Difference between revisions of "Sanja Iveković"

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Born in [[Zagreb]], where she graduated from The Academy of Fine Arts and had her first solo exhibition in 1970. Her art production has spanned a range of media such as photography, performance, video and installations. The point of departure of her work was (and has remained until today) her own person, her own life - and by putting this theme into a broader context - the situation of women in our time and society. On Croatian art scene she was the first women artist who called herself a feminist artist. She lectures at the Center for Women's Studies in Zagreb since its begining in 1994. She is a founder of [[Electra]] - The Women's Art Center Zagreb.
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{{Infobox artist
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|image = Sanja_Ivekovic_1975.jpg
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|imagesize = 338px
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|caption = Sanja Iveković, 1975. Photo: [[Dalibor Martinis]].
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|collections = [[MoMA::{{MoMA|30946}}|MoMA]] 19, [[Generali::{{Generali|ivekovic-sanja}}|Generali]] 14, [[Kontakt::{{Kontakt|28}}|Kontakt]] 8, [[ReinaSofia::{{ReinaSofia|ivekovic-sanja}}|Reina Sofia]] 3, [[Stedelijk::{{Stedelijk|26501-sanja-ivekovic}}|Stedelijk]] 1, [[Macba::{{Macba|ivekovic-sanja}}|Macba]] 1
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}}
  
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'''Sanja Iveković''' (6 January 1949, Zagreb) is a Croatian visual artist.
  
