Kiki Kogelnik Foundation

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Kiki Kogelnik Foundation

Maintaining and supporting Kiki Kogelnik’s artistc legacy. Maintaining and supporting Kiki Kogelnik's artistic legacy.

10/29/2026

Kiki Kogelnik’s “Selbstportrait”, 1982, is included in “Her Story: Women Artists of the Albertina” which opens on the October 30, 2026. This photocopy edition was made as her contribution to a project organized by the Kunstverein für Kärnten in 1982. For “Kunstlerportrait 82” thirty-seven artists were asked to create self-portraits, or portraits of other artists, which were then published in an edition of 60.

“Her Story: Women Artists of the Albertina” surveys for the first time works by women artists in the museum’s collection. It brings together work from five centuries held in its distinguished collection: from drawings and prints by early engravers and publishers, to modern artists and pioneering feminist artists of the 1970s. Collectively, their biographies portray women artists as committed, enterprising, and self-directed protagonists who explored the world around them and established important networks as they pursued their careers.

The exhibition continues until February 14, 2027

Kiki Kogelnik, Selbstportrait, 1982 Color Photocopy, (Ed 60 + 10 AP), 34 x 25 cm (13 3/8 x 9 7/8 inches).
© 1982 Kiki Kogelnik Foundation. All rights reserved.

09/28/2026

The Kiki Kogelnik Foundation is delighted to announce the acquisition of Kiki Kogelnik’s “Siempre Por Tio”, 1964, by the Freunde der Nationalgalerie for the collection of the Neue Nationalgalerie, Berlin.

Kogelnik’s painting is included in the section called “Freeing the Body" as part of its current collection based exhibition “Extreme Tension. Art between Politics and Society 1945 -2000”, which explores central artistic and societal themes from the twentieth century, including realism and abstraction, politics and society, everyday life and pop culture, feminism and the nature of ecology.

"Siempre Por Tio" is part of a group of works where Kogelnik began to address the alterations or modifications that the human body would have to undergo to exist in outer space which reference the robot and the cyborg. In 1964, she wrote to Manuel Ulloa Elías, whose silhouette dominates the painting’s composition: “To your heart I would be most tender and your beautiful brown liver I would caress." These organs appear to be in process of being removed from the newly divided body while key joints - elbows, arm sockets, hips and knees - are replaced with mechanical nuts and bolts; the letter “K”, located near the heart, claims ownership.

Kiki Kogelnik, Siempre Por Tio, 1964, Oil and acrylic on canvas, 183.2 x 137.2 cm (72 1/8 x 54 inches). © 1964 Kiki Kogelnik Foundation. All rights reserved.

Neue Nationalgalerie

09/09/2026

Opening tomorrow, as part of Berlin Art Week, Kiki Kogelnik is included in “Exquisite Co**se” at PACE Berlin.

Exquisite Co**se, is a group exhibition curated by American artist Loie Hollowell in response to her appreciation of the work of Kiki Kogelnik. In conversation with her artist contemporaries, the Canadian artist Sascha Braunig, and the Czech artist Veronika Pausova, she discovered that Kogelnik’s work had equally impacted their own practices. This exhibition brings together works by all four cross-continental, multigenerational artists.

The paintings, works on paper, and sculptures on view by the four artists in this exhibition exemplify each of their commitments to exploring the body, particularly the female body. Together, the artists form a lineage of bodily abstraction with a shared use of vibrant colors and deliberate mark making. Rather than representing the body as a stable subject, each artist approaches the figure as a site of tension, one that can be stretched, flattened, cut up, and transformed. The works shown wrestle with ideas of the body as a machine, a modular system, and a site shaped by technology, labor, and scientific developments. As a result, feminism and the question of what it means to make a feminist image are central to this collection of works.

The exhibition continues through November 11, 2026.

Images:
Cold Passage, 1964, Oil and acrylic on canvas, 59 3/4 x 48 in. (151.8 x 121.9cm)
Untitled (Breast), c. 1967, Enamel on fiberglass 7 3/8 x 71/4 x 3 3/8 in. (18.8 x 18.5 x 8.8 cm)
Untitled (Hanging), c. 1970, Sheet vinyl with chromed steel hanger, 63 x 19 3/4 x 1 1/2 (160 x 50.2 x 4.1 cm)
Eintagsfliege 10, 1983, Acrylic, pencil and photocopy transfer on paper 19 5/8 x 15 3/4 in. (50 x 40 cm)
Untitled (Standing Head), 1986, Glazed ceramic, 11 3/4 x 7 5/8 x 7 3/4 in. (30.1 x 19.4 x 19.8 cm)
© Kiki Kogelnik Foundation. All Rights Reserved

Pace Gallery Berlin Art Week Loie Hollowell Sascha Braunig Veronika Pausova

07/29/2026

Kiki Kogelnik’s work can currently be seen in three institutional exhibitions:

New Humans: Memories of the Future
New Museum

Sea, Pop & Sun
Fondation Carmignac

Labouring Bodies
Museum Tinguely Basel

Exhibition views:
New Humans: Memories of the Future, 2026, New Museum, New York

Sea, Pop & Sun:
Martial Raysse, Bien sûr le petit bateau, 1963, Acrylic wood and plastic flowers on xerography, 174.5 x 114 x 11cm, Pinault Collection, Paris, © Martial Raysse/ADAGP, Paris, 2026
Kiki Kogelnik, Rainy, 1973, oil and acrylic on canvas, 203 x 152cm, © 1973 Kiki Kogelnik Foundation. All Rights Reserved

