«Steal me»: KP Brehmer’s Post-Production

Abstract

The artists of Capitalist Realism launched their response to mass media imagery in the 1960s. In works such as Hommage à Dürer (1966) and Rosa Luxemburg (1973) KP Brehmer addressed relations of production and state policies in West and East Germany. He appropriated tools from the printing trade to intervene in the flow of collective signs with a strategy of «ideological kleptomania», inviting viewers to join in the action. The political practice of this ‹artful socialism› is sited above all within post-production; the images manifest as temporary endpoints in a network.

Keywords 
Capitalist Realism, KP Brehmer, post-production, Cold War, printing press