Marlene Dumas (b. 1953)
Marlene Dumas (b. 1953)
Marlene Dumas (b. 1953)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more ART FOR FUTURE – SELECTED WORKS FROM THE UNICREDIT GROUP
Kiki Kogelnik (1935-1997)


Kiki Kogelnik (1935-1997)
signed and dated 'Kiki Kogelnik 74' (lower right); signed, titled, and dated '„SUPERSERPENT„ KIKI KOGELNIK 1974' (on the reverse)
oil and acrylic on canvas
195 x 150cm.
Painted in 1974
Acquired directly from the artist by the present owner in 1975.
D. Shirey, ‘A Stunning Collection From Vienna‘, in: The New York Times, February 26, 1978, p. 18.
A. Waldron, ‘Nothing Schmaltzy About this Show’, in: Philadelphia Tribune, February 26, 1978.
R. Knoche, Kunstmarkt – Die Top Thirty in der Kunst, Vienna 1999, (illustrated, p. 152).
Vienna, Zentralsparkasse der Gemeinde Wien, Examples of Contemporary Austrian Painting and Prints, 1976. (illustrated, p. 26).
Princeton, Squibb Gallery, Contemporary Austrian Painting, 1978. This exhibition later travelled to New York, Gallery of the Union.
Budapest, Hungarian National Gallery, Begegnungen – eine Gemeinschaftsausstellung österreichischer und ungarischer Künstler, 1988 (illustrated, p. 30).
Vienna, Volkshalle des Wiener Rathauses, Ins Licht gerückt – Ein Museum auf Abruf, 1991, p. 13 (illustrated, p. 50).
Vienna, Palais Harrach, Perspektiven: Kunst und Virtual Reality – Bilder aus der Sammlung der Bank Austria, 1998, p. 171 (illustrated, p. 47).
Krems, Kunsthalle Krems, Kiki Kogelnik. Retrospective, 2013 (illustrated, p. 165).
Vienna, Kunstforum Wien, Images of Women? Collected #8, 2019.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. 21% VAT applies to both the hammer price and the buyer’s premium. The buyer’s premium is calculated for each lot as 25% of the hammer price up to a value of €200,000, plus 20% of the hammer price between €200,001 to €2,500,000, plus 13.5% of any amount in excess of €2,500,001.
Further details
We thank Anna Sauer from the Kiki Kogelnik Foundation for the information she has kindly provided on this work.

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Elvira Jansen
Elvira Jansen

Lot Essay

'My ladies are contemporary. […] They like to get away from the problems of daily life in this technologically advanced century. They are urban and sophisticated, cool and unattached.' - Kiki Kogelnik

Superserpent is exemplary of Kiki Kogelnik’s work in the 1970s, the period in which she answered to second-wave Feminism by creating images of women that appropriate the cliché beauty found in commercial advertising, whilst simultaneously casting an ironic light on it. The figure in this work clearly references a fashion model and echoes the flatness of Kogelnik’s Pop Art contemporaries. However, its appearance is intimidating – the woman has a Medusa-like head and brandishes a snake and rod. As with similar works from that time (such as Superwoman, 1973, in the National Museum of Women in the Art) these women are empowered either by mythical symbolism or are portrayed smoking, wearing fighter pilot outfits, and - later - holding threatening weapons in the series ‘It Hurts’. Just as she defied association with any particular art movement, Kogelnik also never fully committed herself to Feminism but rather shared Meret Oppenheim’s belief that ‘art has no gender characteristics’.
Born in Austria in 1935, Kogelnik studied at the Vienna Academy of Fine Art and travelled Europe before settling in Manhattan in the early 1960s. She became friends with Roy Lichtenstein, Andy Warhol and Jasper Johns – who no doubt inspired her, though she always claimed her own realm of creative practice. During this time she created her now iconic Hangings, consisting of cut-out silhouettes of her friends which she then hung skin-like on hangers and rails, or stenciled onto canvas.
Transcending the movements of European abstract modernism and American Pop art, Kiki Kogelnik built a unique and innovative oeuvre that addressed post-war consumer society, technology and feminism, which is even more relevant today.

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