Sanja Iveković
Sanja Iveković, Zagreb, 23 November 2021
“Should I know everything about my work? I don’t.”
A snapshot from autumn 2021: for a “catalogue raisonnée”, Sanja Iveković surveys her copious life’s work—in which a more than coincidental role is played by public space projects such as the video installation “Triangle” (1979), the monument “Lady Rosa of Luxemburg” (2001), or the never-realized intervention “Miss Croatia & Miss Brazil Read Žižek & Chomsky” (2002). Most recently, Iveković has also been working on editing the poems written by her antifascist mother, whose survival of concentration camp internment was the focus of her installation “Searching for My Mother’s Number” shown at documenta 11.
“Should I know everything about my work? I don’t.”
A snapshot from autumn 2021: for a “catalogue raisonnée”, Sanja Iveković surveys her copious life’s work—in which a more than coincidental role is played by public space projects such as the video installation “Triangle” (1979), the monument “Lady Rosa of Luxemburg” (2001), or the never-realized intervention “Miss Croatia & Miss Brazil Read Žižek & Chomsky” (2002). Most recently, Iveković has also been working on editing the poems written by her antifascist mother, whose survival of concentration camp internment was the focus of her installation “Searching for My Mother’s Number” shown at documenta 11.