In the mid-1980s, Kippenberger’s considerable musical endeavors gained their greatest resonance. In projects undertaken together with Albert Oehlen (and others), such as Rache der Erinnerung (The Revenge of Memory; LP of the same name, 1984), The Alma Band, Weiß und Doof (White and Stupid), and The Knowhow Knockers, the artist aimed to pursue music in ever new orbits that knew no stylistic limitations. Oehlen was and still is active in very diverse musical contexts—as a member of the »third« reincarnation of The Red Krayola for a short time in the mid-1990s, in the lineup entitled Van Oehlen with his brother Markus around the year 2000, and most recently in the techno and electronic genre under the pseudonym Wendy Gondeln.
Both Kippenberger’s and Oehlen’s music projects are characterized by an uncompromising cacophonic drive that rejects all forms of tonal balance and formal coherence.#2# The extent to which their joint ventures were intended to achieve this is shown in exhibition titles like My Mother Was a Friend of the Enemy of the People (Peter Pakesch Gallery, Vienna, 1984), named after the 1980 single by the British band Blurt, My Mother Was a Friend of an Enemy of the People.
1 Diedrich Diederichsen, »Der Selbstdarsteller: Martin Kippenberger zwischen 1977 und 1983,« in (ed.), Nach Kippenberger, ed. Eva Meyer-Hermann and Susanne Neuburger (Vienna, 2003), 56.
2 On the joint basis of music and painting in the German post-punk context, see Diedrich Diederichsen, »Intensität – Negation – Klartext,« in Zurück zum Beton: Die Anfänge von Punk und New Wave in Deutschland 1977–’82, exh. cat. Kunsthalle Düsseldorf (Cologne, 2002), 143–44.