http://web.archive.org/web/20020206223602/http://www.arkzin.com/electra/sanja.html
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{{TOC limit|3}}
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Sanja Iveković is an important figure, whose work is instrumental in our understanding of the reconfiguration of roles and gender in today’s art. She was one of the first artists on the Yugoslavian (now Croatian) scene to adopt a feminist standpoint in her work. Since 1989, she has used this perspective to tackle subjects such as the fall of the communist regime and the consequences of the triumph of capitalism and market economy, as well as their influence on living conditions, particularly those of women and the violence women have endured subsequently. Sanja Iveković studied at the Academy of Fine Arts in Zagreb from 1968 to 1971. She is part of a generation of artists that emerged after 1968 in Eastern European, working in fields as varied as video, film, installation, performance, interventions, photography (private and official), and collage – her series ''Double Life'' (1975) and ''Bitter Life'' (1975-1976) juxtapose publicity images and personal photographs. Her eminently critical work focuses on imagery and body politics. In her seminal performance ''Triangle'' (1979), she simulated masturbation on her balcony during Tito’s official visit to Zagreb until a policeman rang her doorbell. This initiative paved a transgressive path for many creators in the face of the ideological apparatus, as they were able to regain possession of the public space using the premise “the personal is political”.
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Sanja Iveković has also analysed gender stereotypes perpetuated on television (''General Alert: Soap Opera'', 1995) and in magazines (''Paper Women'', 1976-1977). Since the 1980s, she has turned her attention to the challenges faced by democracy and politics by highlighting the construction mechanisms of collective memory and amnesia (''Personal Cuts'', 1982). The projects she worked on in and around the 2000s (''Gen XX'', 1997-2001; ''The Nada Dimić File'', 2000-2002) were devoted to women in the Croatian resistance during the war against Nazism, whose names are now mostly forgotten. Her work has been the subject of several retrospectives. It was also featured at the 10th and 11th Istanbul Biennales (2007 and 2009); documenta 11 (2002), 12 (2007), and 13 (2012) in Kassel; and Manifesta 2 (1998) in Luxembourg. [https://awarewomenartists.com/en/artiste/sanja-ivekovic/ (Nataša Petrešin-Bachelez)]
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She lectured at the Center for Women's Studies in Zagreb from its beginning in 1994. She is a founder of [[Electra]] - The Women's Art Center Zagreb.
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==Gallery==
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<gallery mode=packed heights=300px style=" margin:auto">
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Sanja Ivekovic 1979 Make-Up.jpg|''Make-Up'', 1979
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Sanja Ivekovic 1979 2006 New Zagreb People behind the Windows.jpg|''Novi Zagreb (Ljudi iza prozora)'' [New Zagreb (People behind the Windows)], 1979/2006
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Sanja Ivekovic 1983 New Star.jpg|''Nova zvijezda'' [New Star], 1983
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Sanja Ivekovic 1997-2001 GEN XX Bakovic sister.jpg|''GEN XX (Baković sister)'', 1997–2001
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Sanja Ivekovic 1997-2001 GEN XX Nera Safaric.jpg|''GEN XX (Nera Šafarić)'', 1997–2001
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Sanja Ivekovic 2002-ongoing Womens House Sunglasses.jpg|''Ženska kuća (Sunčane naočale)'' [Women’s House (Sunglasses)], 2002–ongoing
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Sanja Ivekovic 2007-2010 The Right One Pearls of Revolution.jpg|''Ona prava. Biseri revolucije'' [The Right One. Pearls of Revolution], 2007–2010
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</gallery>
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==Publications==
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* ''Structure – Book'', Ljubljana: P.A.R.A.S.I.T.E., 2011, [100] sheets. Artist's book. [http://www.zavod-parasite.si/eng/archives/1039]
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==Catalogues==
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* ''Sanja Iveković: Public Cuts'', Ljubljana : Zavod P.A.R.A.S.I.T.E., 2006, 80 pp. Essay by Bojana Pejić. Published in conjunction with the exhibition ''Road Works'' in Ljubljana, at P74 Center and Gallery, Oct 2006; and in Velika Gorica, Croatia, at the Galzenica Gallery, Nov 2006.
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* ''Sanja Iveković. Urgent Matters'', Eindhoven: Van Abbemuseum, and Utrecht: BAK, 2009.
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* ''Sanja Iveković. Practice Makes the Master'', Łódź: Muzeum Sztuki, and Ha!Art Foundation, 2009. [https://msl.org.pl/sanja-ivekovic/ Exhibition]. [https://www.academia.edu/38948623/] {{pl}}/{{en}}
