Sanja Ivekovic, Figure and Ground, - 06, 8 photomontages, Courtesy of the artist. Sanja is an artist who could best be described as a moving . This new quality is gaining ground as a standard, especially in media art, although it radiates to. A review of Sanja Iveković, 'Urgent Matters', 18 April – 2 August , of women who have left violent relationships and are rebuilding their lives. . such as Figure and Ground (–) in which she pairs documentary.
Figure and Ground 2 | Sanja Ivekovic, Figure and Ground, … | Flickr
Marron Atrium on the second floor, with documentation of its original public presentation and critical reception. Three years later, however, she was invited back to rethink her proposal. Lady Rosa of Luxembourg provoked a fierce debate that played out in newspaper headlines and on television shows. The most violent opposition focused not on the pregnant figure but on the plaque, which displaced the ideals of male bravery with abusive terms regularly used to describe women.
A video of the performance will be presented in the third-floor galleries. Sweet Violence makes a major contribution to the reevaluation of significant women artists and the discursive relationship between art and social change in the contemporary world. Sweet Violence is accompanied by a major publication that weaves together art- historical analysis and political theory.Ground figure relationship
Monday, December 12, 8: Wednesday, December 14, 5: Thursday, December 15, 7: Tickets are free of charge and can be obtained starting November 12 at the lobby information desk, at the film desk, or online. The exhibition will be accompanied by a website that features an in-depth presentation of Lady Rosa of Luxembourg as it was originally installed in Luxembourg in and the controversy around it. Users will be able to zoom in on various newspaper articles and download essays written in response to and about the piece.
The site also features texts and images of a selection of works in the exhibition.
SANJA IVEKOVIĆ’: SWEET VIOLENCE – MOMA
It presents one of the artist's recurring themes: With this simple intervention she visually disconnects viewers from the "sweet violence" of media seduction so that they may examine the power of images, the way they circulate in everyday life, the stories they purport to tell, and, by extension, the mythologies that lurk beneath their surfaces. Video black-and-white, sound5: Gift of Jerry I.
Speyer and Katherine G. Farley, Anna Marie and Robert F. The video shows the artist's cleavage and hands in close-up as she rehearses intimate, sensual gestures—opening and closing a tube of concealer, rolling a lipstick up and down in its case, fussing with mascara, and running her finger over the tip of an eyeliner pencil.
- Sweet Violence
- Make Up—Make Down
Her face is kept offscreen, a strategy that critic Tom Holert has linked to a crisis of subjectivity. Video color, sound5: Here she pairs photographs of Marilyn Monroe the archetype of feminine desirabilitytaken from a tabloid published in the magazine Duga, with snapshots in which the artist appears as a ballerina or strikes mocking, "glamorous" poses for the camera. Tragedy of a Venus. Five from a series of A life in dreams. Museum of Contemporary Art, Zagreb.
They called her tigress. Museum of Contemporary Art, Zagreb Finally a choice.
MoMA | Sanja Iveković: Sweet Violence
Museum of Contemporary Art, Zagreb Sex-appeal as a main weapon. Museum of Contemporary Art, Zagreb Pleasant and unpleasant encounters with the telephone: Public and private images are matched on the basis of similarities of gesture, situation, props, and location.
Each of the 10 pictures in the first row has a different handwritten caption taken from various newspapers. In subsequent rows the captions are redistributed among the pictures in new combinations, so that each image is presented in 10 different semantic contexts. Four from a series of During the festivities, she came out, dressed in an American T-shirt, onto her balcony, which overlooked the street along which the presidential motorcade slowly advanced.
She sat in a chair with a glass of Ballantine's whiskey, cigarettes, and some foreign books next to her on a small table. Four gelatin silver prints with printed text, each print: