Ivana Bago

  • picks November 07, 2019


    There is, thankfully, only one work featuring the Berlin Wall in “1989.” The four black-and-white photographs of someone climbing up and leaning over the monumental barrier are likewise not typical of their creator, Libuse Jarcovjáková—her photographic examinations of everyday life, also displayed in the exhibition, are more evocative than documentary, zooming in on uncanny details and amplifying contrast. The same could be said about the exhibition as a whole: Instead of providing yet another narrative about 1989, it juxtaposes works by eight women artists from Czechoslovakia, Poland, Hungary,

  • “On the Brink: The Visual Arts in the Kingdom of Yugoslavia (1929–1941)”

    “Yugoslavia” usually operates as a synonym for the Socialist Federal Republic of Yugoslavia (1945–1991), but the first Yugoslav (literally, South Slavic) state was a kingdom founded in 1918, in the aftermath of World War I, and initially named the Kingdom of Serbs, Croats and Slovenes. “On the Brink: The Visual Arts in the Kingdom of Yugoslavia (1929–1941)” revisits the 1930s, when King Alexander Karađorđević imposed a royal dictatorship and renamed the country the Kingdom of Yugoslavia in an attempt to force national unification and stifle political opposition. Bringing together painting,


    WE ARE THE GREAT-GRANDDAUGHTERS OF THE WITCHES YOU WEREN’T ABLE TO BURN, declared a banner at this year’s International Women’s Day march in Zagreb, Croatia. As if to illustrate this illicit genealogy, two schoolgirls, accompanied by their mother, carried a sign proclaiming, WOMAN’S PLACE IS IN THE RESISTANCE. These slogans handily describe the expansive oeuvre of Zagreb-based artist Sanja Iveković, who, unsurprisingly, was spotted among the event’s attendees. Since the beginning of Iveković’s artistic career in the 1970s in socialist Yugoslavia, she has sought to prevent the erasure of women’s