1 is honored to present the solo exhibition of Austrian feminist pop artist Kiki Kogelnik 很荣幸展出奥地利女性波普艺术家奇奇 柯根尼的个人展 14/10/ /1/2018 kiki kogelnik dea ex machina natalie seroussi 34 rue de seine paris +33 (0)
2 The exhibition Untitled (Still Life with Hand), c.1966 paper and aluminum on board 40,5 x 21,1 cm "The cyborg is a matter of fiction and lived experience that changes what counts as women s experience in the late twentieth century. This is a struggle over life and death but the boundary between science fiction and social reality is an optical illusion." -Donna Haraway, "Cyborg Manifesto: science, technology and socialist-feminism in the late twentieth century," 1991 Published in 1991, these words by the philosopher Donna Haraway theorize issues which had already been broadly discussed within works by feminist pop artist Kiki Kogelnik at the beginning of the 60 s. With a pop aesthetic, the works by this Austrian artist who emigrated in the United State at the age of 26 meet current issues of gender and the way one represents body. Pursuing her interest in women artists committed to their time and who inform contemporary narrative (exhibition «La femme visible», ), natalie seroussi works closely with the Kiki Kogelnik Foundation and the Simone Subal Gallery in New-York to to show fragile, technological, cosmic and colored silhouettes on the occasion of Kiki Kogelnik s first solo exhibition in France.
3 Although she was friend with most of the greatest pop artists of her generation (Roy Lichtenstein, Claes Oldenburg, Andy Warhol, Tom Wesselmann), Kiki Kogelnik was an alien among this male world busy glorifying or denouncing the society of consumption. Kiki is more interested by the body rather than the object. Artificial body, social body, family nucleus, Kiki is inspired by current events and her entourage : Apollo 11 lunar landing, friend s silouhettes, woman as object in adds promoting the merits of a stain remover, Kiki Kogelnik shows great irony, to explore the reconfiguration of the self and the body at the technological age, that fascinates and intrigues her. As a feminist including men in her works, and less virulent than Judy Chicago at the same time, Kiki Kogelnik captures all the positive energies from her time and deploys them within a dynamic vocabulary, fragmented, colored and released from the constraints of minimalism. Her dismembered body parts and the multiplicity of arms and legs hybridated with cogs refer to a kind of primitivism one can sees in Lascaux fingerprints and find a freedom of movement beyond any kind of social assignation. Really George, You Shouldn t Have, 1966 oil and acrylic on canvas 111,8 x 61,3 cm Her works celebrate the joy of life and call for emancipation, encouraging women to become cyborgs rather than godesses.
6 Works 展出作品 Green Machine, c.1964 oil and acrylic on canvas 128,9 x 108,1 cm
7 Vibrations on a Composite Circu it, 1965 oil and acrylic on canvas with mixed media 136,5 x 102 x 9 cm
8 Ikarus Darling,1965 oil and acrylic on canvas 134,6 x 99,1 cm
9 Green hand, 1964 mixed media with vinyl, foil and tray 43,2 x 29,8 x 3,2 cm
10 Woman Astronaut, c.1964 oil, enamel, sheet vinyl, metal and synthetic materials on board 40,6 x 30,5 x 5,1 cm
