[oberlist] Roxana Marcoci @ Sanja Ivekovic's Sweet Violence at The Museum of Modern Art, New York

Fri Dec 9 00:48:23 CET 2011

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Date: Thu, Dec 8, 2011 at 2:36 PM
Subject: Sanja Ivekovic's Sweet Violence at The Museum of Modern Art, New
York
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**

December 8, 2011

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*The Museum of Modern Art,
New York*
<http://www.moma.org/visit/calendar/exhibitions/1148?utm_source=eflux&utm_medium=email&utm_content=Ivekovic&utm_campaign=eflux_112811>
*
Sanja Iveković, Stills from "Lighthouse," 1987–2001.
Installation with video (black-and-white, sound), 3:59 min.* *

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 *Sanja Iveković*
*Sweet Violence*
December 18, 2011–March 26, 2012

Special Exhibitions Gallery, third floor
The Donald B. and Catherine C. Marron Atrium, second floor

 *The Museum of Modern Art, New York*
11 West 53 Street
New York, NY 10019
(212) 708-9400
MoMA.org<http://www.moma.org/visit/calendar/exhibitions/1148?utm_source=eflux&utm_medium=email&utm_content=Ivekovic&utm_campaign=eflux_112811>

 *Sanja Iveković: Sweet Violence* is the first retrospective in the United
States of the work of Sanja Iveković, groundbreaking feminist, activist,
and video and performance art pioneer. The exhibition is organized by
Roxana Marcoci, Curator, Department of Photography, The Museum of Modern
Art, New York.

Iveković (b. 1949, Zagreb), came of age in the post-1968 period in former
Yugoslavia, at a time when artists broke free from institutional settings,
laying the grounds for a form of opposition to official culture. In the
1970s Iveković probed the persuasive qualities of mass media and its
identity-forging potential, and after 1990—with the fall of the Berlin
Wall, the disintegration of Yugoslavia, and the birth of a new nation—she
focused on the transformation of reality from communist to post-communist
political systems.

The exhibition includes over 100 works, presenting the full range of the
artist's practice from conceptual photomontage to video, social sculpture,
and performance. Among the highlights, Iveković's series of
photomontages, *Double
Life* (1975–76), addresses the media's role in identity formation; the
performance *Triangle* (1979) is a response to political cults of the
leader and systems of political surveillance; the video *Personal
Cuts*(1982) fuses historical inquiry with feminist politics; and the
installation *Report on CEDAW U.S.A.* (2011) exposes the disregard for
women's rights that today pervades both transitional societies and
democracies that pretend otherwise. Iveković's major sculpture *Lady Rosa
of Luxembourg* (2001), which, along with documentation of its original
public presentation and critical reception, takes center stage in the
Museum's Donald B. and Catherine C. Marron Atrium, adopts a generative
approach to historical memory. Drawing on a remarkable 40-year artistic
practice, the exhibition presents Iveković's unflinching view of gender
roles, the official politics of power, and changes in national ideology.

*Panel Discussion*
A panel discussion focusing on art and politics takes place on Monday,
December 12, at 6:00 p.m. Participants include *Ivana Bago* and *Antonia
Majača*, curators, Institute for Duration, Location and Variables [DeLVe],
Zagreb; *Charles Esche*, Director, Van Abbemuseum, Eindhoven; *Sanja
Iveković*, artist, Zagreb; *Bojana Pejić*, art historian and curator,
Berlin; and *Martha Rosler*, artist, New York. *Roxana Marcoci*, Curator,
Department of Photography, The Museum of Modern Art, moderates the
discussion. Tickets can be purchased at MoMA at the lobby information desk
or the film desk, or online at MoMA.org/talks. This program takes place in
The Celeste Bartos Theater at MoMA, in the Cullman Education and Research
Building at 4 West 54 Street.

*Performance*
*Sanja Iveković*'s performance *Practice Makes a Master*, with *Sonja
Pregrad*, takes place on December 12 at 8:00 p.m., December 14 at 5:00
p.m., and December 15 at 7:00 p.m. Tickets can be obtained free of charge
at MoMA at the lobby information desk or the film desk, or online at
MoMA.org/talks. This program takes place in MoMA's Classroom B, in the
Cullman Education and Research Building at 4 West 54 Street.

*Publication*
*Sanja Iveković: Sweet Violence*, a major publication featuring essays by
curator *Roxana Marcoci* and literary critic *Terry Eagleton*, offers a
philosophical context for investigating urgent issues such as women's
rights, political activism, and collaborative tactics in art.

Sanja Iveković: Sweet Violence *is made possible by MoMA's Wallis Annenberg
Fund for Innovation in Contemporary Art through the Annenberg Foundation.
Major support is provided by The Modern Women's Fund, established by Sarah
Peter, and by The Andy Warhol Foundation for the Visual Arts. Additional
funding is provided by David Teiger, The International Council of The
Museum of Modern Art, Trust for Mutual Understanding, and The Junior
Associates of The Museum of Modern Art.*

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