“General Alert—Works, 1974–2007,” the traveling retrospective of the work of Sanja Iveković (curated by Nataša Ilić and Kathrin Romberg), served to open one’s eyes to the recent history of the former Yugoslavia. Iveković was a rare bird in the art scene of Zagreb, where she was born in 1949 and where she studied. Geometrical abstraction and conventional painting predominated, but she has always worked primarily in photomontage and, sometimes, video, and her art addresses a wide range of social, political, and cultural issues.
Since the ’70s, Iveković has focused on questions of gender and the violence implicit in the mass media’s portrayal of women. Her most famous work, Dvostruki zivot (Double Life), 1975, is composed of sixty-six pairs of photographs, juxtaposing cutouts from fashion magazines and personal photographs of the artist at different ages. In these photos, Iveković seems to
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