11 Georg e, c.1966 fiberglass, chrome steel and mixed media 162,9 x 97,5 x 114 cm
12 Robots, c.1966 acrylic, india ink, ink and color pencil on paper 34,6 x 58,8 cm
13 Untitled, (Little Lonely Man),1966 acrylic and ink on paper 54 x 42 cm
14 Robots, ink and colored pencil on paper cm
15 Untitled (Robots), c.1967 acrylic, watercolor and ink on paper 62,2 x 87,6 cm
16 Untitled, (Robots),1966 acrylic, colored pencil and ink on paper 35,3 x 27,6 cm
17 Untitled, (Breast),1968 enamel on fiberglass 17,8 x 17,8 x 10,2 cm
18 Mono, c.1970 sheet vinyl with chromed steel hanger 96 x 66 x 4 cm
19 Starry-Eyed, 1974 glazed ceramic 41 x 18 x 18 cm
20 Sleepy Head, 1974 glazed ceramic 45 x 17 x 17 cm
21 Biography 个人简介 Kiki Kogelnik ( ) worked and lived in New York and Vienna. 奇奇 柯根尼 ( ) 工作 生活于纽约和维也纳 Group exhibitions / 集体展 Solo exhibitions / 个人展 1961 Galerie nächst St. Stephan, Vienna 1996 MAK Museum of Applied Arts, Vienna 2012 Hamburger Kunstverein, Hamburg Simone Subal Gallery, New York 2013 Kunsthalle Krems, Austria 2015 Modern Art Oxford 2016 König Galerie, Berlin 2017 Galerie Natalie Seroussi, Paris 1965 Corcoran Gallery of Art, Washington, D.C the Hirshhorn Museum and Sculpture Garden Washington, D.C the Kunsthaus Zürich 1983 the Secession, Vienna the Museum Het Paleis, 1997 The Hague, Netherlands 2001 the Museum of Fine Arts, Budapest 2003 Kunsthalle Krems, Krems, Austria 2010 Kunsthalle Wien, Vienna Brooklyn Museum, New York 2012 Louisiana Museum, Denmark 2013 Barbican Centre, London Moderna Museet, Stockholm 2014 Stephen Friedman Gallery, London 2015 Tate Modern, London 2016 Mumok, Vienna 2017 The Approach, London Salts, Basel
22 Public collections 公家收藏 Austria / 奥地利 MUMOK, Vienna 21er Haus/Belvedere, Vienna Essl Collection, Klosterneuburg Leopold Collection, Vienna Museum Moderner Kunst Kärnten, Klagenfurt BMUKK, Vienna City of Vienna Collection, Vienna Infeld Collection, Vienna Dom Museum Wien, Vienna Liaunig Museum, Neuhaus Kunstforum Bank Austria Collection, Vienna Raiffeisen Bank Bleiburg, Bleiburg Danemark / Denmark / 丹麦 Louisiana Museum of Modern Art, Humleæk Greece / 希腊 George Economou Collection, Athens Italy / 意大利 Fondazione Fiera Milano, Milan Fondazione per l arte, Rome United States / 美国 Portland Art Museum, Portland, OR The National Museum of Women in the Arts, Washington DC The Snite Museum of Art, University of Notre Dame, IN
23 Kiki as seen by...natalie Seroussi Natalie Seroussi 眼中的 Kiki While visiting the gallery of Simone Subal, I became captivated by the colorful and dynamic paintings, representing bodies in levitation, human or machine, figures in all their states. From one work to the other, Kiki Kogelnik s work was showing a two folded energy: the one of a woman conquering both the space and the canvas with freedom and construction. 当我参观 Simone Subal 画廊时, 我就着迷于 Kiki 画中的色彩和活力 在她的画里可以看到漂浮在空中的身体, 散落的机械零件, 他们看似随意得游离在一个 Kiki 想象的宇宙空间里 Kiki 的创作不仅以她自由的姿态征服了画布的平面, 也征服了整个画廊空间 A pop artist at her core, Kiki s interest lies in her times: advertising images, conquest of space, technology. The body, hybrid, is easily confused with one of a machine, multiplying itself in another self, a clone perhaps. What are the hands, found in so many of her works, trying to tell us? What about these bodies cut in half? And these penetrating machines? 