Exhibition Duration: March 2 - May 11, 2019
This exhibition brings together Iveković’s major works spanning four decades against a backgroung of political unrest and a newly commissioned work. Works on display (films, installation, collage and performance) will address issues of female identity, consumerism, violence, political and historical amnesia.
A feminist activist and pioneer in video and performance art, Sanja Iveković's roots are in the highly politicised Nova Umjetnička Praska (New Art Practice) an alternative movement that emerged in Belgrade and Zagreb after 1968.
Ever since, Iveković has been critically reflecting on the construction of gender roles, the relations between private and public, and the institutional frameworks in the cultural field. Her work has also addressed violence against women and the forms of predatory capitalism to emerge in the 1990s.
Iveković’s strong feminist stance is a constant in her long career, from canonical work such as Double Life (1975), Triangle (1979), and Personal Cuts (1982) to recent large-scale public art projects in collaboration with activist organizations, such as Women’s House (1998–2003), Poppy Field (2007) for documenta 12 or Monument to Revolution (2017) for Documenta 14. Iveković’s work is characterized by political intervention into the cultures and politics of memory. These works appear as figurative “counter-memorials,” as in Lady Rosa of Luxembourg (2001), or “living memorials,” as in the case of Rohrbach Living Memorial (2005) and On the Barricades (2010), dedicated to the 1980 Gwangju People’s Uprising.