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* ''[[Media:Sanja_Ivekovic_Sweet_Violence_2011.pdf|Sanja Iveković: Sweet Violence]]'', ed. Roxana Marcoci, New York: Museum of Modern Art, 2011, 192 pp. [https://www.moma.org/calendar/exhibitions/1134 Exhibition]. [http://www.moma.org/interactives/exhibitions/2011/sanjaivekovic/ Online companion].
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* ''Sanja Iveković: Lady Rosa of Luxembourg'', eds. Enrico Lunghi and Bojana Pejić, Luxembourg: Mudam Éditions, and Musée d’Art moderne Grand-Duc Jean, 2012. [http://www.mudam.lu/en/expositions/details/exposition/sanja-ivekovic/ Exhibition].
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* ''[[Media:Sanja_Ivekovic_Works_of_Heart_1974-2022_2022.pdf|Sanja Iveković. Works of Heart (1974-2022)]]'', pref. WHW, intro. Zdenka Badovinac, Vienna: Kunsthalle Wien, 2022, 111 pp. [https://kunsthallewien.at/en/exhibition/sanja-ivekovic-works-of-heart/ Exhibition].
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* ''Sanja Iveković. Weh dem, der sich vor Geistern fürchtet'' [Woe Betide Anyone Who Is Afraid of Ghosts], trans. Katharina Wolf-Grießhaber, Vienna: Kunsthalle Wien, 2022, 132 pp. Artist's book. Consists of around 50 poems written by Nera Šafarić-Iveković, mother of Sanja Iveković, as well as excerpts from her diary, facsimiles of letters she sent and received during her incarceration in Auschwitz, and numerous photographs from Sanja Iveković’s personal archive. With contributions by Miloš Đurđević and Sanja Iveković. [https://kunsthallewien.at/en/weh-dem-der-sich-vor-geistern-fuerchtet/ Publisher]. [https://kunsthallewien.at/en/exhibition/sanja-ivekovic-works-of-heart/ Exhibition]. {{cr}}/{{en}}
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* [https://www.bibliofil.hr/en/sanja-ivekovic more]
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==Interviews==
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* Katarzyna Pabijanek, [http://www.artmargins.com/index.php/interviews/541-qwomens-houseq-sanja-ivekovic-discusses-recent-projects-interview "'Women's House': Sanja Ivekovic Discusses Recent Projects (Interview)"], ''ARTMargins'', 20 Dec 2009.
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==Literature==
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* Klara Kemp-Welch, [http://www.tandfonline.com/doi/pdf/10.1080/09528820903371222 "Taking Women’s Rights Seriously?"], ''Third Text'' 23:6, 2009 816-820.
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* Carol Kino, [http://www.nytimes.com/2011/12/25/arts/design/sanja-ivekovic-croatias-monumental-provocateur.html?_r=2&pagewanted=all "Croatia’s Monumental Provocateur"], ''New York Times'', Dec 2011.
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* Ruth Noack, ''[http://libgen.rs/book/index.php?md5=FE8F74196A01FD8D24B5FE774B139DFD Sanja Iveković: "Triangle"]'', London: Afterall, 2013, 106 pp, [http://library.memoryoftheworld.org/#/book/e833da34-34c7-4686-be9f-f2ee521096f1 EPUB].
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* Helena Reckitt (ed.), ''Sanja Iveković: Unknown Heroine - A Reader'', London: Calvert 22, 2013. Based on the conference ''23%'' organized in tandem with Ivekovic’s first UK retrospective ''Unknown Heroine'' at Calvert 22 and the South London Gallery in late 2012 and early 2013. [http://calvert22.org/about/projects/research/sanja-ivekovic-unknown-heroine-reader/]
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** Lina Džuverović, [https://www.academia.edu/7672039 "Curating ‘Unknown Heroine’: Sanja Iveković and Contemporary Feminisms"], pp 8-21.
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** Ivana Bago, [https://www.academia.edu/28431504 "The Question of Female Guilt in Sanja Iveković's Art: from Yugoslav Beauty Pageants to Wartime Witch-Hunts"], pp 62-87.
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==See also==
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* [[Croatia#Video_art]]
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==Links==
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* [http://web.archive.org/web/20020206223602/http://www.arkzin.com/electra/sanja.html Profile on Electra Videocenter] (archived)
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* [http://www.medienkunstnetz.de/artist/ivekovic/biography/ Brief biography on MediaArtNet].
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* [http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-world-goes-pop/artist-biography/sanja-ivekovic Brief biography on Tate], 2015.
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* [https://kunsthallewien.at/en/exhibition/sanja-ivekovic-works-of-heart/ Retrospective exhibition], Kunsthalle Wien, 2022; [http://www.msu.hr/dogadanja/sanja-ivekovic-works-of-heart-(1970-2023-)/1143.html MSU Zagreb], 2023. [https://www.facebook.com/events/1894975494219593/]
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* http://www.fundaciotapies.org/site/IMG/pdf/ddp_ang.pdf
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* [https://en.wikipedia.org/wiki/Sanja_Iveković Wikipedia]
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[[Series:Video]] [[Series:Performance art]] [[Series:Feminist art]]
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{{DEFAULTSORT:Ivekovic, Sanja}}

