Search results
Years active. 1971–1982, 2003. The Kipper Kids were a duo composed of Martin Rochus Sebastian von Haselberg (born 20 January 1949) and Brian Routh (1948–2018), two artists known for the extreme and often comedic performance art they made together in the 1970s and after.
21 de nov. de 2020 · En el verano de 1994, un artista de tardovanguardia (sic, si) llamado Harry Kipper, uno de esos seres desconocedores del ridículo dispuestos a inmolarse siempre que se les mire, emprendió una obra de arte total, otra vez a vueltas con la bicicleta: el proyecto “Art In Europe”, consistente en un recorrido psicogeográfico a ...
El asunto terminó cuando se filtró a la prensa que era una operación “psicogeoturística” desarrollada por activistas italianos y británicos. Finalmente, el suceso alcanzó complicaciones delirantes al saberse que Harry Kipper había, supuestamente, existido, y que era un performer y body-artista.
Los Kipper Kids eran un dúo compuesto por Martin Rochus Sebastian von Haselberg (nacido el 20 de enero de 1949) y Brian Routh (nacido el 9 de marzo de 1948), dos artistas conocidos por el arte escénico extremo y a menudo cómico que hicieron juntos en la década de 1970 y después. Von Haselberg vive y trabaja en Nueva York , y Routh vivió recientemente en Leicester , Inglaterra.
1 Video. 5 Photos. Argentinian-born Martin von Haselberg, along with Brian Routh, form the performance art group known as the Kipper Kids. After they met in 1970, they created a character named Harry Kipper. They have since put on shows all over the world. Von Haselberg got married to songstress Bette Midler in 1984. They have a daughter, Sophie.
From the 1970s, the Kipper Kids (Harry Kipper and Harry Kipper, aka Martin Von Haselberg and the late Brian Routh) became legendary. Their dangerous, excessive and funny performance art actions were prolific in the 1970's in the UK, Europe and LA.
Tonight, in Paris, like every night, Harry Kipper has won and Harry Kipper has defeated himself. In its extremity and in their endurance, the culmination to the performance depicts a subject ‘at a height of consciousness’ – as becomes the boxer in Mailer’s account of the ‘internal effort’ of a knockout fight – and as, too, it ...
