Sanja Ivekovic
Coming of age during the 1968 student protests, which swept across Yugoslav cities, Sanja Iveković belongs to the New Art Practice (NAP), a generation of artists whose conceptual practices gravitated toward the use of public space, breaking away from institutional infrastructures. As an act of resistance against lyrical abstraction, these artists combined visual art with newly available technologies such as photography, Polaroids, photocopies, film, video, and graphic design. In 1978 Iveković co-founded the Podroom Gallery with fellow artist Dalibor Martinis, which became a hub for her generation of artists. Iveković was the first artist in Yugoslavia to actively engage with gender difference, tackling the commodification of women’s roles with the onset of consumerism in the country. She began experimenting with pop art techniques while she was still a student. Using television advertisements, tabloid magazines and current affairs as her sources, Iveković juxtaposed these with images of her own life, addressing the discrepancy between public and private discourses, and pointing to the hypocrisy of the public declarations of gender equality in socialist Yugoslavia.
She has had solo exhibitions at MoMA in New York, MAC/VAL in Vitry-sur-Seine, Mudam Luxembourg, BAK Utrecht, Van Abbemuseum in Eindhoven, and Kölnischer Kunstverein in Cologne, among others. …
Coming of age during the 1968 student protests, which swept across Yugoslav cities, Sanja Iveković belongs to the New Art Practice (NAP), a generation of artists whose conceptual practices gravitated toward the use of public space, breaking away from institutional infrastructures. As an act of resistance against lyrical abstraction, these artists combined visual art with newly available technologies such as photography, Polaroids, photocopies, film, video, and graphic design. In 1978 Iveković co-founded the Podroom Gallery with fellow artist Dalibor Martinis, which became a hub for her generation of artists. Iveković was the first artist in Yugoslavia to actively engage with gender difference, tackling the commodification of women’s roles with the onset of consumerism in the country. She began experimenting with pop art techniques while she was still a student. Using television advertisements, tabloid magazines and current affairs as her sources, Iveković juxtaposed these with images of her own life, addressing the discrepancy between public and private discourses, and pointing to the hypocrisy of the public declarations of gender equality in socialist Yugoslavia.
She has had solo exhibitions at MoMA in New York, MAC/VAL in Vitry-sur-Seine, Mudam Luxembourg, BAK Utrecht, Van Abbemuseum in Eindhoven, and Kölnischer Kunstverein in Cologne, among others. Her work has been presented in group exhibitions at institutions such as Tate Modern in London, Centre Pompidou in Paris, Zacheta National Gallery of Art in Warsaw, Ludwig Museum in Budapest, Generali Foundation in Vienna, and dOCUMENTA (13), (12), (11), and (8) in Kassel.
Courtesy of Tate
