Anselm Kiefer was born on March 8, 1945, in Donaueschingen, Germany. Growing up in a war-torn country, he developed a deep interest in history, mythology, and literature—an influence that has permeated his artistic work.

After high school, he initially enrolled in law studies, but in 1966, he dropped out to pursue painting, attending the Staatliche Hochschule für Bildende Künste in Karlsruhe. His works are characterized by a combination of traditional painting techniques and unconventional materials such as lead, sand, ash, and straw. These materials give his works a physical and symbolic depth, addressing complex themes such as Nazism, German identity, and collective memory.

Kiefer later moved to Freiburg and then to Karlsruhe, where he came into contact with painter Horst Antes, who became his first true mentor. During this period, Kiefer began a series of artistic actions that he would call “Besetzungen” (Occupations). Provocatively, he had himself photographed performing the Nazi salute in front of various places in West and East Germany that held mythological and historical significance for him.

One part of the German critique labeled him a neo-Nazi, and for many years, this label would follow him, creating challenges for him in terms of exhibition opportunities and financial success. However, other German critics praised his courage, noting how he “pokes at the wound” of what was the nightmare of Nazi Germany.

Kiefer currently lives and works in France, where he continues to create works that are powerful commentaries on history, politics, and the human condition.

Kiefer is known for his monumental and provocative style, blending elements of contemporary painting with history, mythology, and literature. His works are often of massive scale, creating an immersive experience for the viewer and conveying a sense of grandeur and imposing presence.

I Sette Palazzi Celesti [2004-permanent exhibition] Milan

“I Sette Palazzi Celesti 2004-2015” is a permanent work conceived and presented in Milan in 2004 as part of a project by Lia Rumma. It consists of five large-scale paintings, created between 2009 and 2013 and still unpublished, which, together with the seven “towers” – now accessible to the public – form a single installation. The five large canvases added to complete the installation are: Jaipur (2009); two works from the series Cette obscure clarté qui tombe des étoiles (2011); Alchemie (2012); Die deutsche Heilslinie (2012-2013). These works are displayed alongside the permanent installation, adding a new layer of meaning to Anselm Kiefer’s masterpiece.

The paintings evoke some themes already present in I Sette Palazzi Celesti – such as the grand architectural constructions of the past as humanity’s attempt to ascend to the divine, and the constellations represented through astronomical numbering. Additionally, they introduce central reflections in Kiefer’s poetic, such as the relationship between man and nature, and references to the history of Western thought and philosophy.

The work also features seven monumental towers, each weighing 90 tons and ranging in height from 14 to 18 meters. The towers are built using reinforced concrete and lead. The lead, beyond ensuring the stability of the structures, carries a significant symbolic meaning for Kiefer, representing the melancholy and weight of history. Each tower consists of five to seven “cabins” stacked on top of each other, with openings allowing the viewer to peer inside. The cabins are kept in balance by lead sheets positioned at the corners, which serve as wedges. This design evokes a sense of precariousness and instability, reflecting the themes of memory and human history.

The towers are arranged along an imaginary jagged line, creating a path that both guides and obstructs the viewer’s journey.

The installation takes its name from the Jewish treatise Sefer Hechalot (Book of Palaces/Sanctuaries), which describes a path of spiritual initiation. The towers represent a culmination of Kiefer’s work, synthesizing themes such as history, memory, and spirituality.