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Iglesias, Cristina
Sin título (Pasaje I), 2002- Untitled (Passage I), 2002
- Raffia (15 elements)
- Dimensions variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- In her sculptural works, Cristina Iglesias transforms the notion of sculptural object into spatial situations that are activated by an interaction with the viewer. As the reference in brackets indicates, 'Sin título (Pasage I)' [Untitled (Passage I)] suggests a passage from one point to another. The work is comprised of several ceiling-suspended raffia mats which are structured to read an excerpt of the gothic novel 'Vathek' (1786) by William Beckford. A light illuminates the piece from above, throwing shadows of texts on the ground beneath our feet. According to the artist: ‘We are above and beneath the work at the same time. If we look up, the canopy is simultaneously transparent and dense with words, presenting a vision that has nothing to do with sculpture.’ For the artist, it is less a sculpture than a space for the imagination.
Ivekovic, Sanja
Instructions #1, 1976- Video, b/w, silent, 4:3, PAL, 6'03
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- Reduced to the role of a model, in ‘Instructions #1’ Sanja Ivekovic draws black paint lines on her face and neck, turning them into a user’s guide for the application of a cosmetic product which, after being rubbed in, leaves the artist’s face completely black. This gesture of appropriation of the systems of marketing advertising accentuates her criticism of the conventional notions of beauty and the representation of women as a product of mass media society.The work of Ivekovic reflects on themes such as identity construction, gender issues, consumer society, or the mechanisms of collective memory. Taking on the critical, feminist and political stance linked to the dissidence and protest of the generation known as ‘New Art Practice’, which opposed so-called official art and socialist iconography in post-1968 Yugoslavia, the artist works in a range of disciplines, including video, photography and performance.
Novi Zagreb (Ljudi iza prozora), 1979- New Zagreb (People behind the window), 1979
- Photographed hand-painted photograph. Ed. 2/4 + 2 A.P.
- 105 x 144.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- In 'Novi Zagreb (Ljudi iza prozora)' [New Zagreb (People behind the window)] Sanja Ivekovic depicts the limousine used by President Tito of Yugoslavia during a visit to Zagreb in 1979. The artist intervened in the official newspaper photograph illustrating the visit by enlarging it and colouring the balconies of the building behind the car on which, against the instructions of presidential security, residents are seen standing. With these simple gestures, Ivekovic points to the repressive nature of the socialist government that dominated her country for 47 years. Sanja Ivekovic, who has been working since the 1970s, is part of a generation of artists known as ‘Nova umjetnicka praksa’ [New Artistic Practice] who, in post-1968 Yugoslavia, freed themselves from the influence of the State, especially from socialist iconography, opening up to new disciplines ? performance, video, photography ? and looking into themes directly related to society. Her politically engaged oeuvre addresses issues of gender, identity and memory. Ivekovic’s videos and photomontages are well known for denouncing identity-building mechanisms spread by the media, namely the ideals of beauty promoted by women’s magazines. Her early work contributed decisively to an awareness of sexism within the growing advertising industry. The relationship between gender, power, government repression and political dissent in the context of socialist Yugoslavia is another of her major concerns. In her most recent works, which are marked by the fall of the Berlin Wall in 1989 and the disintegration of Yugoslavia in the 1990s, Ivekovic has expanded her interests to include the construction of collective memory and the glossing over of historical events.
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