Pamela Rosenkranz’s long-term research investigates processes of perception, their evolutionary and cultural development, and the effects of light and color on the body’s chemical messengers. She translates these investigations visually across media in multipart series. Her Mischbecher (mixing cups) series recalls her multipart installation Sexual Power (Viagra Paintings), composed of half-filled plastic cups, paint-smeared drop cloths, crumpled latex gloves, paint-stained sneakers, and a canvas covered with visceral pink-flesh paint, applied expressively by the artist with both hands. The “scene” appears as a snapshot of an unfinished work process. Here Rosenkranz challenges a male-dominated canon of painting, shaped by notions of genius that equate the so-called “finished” and “unique” artwork with an act of procreation. Within the framework of Sexual Power (Viagra Paintings), virility is suggested through her ingestion of the potency-enhancing drug Viagra, embodying and replaying the charged expressivity of art-making. As fluid receptacles and mediators of the painting process (much like the body itself), the mixing cups retain dried traces of pigments, solvents, liquid latex, and other substances, preserved unchanged in their materiality.

Rosenkranz (*1979 in Uri / Switzerland, lives and works in Zurich) has presented solo exhibitions at Stedelijk Museum, Amsterdam (2025); Neuer Berliner Kunstverein (2024); High Line, New York (2023–2024); Robert Walser-Zentrum, Bern (2022); Kunsthaus Bregenz (2021); Fraumünster Cloister, Zurich (2018); Galleria d’Arte Moderna e Contemporanea di Bergamo (2017); Fondazione Prada, Milan (2017). Her group exhibitions include Kunsten Museum of Modern Art Aalborg (2025); Museum of Contemporary Art, Chicago (2024); Villa Medici, Rome (2024); Deste Foundation, Hydra (2023); Institute of Contemporary Art, Los Angeles (2021); Sharjah Art Foundation (2020); Okayama Art Summit (2019). In 2015 Rosenkranz represented Switzerland at the Venice Biennale with a solo presentation in the Swiss Pavilion. In 2025 she received the prestigious Swiss Grand Award for Art / Prix Meret Oppenheim.