内心是一名波普艺术家,Kiki 所关注的是她生活的时代的社会现象 : 布满城市的广告牌 太空竞赛 科技的发展 人的身体和机器的界限日渐模糊, 似乎可以把一个看作是另一个的克隆 Kiki 画中的手想要告诉我们什么? 那些被截成一半的身体呢? 还有这些穿插的机器呢? Kiki works with determination for women, their femininity, and their power, which she depicts in her paintings equal to men. The role of the machine is pervasive. The machinery enters the composition of the being by passing through it, building machines for another world, Kiki s world. Kiki 的创作主题离不开女性, 但值得一提的是她作品中的女性及她赋予她们的力量, 都等同于男性 机器在 kiki 的作品里也占据了不可或缺的地位, 他们似乎进入并穿过了画中的空间, 同时给新的一个世界制造着机器,Kiki 的内心世界 What gender to give to angels? Like Donna Haraway, she wants to invent a third gender, one for cyborgs, automatic beings, without an apparent dominating gender. She reveals the porosity between man, science and nature which we can found in the sculpture George, representing her husband hanging from a rack. Does it represent a transformation of man by science? A science by which he will be dominated? 如果可以给天使一个性别, 你会怎么选择? 像女性主义评论家唐娜 哈拉维一样,Kiki 希望发明第三个性别给 cyborgs, 在男女两极之间, 模糊男女性之间的界限 她的作品通常展现人类 科学及自然的通融性 她的雕塑 George 把她的丈夫描述成吊在架子的铬钢, 展现了人类 科学及自然的通融性 它象征着科学给人类带来的转变? 同时占据了人类?
24 Kiki as seen by...simone Subal Simone Subal 眼中的 Kiki Growing up in Austria, Kiki Kogelnik was part of my cultural DNA from a very early age. However, it was only when I was already living in New York that I discovered her oeuvre from the 60s and 70s. I will never forget when I met with Mono, Kiki Kogelnik s son, at her old studio on Lafayette Street and we pulled out these breath-takingly beautiful drawings from the flat files. That s when I fell in love with the work and knew that I had to find a way of making sure that Kiki is known to a more international audience. I believe Kiki s contribution to Pop Art is quite a significant one. When she moved to New York she quickly became friends with Roy Lichtenstein and Claes Oldenburg and was certainly aware of the language of Pop but was able to translate these inspirations into a distinctly idiosyncratic vocabulary. In her system of modules, shapes and signs, Kiki was less interested in exploring consumerism or celebrity culture but looked at it through a nuanced feminist lens. While her often garish color palette and her use of synthetic and appropriated materials are aligned with Pop s interest in the everyday, Kiki pushed her work to address societal constructions of gender. 我和 Kiki Kogelnik 一样成长在奥地利, 所以她的作品一直以来都让我产生共鸣 然而我直到住在了纽约才发现她 60 和 70 年代的作品 我永远记得当我在 Kiki 的旧工作室见到她的儿子 Mono 的时候, 她给我看她的绘画作品 自从那时起, 我便爱上了她的艺术, 并决定我一定要找到方式让更多人听闻 Kiki 的天赋 我认为 Kiki 给波普艺术的贡献是相当重要的 她刚搬到纽约便立刻认识了 Roy Lichtenstein 和 Claes Oldenburg, 也从他们身上学到了波普艺术的精髓 但是 Kiki 对波普艺术有她独特的解读和诠释 相比于其它波普艺术家, 她对消费主义或流行文化并不太感兴趣, 而是用她细致的女权主义视角看待当代社会现象 虽然她的色彩和材料的选择体现了波普艺术的审美, 她更注重指出性别只是社会建造的结果 Whereas Kiki undoubtedly embraced life, I believe these cut-outs come from a darker and more complex place. The very act of cutting-out these body silhouettes and body fragments involves violent dismemberment and the idea of cutting ties with common perception of history and gender. 