“Sanja Ivekovic”

Sanja Iveković at daadgalerie

From 6 June until 1 August 2015, Berlin’s daadgalerie, in Germany, is to host a solo exhibition dedicated to the works of Sanja Iveković, entitled “Ich war, ich bin, ich werde sein!” (“I was, I am, I shall be!”). Iveković has been conceiving and executing projects for the public sphere since the 1970s. A recurrent theme of her work involves the forms and context of official memory cultures. Daadgalerie’s exhibition will present new works by the artist alongside her architectural project Monument to Revolution (After Mies) (2014), which, like most of her works and especially those created for public spaces, serves as a catalyst for a debate that extends well beyond local monument politics. In addition, the exhibition presents some of the reflections, research, and documents that continue to shape the project. Centred on the history of Mies van der Rohe’s monument, destroyed in 1933 and entitled Monument to the November Revolution, Iveković’s project uses the monument as a research object situated within the historical context of left-wing revolution. In order to shed light on this context for the viewer, the exhibition is accompanied by a timeline tracing the history of Mies’ monument. Sanja Iveković, born in 1949 in Zagreb, Croatia, currently lives and works there. She has participated in numerous international biennials and major exhibitions, such as documenta 8 (1987), 11 (2002) and 13 (2012). Moreover, prestigious institutions have dedicated solo exhibitions to the artist, including: “Unknown Heroine” at South London Gallery; “Waiting for the revolution” at the MUDAM, Luxembourg, in 2012; “Sweet Violence” at MoMA, New York, in 2011; “Urgent Matters” at the Van Abbemuseum, Eindhoven; and “Practice Makes The Master” at the Muzeum Sztuki,...

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Sanja Iveković: « Sweet Violence » at MoMA

New York, 12 October 2011, Art Media Agency (AMA). Sanja Iveković’s first museum exhibition in the United States, will take place from 18 December. The show will cover four decades of the artist’s remarkable career. The photographer, sculptor and feminist’s numerous works, such as videos and photomontages, will be exhibited. Iveković created her own style in the post-1968 period, as her work was the opposite of official art in that era. Her works were marked in the multicultural resonance, which spreads across conceptual photomontages, to video and performance. The exhibition assembles a historic group of videos, such as Personal Cuts (1982), media installations, photographs etc.. Among the hundred photomontages displayed at the exhibition, is the famous series “Double Life” (1975-76), in which the artist juxtaposed photos of herself taken from her personal albums, alongside commercial ads cut from women’s magazines. Whereas in the 70s, Iveković explored persuasive qualities of mass media and its potential to forge a false identity, after 1990 – following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation – she concentrated on the transformation of reality from socialist to post-socialist political systems. These ideas and questions are highlighted through her work: she offers a fascinating view of the official politics and paradoxes which are inherited, in society’s collective...

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