Ten European mid-career women artists to know in 2027

How to read this guide

This is a critical map, not a ranking or financial forecast. Museum recognition and market data are read together, while every price belongs to a specific work, date and condition.

Verify medium, size, edition, provenance, taxes, fees and condition before buying. A low auction result is not a promise for another work.

Elena Ketra · art, body politics and self-determination

Ketra uses pop language as a political device. Girlpower turns brass knuckles into a rocking toy; Utereyes restores the body’s power to look and choose; Luchadoras uses lucha libre as a collective language of self-defence against gender violence and imposed roles. Bright colour makes the conflict public rather than decorative.

Her 2026 ISCP New York residency and the development of Luchadoras between Brooklyn and Venice show a practice moving from sculpture to participatory performance. In interviews, Ketra describes the body as the place where independence, fear, desire and rights become shared experience.

Sologamy.org, developed with Supermartek, extends that politics to one’s relationship with oneself: participants make promises of care and receive a sologamous marriage certificate. In La Voce di New York she presents it as self-determination that does not reject relationships, while the essay *The Art of Marrying Oneself*, discussed by Exibart, gives the project historical and social depth.

Works are documented in the Fondazione Solares, Kyoto Shibori Museum and Museo Spazio Mazzini collections. Buyers should identify whether an object is a unique sculpture, mirror work, textile, photograph, participatory certificate or performance document, then request technique, dimensions, edition or uniqueness, provenance and certificate from the gallery or studio.

Caroline Walker · making labour visible

Walker gives spatial and social weight to overlooked acts of care and work. Her cinematic framing asks who works, who watches and who owns the room.

Phillips records drawings around £1,935–2,322 and the print Bathed at £1,270, while paintings rise far higher. Paper, edition, study and canvas must never be treated as equivalent.

Claire Tabouret · painting as collective memory

Groups, masks and portraits occupy the border between private recollection and public image. Notre-Dame’s contemporary stained-glass commission and the Grand Palais project extend her painting into architecture and light.

Phillips results range from about $17,780–24,130 for some works to £36,120–45,150 and beyond. Date, support, size and provenance define the comparable.

Anna Uddenberg · bodies shaped by consumption

Seats, luggage and impossible poses expose how bodies learn to perform inside commercial infrastructures. The work concerns service, desire and self-display rather than merely illustrating social media.

Kiasma, Moderna Museet, Stedelijk and Sammlung Boros document her institutional reach. Unique sculptures are scarce; ask the primary gallery and inspect materials, condition and installation requirements.

Katja Novitskova · ecologies seen by machines

Scientific imagery, camera traps and data streams become a landscape of biology, image economies and extinction.

Phillips records Pathfinder at $1,161, Branching at £3,810, Innate Disposition at £5,715 and Approximation VI at $12,600. Edition, scale and medium explain much of the spread.

Bettina Pousttchi · architecture, time and public space

From Echo to World Time Clock, Pousttchi treats architecture as a political image. Bent barriers and urban clocks reveal how public space directs memory and behaviour.

Berlinische Galerie, Hirshhorn, Phillips Collection and Museo Nivola provide firm institutional references. For photographs, verify edition, artist proofs, exhibition history and mounting.

Eva Jospin · cardboard becomes monument

Forests, caves and architecture emerge from cut and sanded cardboard. Grottesco at the Grand Palais joined a modest material to ornament, wonder and visible manual labour.

The secondary market is thin: MutualArt reports works on paper up to $129,021, but few lots cannot define a stable band. Seek editions, drawings and small reliefs through official channels.

Goshka Macuga · the archive as political theatre

Macuga assembles documents, images and objects so every exhibition becomes a disputed story about institutional authority, omission and propaganda.

Phillips sold Unfamiliar Aspect of the Mycelium for £2,125 against a £3,000–5,000 estimate. A photograph can provide access to a complex institutional practice, but installations are not comparable.

Alicja Kwade · measuring uncertainty

Stone, metal, glass, duplication and gravity turn scientific questions into bodily experience. ParaPivot at the Met coexists with more intimate objects and works on paper.

Phillips records Heavy Times at a £18,000–22,000 estimate and Hypothetisches Gebilde sold at £64,500. Prints and multiples cost less but must be judged by medium, edition and signature.

Teresa Solar Abboud · anatomies, tunnels and passages

Her sculptures resemble bones, tongues, tools and infrastructure. Geology and the body both register pressure, extraction and change.

A Travesía Cuatro 2018 press kit listed Everything Is OK around $5,800: a historical datum, not a current quote. Confirm price, materials, installation, certificate and shipping with the gallery.

Buying method · culture before quotation

Read a museum exhibition, a gallery page and a market datum for the same medium. Ask for condition report, invoice, certificate, provenance, full edition and image rights.

Build around a question—body, labour, technology, memory or matter. Continuity across works, exhibitions, criticism and archives matters more than a sudden rise.