Ivekovic employs photography, video, installation, and performance. She was recognized as a pioneer within video art in former Yugoslavia and was one of the first artists of her generation to focus on feminist questions. Throughout her career she has worked with mass media and she frequently contrasts the media image of woman with the private image.
In her art Sanja Ivekovic employs photography, video, installation, and performance.
She was recognized as a pioneer within video art in former Yugoslavia and was one of
the first artists of her generation to focus on feminist questions.
Throughout her career Sanja Ivekovic has worked with mass media and she frequently
contrasts the media image of woman with the private image as represented in her own
photo album. She aims by this means to reveal and illuminate how routines in our
daily lives are affected by fashion, advertising, and celebrity culture...
The earliest piece in this show is PAPER WOMEN (1976 - 77), a series which consists of photographic illustrations from various women's magazines, which the artist has in some way altered or damaged. In today`s domination of electronic media in which impalpable images are rapidly and lavishly consumed as never before, the physical attacking that Ivekovic employs in this series creates a disturbing sense of unease. Faces of women fashion models are distorted, scratched, pierced, cut through...
In the video piece MAKE UP MAKE DOWN (1976 - 78), a sort of inversion in methodology takes place, with the artist applying makeup onto herself, her face "cut out" of the frame of the video image, showing only her plunging neckline and hands in the slowed down, monotonous and repetitive, almost silent action that evokes private erotic game. Once again, the viewer is left in the lurch, challenged to grasp his/her gaze with his/her own (im)possible voice. Regarded as a politically engaged artist from the beginning of her career, Ivekovic has devoted herself and her private sphere to challenging views of privacy and the human body in the public domain. As a feminist activist she has participated in many major artistic and cultural projects and has stressed (in Women's House for instance) the plight of women as victims of violence in their own homes.
In both GEN XX AND WOMEN'S HOUSE (SUNGLASSES) she uses advertisement illustrations as the basis for quite a different type of narrative from the one we normally associate with advertising. The aim of advertising is generally to be positive and attractive, something that seldom holds our attention for long. Ivekovic refutes totally the effect of such advertising by adding to pictures of famous models the names of forgotten anti-fascist women and relating how they were imprisoned, tortured, and usually executed (GEN XX). A clash thus arises between what the image and the text relate. The same effect is created when she combines advertisements for famous designer's labels of sunglasses with texts describing the violence to which women have been subjected. In the 90s,the war in former Yugoslavia influenced Sanja Ivekovic's art and in a number of works she reflects on the everyday reality of it.
In the video GENERAL ALERT (SOAP OPERA), she reveals in an unexpected manner how the war reached to the very heart of would be escapist TV. In the middle of a Latin American soap opera, a strip of text would suddenly appear on the screen with the words "General Alert-Zagreb" which means that the TV program was recorded during the actual shelling of Zagreb. In one of her more recent work FIGURE & GROUND from 2005 - 06 (where she continues her practice of using mass media images) we are confronted by the war in a global perspective. We see documentary pictures of masked men from different military groupings paired with women fashion models which are promoting the clothing styles inspired by war and terrorism.
Sanja Ivekovic was born in 1949 in Zagreb, Croatia where she graduated The Academy for Fine Arts.Her art production has spanned arange of media such as photography, performance, video, installations and actions in the public domain since the 1970s. She belong to the artistic generation which emerged after '68 and was raised in Socialist Federal Republic of Yugoslavia whose post-object art was usually covered by the umbrella term New Art Practice.
Ivekovic's work is marked by the critical discourse with the politics of images and body. The analysis of identity constructions in media as well as political engagement, solidarity and activism belong to her artistic strategies. In the Yugoslav/Croatian art scene she was the first woman artist to express a clearly feminist attitude. In 1973 she started to work with video. In the late eighties she was a founder and a member of a number of women's non guvernment organizations in Croatia such as Elektra- Women's Art Centre, The Centre for Women's Studies, B.a.B.e - the women's human rights group .
Her work from the 1990s deals with the collapse of socialist regimes and the consequences of the triumph of capitalism and the market economy over living conditions, partucularly of women. From 1999 - 2001 she was teaching «Contemporary Women's Art Practice» at The Center for Women's Studies.
Her videos were selected for numerous international video festivals (Hague, San Sebastian, Los Angeles, Berlin, Paris, Montreal and others) and she had solo exhibitions and video presentations in the art institutions such as 49th October Salon, Artist-Citizen, Belgrade;Cutting Realities, Gender strategies in Art, Austrian Cultural Forum, New York; The Living Currency (La Monnaie Vivante),Tate Modern,London (2008); Dokumenta 12, Kassel; 3rd Prague Biennial, Prag; Memorial to the Iraq war, ICA, London; 10th International Istanbul Biennial, Istanbul; Gender Battle, Santiago de Compostela; Stalking with Stories - The Pioneers of the Immemorable, Apexart, New York; If I can't dance, MuHKA, Antverp; Forms of Resistance - Artists and the Desire for Social Change, Van Abbemuseum Eindhoven; WACK! Art and the Feminist Revolution, MOCA, Los Angeles; General Alert, Fundacio Antoni Tapies, Gothenburg Konsthall (2007);General Alert, Kölnischer Kunstverein (2006); Public Cuts, Galerija P74, Ljubljana (2006);Open Systems: Rethinking Art c.
1970;Tate Modern, London (2005); Die Regierung, Secession (2005); Women's House, Palazzo Ferreri, Genoa (2004); documenta 11, Kassel (2002); Personal Cuts NGBK (2002); Galerie im Taxispalais, Innsbruck (2001); After the Wall, Moderna Muset, (1999/2001) and Manifesta 2,Luxembourg (1998). She has been awarded the grants by the instiutions such as the Canada Council Grant for the Visiting artists (1979, 1982, 1994) and the Arts Link Grant (USA).
Opening 17 december at 8pm
Espaivisor - Galeria Visor
Corretgeria, 40, bajo izq-2, Valencia