虽然 Kiki 毋庸置疑地热爱生活, 我相信她的 cut-outs( 剪纸 ) 蕴含着更深层 隐晦的含义 光是剪出身体剪影和部分身体部位的行为就已经有着暴力的冲动以及颠覆传统历史和性别观念的意图 Just look at Woman s Lib (short for Liberation) from 1970 in which you see Kiki (dressed in a trench coat and wearing giant, opaque sunglasses) aggressively holding a pair of over-sized scissors. A swath of body cut-outs lay scattered at her feet. Kiki once mentioned that by physically cutting out the silhouettes the figures are in her power. In this sense, I believe Kiki s trenchant social critique is also a means for her to obtain a sense of liberation and autonomy. 在 Kiki 1970 年 Woman's Lib ( 女性的解放 ) 里, 你能看到 Kiki 身穿军大衣 戴着过大的黑墨镜, 带有攻击性地拿着一把大剪刀 她的脚下层叠散落着身体剪影 Kiki 曾说, 当她把人的剪影剪下来的那一刻, 它们便有了力量 按此说, 我认为她的社会批判也是她获得人身自由的一种途径
25 Kiki's voice Kiki 的自述 I was thrilled by New York right from the start. For me New York was a kind of liberation, because suddenly I was being listened to, what I had to say. Suddenly I was being visited, my work being looked at. I think either you re born for America or not, there are people who find it very difficult, and always come back to European circles, whereas for me it wasn t a problem at all, the opposite in fact America suited me. 我到纽约的那一刻就兴奋至极 纽约对我来说是一种解放, 因为一瞬间有人听我诉说 一下子, 人们开始来看我, 也开始关注我的艺术 我认为适合或不适合在美国的欧洲人是非常两极分化的 不适合的人完全无法适应, 永远会回到欧洲人的圈子 对我来说, 融入美国文化完全不是问题, 美国很适合我 I even thought it was the land of my dreams because the first time I saw marshmallows I thought this is unreal I had always dreamed of something that looks like cotton wool and tasted sweet, and that existed in America Earlier, I liked eating marshmallows alone but today I know a wonderful recipe for the ladies, that is: 1 part marshmallows, 1 part coconut, shredded, 1 part sour milk sour cream, 1 part pineapple and 1 part mandarins. You mix it altogether and it s called Cloud Salad. It s wonderful with cold meat. 我甚至认为美国是我梦想成真的国度, 因为第一次我在美国看到棉花糖的时候我不敢相信 - 我一直都想要找到一种看起来像棉毛但吃起来带甜味的食物, 而我居然在美国找到了它 以前, 我喜欢自己一个人品尝棉花糖, 但是现在我找到了一个绝妙的做法和大家分享 : 同等量的棉花糖, 椰丝, 酸奶酪, 菠萝和橘子 把它们都搅拌在一起, 就做成了云朵沙拉 (cloud salad) 和腌制的冷肉一块吃, 绝妙!
26 When I came to America it was the beginning of the 60s. And it often struck me that the women felt themselves somewhat inferior to European women. They would often ask me Is this feminine? Or the food: Is this how it should be? That has fundamentally changed in America. Now the women are very self-confident. They don t model themselves against Europe at all, and there are a number of groups of female artists that have organized themselves, there are masses of demonstrations and conferences, etc. I personally held myself back from these things, not because I don t believe in them but rather because personally, I m not really someone who enjoys participating. Naturally that produced a huge shift in the environment. I think that in the next 50 years, in the art world for example, that women will catch up enormously and there will be many great female painters and artists. 我 60 年代初来到美国, 刚到这里时我常常很吃惊, 因为美国女人认为她们比欧洲女人逊色 她们经常会问我 : 这个东西看起来女人吗? 或者吃东西的时候会问我 : 这个是这样煮的吗? 现在的情况不同以往了 现在美国的女人非常自信, 她们不再向欧洲女性看齐 有好些女性艺术家发起了示威及讨论会等等活动 我个人不常参与这类活动, 不是因为我不相信它们的效应, 而是我个人不喜欢参与这类大型活动 这些活动多了, 自然而然带动了环境及大家观念的变化 我想, 在未来的 50 年, 比如在艺术界, 女性会大大赶上男性, 我们会有很多出色的女性画家和艺术家 Extracts from an ORF interview (Austrian television), 1975 奥地利电视台 ORF 1975 年访谈的摘录
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