By Roxana Marcoci
The Museum of recent paintings is proud to offer Sanja Iveković: Sweet
Violence, the 1st survey of Sanja Iveković’s artwork within the United States.
The exhibition covers 4 many years 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 unfastened from mainstream
institutional settings and laying the floor for serious and radical new
forms of paintings. within the Seventies Iveković probed the persuasive features of mass
media and its identity-forging power; after 1990—with the autumn of the
Berlin Wall, the disintegration of Yugoslavia, and the start of a brand new nation—
she keen on the transformation of Croatia because it moved from communist
to postcommunist political systems.
Conceived through Roxana Marcoci, Curator, division of Photography,
the exhibition bargains a desirable account of the artist’s complicated oeuvre
in all mediums from the early Seventies to 2011. Featured works include
a team of single-channel movies lately obtained by way 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 variety of photomontages from her
celebrated sequence Double lifestyles (1975–76), which employs photographs of the
artist from her deepest albums juxtaposed with advertisement advertisements
clipped from the pages of women’s magazines corresponding to Elle, Grazia, and
Svijet. Iveković’s perform Makes a grasp could be reenacted in a sequence of
special performances in the course of the exhibition, and her sculptural installation
Lady Rosa of Luxembourg (2001) may 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 info for Sanja Iveković: Sweet Violence
It's only simply because we will be able to sever ourselves from the flesh and blood of others via a few luminous fetish of an idea (freedom, patriotism, nationwide team spirit, the successful reign of Allah) that we will be able to inflict such appalling harm on it. during this feel, violence has anything of the abstraction of hope, which in psychoanalytical phrases is solely impersonal and nameless, passes immediately via one tangible item in its stressed pursuit of one other and yet one more, and tosses each one of them apart with toddlerlike petulance in its hopeless hunt for the thing of items, the transcendental signifier that would say all of it, the Omega element the place all views package deal jointly. One conventional identify for this infinity of hope in Western modernity has been the Faust legend. one other identify is the yank Dream. Like violence, hope has no regard for the sensuous specificity of its item. the other of either violence and hope is, during this experience, artwork, which involves leisure within the sensuous particularity of its gadgets, treating them as leads to themselves instead of as stepping stones to anything else. this can be one the reason is, it's either ironic and applicable that artists, within the demeanour of Iveković, should still use their artwork as a medium within which to confront one in every of its such a lot deadly antagonists, political destruction. so much such destruction occurs within the identify of software; paintings, in contrast, strikes lower than the signal of the self-delighting. It rebukes the ideologies of application no longer just by pointing to the devastation they reason, yet in its personal self-fulfilling impulse. As that which refuses to exist in basic terms for the sake of anything else, it poses a problem to the crudely instrumental sorts of cause that at present carry sway over our social lifestyles, and from which quite a bit violence is sure to persist with. it truly is real that paintings can constantly turn into a fetish in its personal correct, and that it's at least unfortunately insufficient to the duty of therapeutic a damaged civilization. There are occasions that happened through the wars within the former Yugoslavia less than which language easily breaks, besides the other type of representation—atrocities that can't be spoken of with out blistering the tongue. but it truly is of the character of artwork that it'll converse out besides, bearing witness to a extra peaceful global no longer easily in what it says or indicates yet within the form of infrequent phenomenon that it really is. forty three 44 SWEET VIOLENCE Plates 1–7. (Slatko nasilje). 1974 Video (black and white, sound), 5:56 min. The Museum of recent artwork, big apple. present of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, Marie-Josée and Henry R. Kravis, and Committee on Media and function paintings cash directions NO. 1 Plates 8–15. (Instrukcije br. 1). 1976 Video (black and white, sound), 5:59 min. The Museum of recent paintings, big apple. reward of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, Marie-Josée and Henry R. Kravis, and Committee on Media and function artwork cash MAKE UP–MAKE DOWN Plates 16–23. 1978 Video (color, sound), 5:14 min.