Sweet Violence Sanja Iveković

Published by the Museum of Modern Art, New York, 2011, 192 pages (colour ill.), 30.4 × 20.8 cm, English

Price: €42

Published in conjunction with the first solo museum exhibition of the work of Sanja Iveković in the United States, this volume is the most comprehensive survey on the artist available in English. A feminist, activist and video and performance pioneer, Iveković came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings. This catalogue presents an overview of the artist’s projects from the early 1970s to 2011 in all mediums, offering a fascinating view of gender roles, the official politics of power and the paradoxes inherent in a society’s collective memory. Featured works include Iveković’s historic single-channel videos, performances and sculptural installations as well as a selection from Double Life (1975-76), her celebrated series of 64 photocollages. Weaving together art-historical analysis and political theory, the publication offers a critical examination of the neo-avant-garde in former Yugoslavia and investigates the theme of violence in art.

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Urgent Matters Sanja Iveković

Published by BAK – basis voor actuele kunst, Utrecht, 2009, 83 pages (b/w ill.), 19.5 × 13 cm, Dutch/English

Price: €6

The work of Sanja Iveković has been seen only rarely in museums and art spaces in the Netherlands. This two-part exhibition aims to introduce a new audience to Iveković’s work, and seeks to provide an understanding of the artist’s practice by connecting her feminist voice to the social, political, and historical developments in general, and specifically to such realities in Croatia, her country of residence. Iveković’s body of work performs a crucial role in understanding how European art has developed over the past thirty-five years. This exhibition presents a selection of key works from Iveković’s oeuvre from the 1970s to today.

The exhibition at the Van Abbemuseum focuses on more historical work from before 1989, consisting primarily of photographic series, collages, and filmed performances. The works are installed around the large vertical space of the museum tower, where a newer monumental sculpture, realized originally as a public art project in Luxemburg in 2001, Lady Rosa of Luxembourg, is reconstructed.

At BAK, a selection of more recent work is shown, including three new productions, amongst which a new version of the well-known Women’s House, a collective portrait of women from a local shelter for abused women. The exhibition is also planned to extend into the public realm with Iveković’s proposal to rename a city street in Utrecht after the Unknown Heroine.

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