Fillip is a publication of art, culture, and ideas released three times a year.

1. Series: Intangible Economies
2. Markus Miessen et al. Architectural Space as Agent
3. Vector Association and Kristina Lee Podesva Via Satellite
4. Diedrich Diedrichsen Living in the Loop
5. Michael Turner and Reid Shier Upon Further Reflection
6. Amy Zion Ascetic Desire
7. Kathy Mezei Shadows and Blind Spots
8. Ahmet Ögüt and Berin Golonu Between the Scaffold and the Ruin
9. End Matter: Commission: David Horvitz, Scotch Broom

Roberta Smith called him the “madcap bad boy of contemporary German art” and also “one of the three or four best German artists of the postwar period.” Martin Kippenberger disrupted the status quo throughout his brief, excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. He published books and catalogues, played in a rock-and-roll band and cut records, ran a performance-art space during his early years in Berlin, became part owner of a restaurant in Los Angeles during six months he spent there preparing for an exhibition, and collaborated extensively with other artists. This particular volume considers his output of artist’s books, as well as his exhibition catalogues and all the publications whose content he either created or edited. More than just documentation, this publication makes accessible for a wider public the multiple aspects of Kippenberger’s books, with all the complexity and consequence of his oeuvre intact.

“How can one make a work on canvas today without, in some way, addressing the mobility that now characterizes our most familiar sources of representational surfaces – the television or computer screen with their profusion of data, succeeding, interrupting and, through the hyperlink, opening gaps within one another? Thomas Eggerer’s anti-gravitational paintings address these conditions in a variety of ways, all of which cause a vertiginous loss of grounding.” David Joselit

German artist Thomas Eggerer (*1963) is based in Los Angeles since 1999. A former member of the collaborative Group Material in New York, he initiated conceptual projects in collaboration with Jochen Klein, focusing on identity and gender issues in public space. In his current paintings and drawings, Eggerer continues this discourse with other means. His enigmatic depictions of groups and collectives attempt less to portray the singularity of the individual than to explore the mechanisms of exclusion and inclusion, conformity and hierarchy, as well as the potential of individual or collective utopia.