• Original 2006 Edition 5 artist postcard reproducing Martin Kippenberger's sculpture Martin, ab in die Ecke und schäm dich, 1989, showing a life-size resin figure of a man in a checked shirt, braces, grey trousers, and black shoes, standing with his back to the viewer, face pressed into the corner of two white gallery walls, arms clasped behind his back, the figure photographed in a clean white gallery space with a grey floor.
  • Reverse of 2006 Edition 5 artist postcard for Martin Kippenberger, Martin, ab in die Ecke und schäm dich, 1989, showing a plain white reverse with a horizontal rule and the Edition 5 website address and order number 2042 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Martin, ab in die Ecke und scham dich, 1989 Cast resin and clothes, 180 × 76 × 30 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.
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Edition 5

Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

£40.00 GBP
£40.00 GBP
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12 × 16 cm. Offset print on uncoated card stock. Published by Edition 5, 2006. Good vintage condition: light handling wear and minor age toning, clean image with a lightly marked reverse, consistent with storage.

Artist postcard published by Edition 5 in 2006 as part of its series of contemporary art postcards, reproducing Martin, ab in die Ecke und schäm dich (1989), one of Martin Kippenberger’s most recognisable sculptures. The reverse credits the Estate of Martin Kippenberger and Galerie Gisela Capitain, placing the card within the period of renewed institutional attention that followed the major 2006 retrospective Martin Kippenberger: The Problem Perspective at Tate Modern and K21 Kunstsammlung Nordrhein-Westfalen.

The sculpture itself occupies a central place in Kippenberger’s practice. A life-size self-portrait cast in resin, standing with its face buried in the corner, it combines slapstick humour, self-criticism, and institutional parody in a single unforgettable image. Since the artist’s death in 1997, it has become one of the defining works of post-war German art, regularly appearing in museum exhibitions and major private collections.

As an object, this postcard belongs to the broader ecosystem through which contemporary art circulates beyond the gallery: museum shops, bookshops, fairs, and exhibitions. Unlike exhibition invitations, these publisher-issued image cards were intended to extend the life of artworks through inexpensive printed multiples. Many were handled, mailed, or discarded, making surviving examples surprisingly elusive, particularly outside complete postcard sets.

Today, cards devoted to canonical contemporary artists such as Kippenberger are increasingly appreciated as modest but authentic artefacts of art-world publishing. They preserve not only the image of an important work but also a particular moment in its reception, when museums, estates, and specialist publishers translated major sculptures into portable printed form.

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