Labouring Bodies:
Kiki Kogelnik, Mechanical Woman IV, 1965, Enamel and India ink on paper, 72.6 x 57.3 cm. © 1965 Kiki Kogelnik Foundation. All Rights Reserved
Kiki Kogelnik, Mechanical Woman III, 1965, Acrylic, enamel, India ink and ink on paper, 65.2 x 50 cm.
© 1965 Kiki Kogelnik Foundation. All Rights Reserved

Photographers: Michael Young, Laurent Lecat, Dario Lasagni, Pati Grabowicz

06/10/2026

Kiki Kogelnik is included in the exhibition “Labouring Bodies“ which opens today at the Museum Tinguely, Basel.

The exhibition explores the relationship between the body, labor and technology from a feminist perspective. The extensive group exhibition shows how the human body – especially the feminized and marginalized human body – has been shaped and controlled by machines since the dawn of the modern age, and how it has also been understood as a site of resistance. With its focus on working with machines, the technologization of production and reproduction, and women’s contribution to technological progress, the show invites us to rethink our notions of the body, labor and care.

Curated by Sandra Beate Reimann, the exhibition spans the period from the early twentieth century to the present and brings together historical and contemporary works by 36 artists.

The exhibition continues through November 8, 2026.

Images:
Kiki Kogelnik, Mechanical Woman IV, 1965, Enamel and India ink on paper, 28 ½ x 22 ½ in. (72.6 x 57.3 cm).
© 1965 Kiki Kogelnik Foundation. All Rights Reserved
Kiki Kogelnik, Mechanical Woman III, 1965, Acrylic, enamel, India ink and ink on paper, 25 5/8 x 19 5/8 in. (65.2 x 50 cm).
© 1965 Kiki Kogelnik Foundation. All Rights Reserved

06/01/2026

Marilyn Monroe appeared to Kiki Kogelnik an exemplar of a woman who had achieved a balance between dependency on men and independent self-determination. She painted three paintings with the title "Marilyn" as homages to her idol. Following the unexpected death of Monroe, she wrote in a letter to her mother on August 15, 1962: “I am really very sad about Marilyn – she died not far away from here – and on this night at about 1 till 4, I could not sleep and was very depressed. When I told this to Sam [Francis] the next day, he told me Marilyn killed herself. It is dreadful what they do with dead people in this country – her belly was opened and they put her into a city Frigidaire for co**se storing – Nr. 33. Well, poor Marilyn – I collect all the papers – and I have to paint to her glory.” Made at the end of 1962, her tribute to Monroe depicts a curvaceous figure dressed in lacey underwear cruelly decapitated, the head replaced with a line of sutures, her green stilettos discarded on the floor and a large pink heart with a silver center floating upwards as if departing.

Images:
1. Kiki Kogelnik with her unfinished painting “Marilyn”, 1962 in her studio at 940 Broadway, New York, 1962 © Kiki Kogelnik Foundation. All Rights Reserved
2. Kiki Kogelnik, “Marilyn”, 1962, Oil and acrylic on canvas, 89 3/4 x 59 3/4 inches (228 x 151.8cm) © 1962 Kiki Kogelnik Foundation. All Rights Reserved

04/24/2026

Kiki Kogelnik’s “Rainy”, 1973, is included in the exhibition “Sea, Pop & Sun” at the Villa Carmignac from April 25, 2026.

The exhibition reflects on a historical moment in which new social movements, changing moral frameworks, and the rise of the leisure society reshaped everyday life and visual culture in an ode to the freedom and vitality of the 1960s and 1970s that summons the Pop spirit. It recreates a dreamworld of a seaside escape and echoes a time when the sexual revolution was overturning conventions, morals were shifting, and everything seemed possible. The South of France and its beaches were more than mere holiday postcards; they were gateways to new horizons of freedom and transgression.

Situated on the îles de Porquerolles, in the region of the French Riviera, far from the cities and bathed in the light, colors and scents of the Mediterranean, Pop Art reveals unexpected facets. No longer drawing on everyday objects or urban advertising, it turns instead to new motifs: the sky, the sea, the sun and the spirit of summer. While acknowledging its roots in the consumer society, Pop Art here acquires a renewed sensuality and intensity, at times verging on the cosmic, from these shores and summer scenes.

Bringing together more than 80 works of art, “Sea, Pop & Sun” is presented by the Foundation Carmignac and curated by Dr. Dieter Buchhart and Dr. Anna Karina Hofbauer, it places icons of Pop Art such as Evelyne Axell, Kiki Kogelnik, Roy Lichtenstein, Martial Raysse and Andy Warhol, in dialogue with contemporary artists who extend or interrogate the movement, including Derrick Adams, Cosima von Bonin, Judy Chicago, and Théo Mercier. The exhibition continues until November 1, 2026

Kiki Kogelnik, Rainy, 1973, oil and acrylic on canvas, 79 7/8 x 59 7/8 in, (203 x 152cm)
©1974 Kiki Kogelnik Foundation. All Rights Reserved

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