By Roxana Marcoci
The Museum of recent artwork is proud to give Sanja Iveković: Sweet
Violence, the 1st survey of Sanja Iveković’s paintings within the United States.
The exhibition covers 4 a long time of Iveković’s audacious paintings as feminist,
activist, and video and function pioneer. Iveković got here of age in the
post-1968 interval, at a time while artists have been breaking loose from mainstream
institutional settings and laying the floor for serious and radical new
forms of artwork. within the Seventies Iveković probed the persuasive traits of mass
media and its identity-forging power; after 1990—with the autumn of the
Berlin Wall, the disintegration of Yugoslavia, and the delivery of a brand new nation—
she fascinated by the transformation of Croatia because it moved from communist
to postcommunist political systems.
Conceived by way of Roxana Marcoci, Curator, division of Photography,
the exhibition deals a desirable account of the artist’s advanced oeuvre
in all mediums from the early Nineteen Seventies to 2011. Featured works include
a crew of single-channel video clips lately bought by means of MoMA, with
Sweet Violence (1974), directions No. 1 (1976), Make Up–Make Down
(1978), own Cuts (1982), and basic Alert (Soap Opera) (1995);
performance-installations akin to Triangle (1979) and perform Makes
a grasp (1982/2009); and a range of photomontages from her
celebrated sequence Double existence (1975–76), which employs images of the
artist from her inner most albums juxtaposed with advertisement advertisements
clipped from the pages of women’s magazines akin to Elle, Grazia, and
Svijet. Iveković’s perform Makes a grasp could be reenacted in a sequence of
special performances through the exhibition, and her sculptural installation
Lady Rosa of Luxembourg (2001) should be featured within the Donald B.
and Catherine C. Marron Atrium, with documentation of its unique public
presentation and demanding reception.
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Additional resources for Sanja Iveković: Sweet Violence
1975–76 21 from a series of 64. 3 x 80 cm) Plates 46, 48, 58, and 59: The Museum of Modern Art, New York. Committee on Photography Fund; all others: Museum of Contemporary Art, Zagreb 55 In the mid-1970s Iveković’s artistic practice focused on specific facets of the political and social reality in Yugoslavia, which, unlike any other country in the communist bloc, was a hybrid of a one-party system and consumerist values, a country where a socialist, classless society was being built. ”1 This “double-sided optic,” as Pejić has called it, was elucidated in a speech delivered by politician Vida Tomšić at the Communist Party session of October 10, 1948, in which she compared her country’s lifestyle to that in the Soviet Union: “The women we see in the Russian newspapers are all drably dressed.
In one pair (plate 47), a photograph showing Iveković as a pensive first-year student at the Akademija likovnih umjetnosti, Zagreb, in 1966, is matched with an Estée Lauder cosmetics ad from the May 1974 issue of Brigitte, in which the model adopts a similarly absorbed pose. In another pairing a snapshot showing the artist lounging on a sofa at home is set next to a racy Guy Bourdin fashion editorial for Elle (plate 58). In each Double Life work Iveković documented the ads’ sources and publication dates and included a caption about the context of each personal photograph, all of which were culled from her own family albums.
Civil society for Burke was the place where power is transmuted into manners, civility, decorous conduct, and pleasurable social intercourse, and thus rendered acceptable to us. For the Marxist theoretician Antonio Gramsci a century or so later, civil society was the place where coercion is transformed into hegemony. For radical Romantics like William Blake and Percy Bysshe Shelley, art was the enemy of power. For Burke and his contemporary Jane Austen, culture in the sense of civility was the very medium of such authority.