Latest revision as of 10:43, 9 November 2023


Sanja Iveković, 1975. Photo: Dalibor Martinis.
Collections MoMA 19, Generali 14, Kontakt 8, Reina Sofia 3, Stedelijk 1, Macba 1

Sanja Iveković (6 January 1949, Zagreb) is a Croatian visual artist.

Sanja Iveković is an important figure, whose work is instrumental in our understanding of the reconfiguration of roles and gender in today’s art. She was one of the first artists on the Yugoslavian (now Croatian) scene to adopt a feminist standpoint in her work. Since 1989, she has used this perspective to tackle subjects such as the fall of the communist regime and the consequences of the triumph of capitalism and market economy, as well as their influence on living conditions, particularly those of women and the violence women have endured subsequently. Sanja Iveković studied at the Academy of Fine Arts in Zagreb from 1968 to 1971. She is part of a generation of artists that emerged after 1968 in Eastern European, working in fields as varied as video, film, installation, performance, interventions, photography (private and official), and collage – her series Double Life (1975) and Bitter Life (1975-1976) juxtapose publicity images and personal photographs. Her eminently critical work focuses on imagery and body politics. In her seminal performance Triangle (1979), she simulated masturbation on her balcony during Tito’s official visit to Zagreb until a policeman rang her doorbell. This initiative paved a transgressive path for many creators in the face of the ideological apparatus, as they were able to regain possession of the public space using the premise “the personal is political”.

Sanja Iveković has also analysed gender stereotypes perpetuated on television (General Alert: Soap Opera, 1995) and in magazines (Paper Women, 1976-1977). Since the 1980s, she has turned her attention to the challenges faced by democracy and politics by highlighting the construction mechanisms of collective memory and amnesia (Personal Cuts, 1982). The projects she worked on in and around the 2000s (Gen XX, 1997-2001; The Nada Dimić File, 2000-2002) were devoted to women in the Croatian resistance during the war against Nazism, whose names are now mostly forgotten. Her work has been the subject of several retrospectives. It was also featured at the 10th and 11th Istanbul Biennales (2007 and 2009); documenta 11 (2002), 12 (2007), and 13 (2012) in Kassel; and Manifesta 2 (1998) in Luxembourg. (Nataša Petrešin-Bachelez)

She lectured at the Center for Women's Studies in Zagreb from its beginning in 1994. She is a founder of Electra - The Women's Art Center Zagreb.

Gallery[edit]

Publications[edit]

  • Structure – Book, Ljubljana: P.A.R.A.S.I.T.E., 2011, [100] sheets. Artist's book. [1]

Catalogues[edit]

  • Sanja Iveković: Public Cuts, Ljubljana : Zavod P.A.R.A.S.I.T.E., 2006, 80 pp. Essay by Bojana Pejić. Published in conjunction with the exhibition Road Works in Ljubljana, at P74 Center and Gallery, Oct 2006; and in Velika Gorica, Croatia, at the Galzenica Gallery, Nov 2006.
  • Sanja Iveković. Urgent Matters, Eindhoven: Van Abbemuseum, and Utrecht: BAK, 2009.
  • Sanja Iveković. Practice Makes the Master, Łódź: Muzeum Sztuki, and Ha!Art Foundation, 2009. Exhibition. [2] (Polish)/(English)
  • Sanja Iveković: Lady Rosa of Luxembourg, eds. Enrico Lunghi and Bojana Pejić, Luxembourg: Mudam Éditions, and Musée d’Art moderne Grand-Duc Jean, 2012. Exhibition.
  • Sanja Iveković. Weh dem, der sich vor Geistern fürchtet [Woe Betide Anyone Who Is Afraid of Ghosts], trans. Katharina Wolf-Grießhaber, Vienna: Kunsthalle Wien, 2022, 132 pp. Artist's book. Consists of around 50 poems written by Nera Šafarić-Iveković, mother of Sanja Iveković, as well as excerpts from her diary, facsimiles of letters she sent and received during her incarceration in Auschwitz, and numerous photographs from Sanja Iveković’s personal archive. With contributions by Miloš Đurđević and Sanja Iveković. Publisher. Exhibition. (Croatian)/(English)

Interviews[edit]

Literature[edit]

See also[edit]

Links[edit]