By Roxana Marcoci
Released along side the 1st solo museum exhibition of the paintings of Sanja Ivekovic within the usa, this quantity is the main accomplished survey at the artist on hand in English. A feminist, activist and video and function pioneer, Ivekovic got here of age within the early Nineteen Seventies in the course of the interval often called the Croatian Spring, while artists broke unfastened from mainstream institutional settings. This catalogue provides an outline of the artist's initiatives from the early Seventies to 2011 in all mediums, providing a desirable view of gender roles, the reliable politics of energy and the paradoxes inherent in a society's collective reminiscence. Featured works contain Ivekovic's old single-channel video clips, performances and sculptural installations in addition to a variety from Double Life (1975-76), her celebrated sequence of sixty four photocollages. Weaving jointly art-historical research and political thought, the book bargains a serious exam of the neo-avant-garde in former Yugoslavia and investigates the topic of violence in artwork
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Additional info for Sanja Ivekovic : sweet violence
Shooting someone, however, is a good deal easier. Killing at a distance by using a weapon overrides our sensory inhibitions much more effectively than strangling or stabbing. We can put up with using torture if we do not have to listen to the screams. This is one of several reasons why civilization breeds violence. Everything that we count as part of civilization—television, sanitation, opera, insurance companies—is an extension of our bodies. The human body, because it is capable of labor and complex communication, is also capable of overriding its own limits.
35 The linguistic animal, by contrast, is constantly in danger of overreaching itself and bringing itself to nothing. Its perilous powers are sacred in the traditional double meaning of the term, both blessed and cursed, world making and fearfully destructive. This is why the ancient Greeks believed we had to grope our way vigilantly in the darkness of this world, hedged round with an impenetrable thicket of taboos and prohibitions, continually in danger of coming to grief by transgressing some law of kinship or religious duty.
It was exactly this, Burke considered, that the French revolutionaries had impiously accomplished, throwing off the decent veils of habit, custom, tradition, and civil society so as to reveal the reality of power in all its traumatic horror. They had not understood that no one can gaze on this Medusa’s head without being turned to stone. Like God himself, the Law is a holy terror that has the power to annihilate us. 38 To tart power up in alluring garments is to aestheticize it. These comments of Burke, significantly enough, appear in the course of a treatise on aesthetics, one of the most influential of the modern era.