parameters with a romantic sense of the world.
