South London Gallery<\/a>, que es poden visitar fins al 24 de febrer. El t\u00edtol \u00e9s encertat, ja que en estudiar l’obra de l’artista -que aborda la construcci\u00f3 de la identitat femenina a trav\u00e9s de la seva participaci\u00f3 pol\u00edtica i de com \u00e9s retratada en els mitjans masses- hi ha un tema que emergeix constantment: el de les identitats invisibles o desdibuixades. A la planta baixa de Calvert 22, per exemple, hi ha una petita i primera obra feta de paper en la que ja s\u2019apunten moltes de les claus de la seva obra posterior. Es titula “Women in Art – Women in Yugoslavian Art” (1975) i consisteix d’una p\u00e0gina arrancada de la revista Flash Art, que mostra diversos retrats i els noms de reconegudes artistes i galeristes de l’\u00e8poca als Estats Units i Europa, incloent a Yvonne Rainer, Lynda Morris o Ileana Sonnabend. Al seu costat Ivekovi\u0107 va dibuixar-hi els retrats de les seves equivalents iugoslaves, per\u00f2 en aquest cas, sense peus de foto. Les dones de l’art all\u00e0 “no tenien\u201d nom, i per tant, tampoc una entitat i identitat recognoscibles.<\/p>\nA “Triangle”, una de les seves accions performatives m\u00e9s celebrades, la (in)visibilitat adquireix un altre mat\u00eds. L\u2019any 1979, durant una visita oficial del President Tito a Zagreb, i amb la ciutat plena de policies, l’artista va realitzar una acci\u00f3 a la terrassa del seu domicili, situat justament davant de l’hotel on les reunions es durien a terme. Havent vist un policia amb uns prism\u00e0tics i un walkie-talkie vigilant l’\u00e0rea des de la teulada de l’hotel, Ivekovi\u0107 va seure a la seva terrassa, bevent whisky, llegint “Elits i Societats” de Tom Bottomore i simulant masturbar-se. Al cap de pocs minuts, un altre policia que vigilava el seu carrer va trucar a la porta de l’artista i li va donar l’ordre de “buidar el balc\u00f3 de persones i objectes”. Els tres actors d’aquesta situaci\u00f3 s\u00f3n els v\u00e8rtexs d’un triangle convertit en Panoptic\u00f3n que parla de vigil\u00e0ncia i repressi\u00f3, sobretot la del cos femen\u00ed que expressa desitjos sexuals i d’emancipaci\u00f3.<\/p>\n
En els v\u00eddeos “Make Up make down” (1978) i “Practice Makes a Master” (1982-2009) la cara de la protagonista femenina no es mostra en cap moment. Els gestos altament sexualitzats de la dona que es maquilla, i de la qual nom\u00e9s veiem un pla fix dels seus bra\u00e7os i el tors, o les repetides caigudes que una dona, el cap de la qual ha estat cobert amb un sac (amb un pertorbador resultat a mig cam\u00ed entre la tortura i la com\u00e8dia), mai poden associar-se a una cara. De nou aqu\u00ed, Ivekovi\u0107 denuncia la identitat arrabassada o intercanviable. La condici\u00f3 femenina desposse\u00efda de la seva especificitat, del que fa a una dona \u00fanica.<\/p>\n
Els mitjans de comunicaci\u00f3 -des de les revistes femenines i de moda a les telenovel\u00b7les, passant per la publicitat- s\u00f3n per Ivekovi\u0107 un dels m\u00e0xims responsables d’aquesta manipulaci\u00f3 del g\u00e8nere femen\u00ed. A les seves famoses s\u00e8ries de fotomuntatges “Tragedy of a Venus”, “Double Life” o “Sweet Life” (totes les obres, 1975-1976), l’artista barreja fotografies extretes seus \u00e0lbums de fotos personals i les contraposa a fotos de famosos, models o fins i tot a Marylin Monroe. Les postures i accions retratades s\u00f3n sempre similars, per\u00f2 els contextos s\u00f3n invariablement diferents, assenyalant aix\u00ed les similituds de les aspiracions de la dona, independentment del seu context social o econ\u00f2mic, i com l’efecte unificador i colonitzador dels mitjans pot condicionar de manera tan perversa els nostres actes m\u00e9s quotidians. A la s\u00e8rie “Bitter Life”, realitzada a la mateixa \u00e8poca, i emprant una metodologia similar, l’artista contraposa fotos de models amb les imatges de joves dones desaparegudes. Les preguntes que es plantegen aqu\u00ed s\u00f3n veritablement horripilants: \u00bf\u00e9s tan potent la capacitat estetitzant i uniformadora dels mitjans com per a poder convertir qualsevol imatge femenina en un objecte de desig, fins i tot la d’una dona desapareguda o assassinada? \u00c9s, precisament, aquesta suggesti\u00f3 de viol\u00e8ncia cap al sexe femen\u00ed quelcom gratificant sexualment? Una perversi\u00f3 latent en m\u00e9s ments del que podria semblar a primera vista.<\/p>\n
Un dels aspectes m\u00e9s interessants del treball feminista de Sanja Ivekovi\u0107 (o de les seves “intervencions”, com especificaria Griselda Pollock) \u00e9s que la seva ag\u00e8ncia cr\u00edtica mai queda compromesa per la seva postura respecte a certes convencions associades a la idea de “feminitat”. En aquest sentit, la seva posici\u00f3 sobre aix\u00f2 i l’\u00fas del seu propi cos en les seves peces recorda al d’altres artistes performatives actives en els anys 70, com les nord-americana Hannah Wilke o Carolee Schneemann. El treball d\u2019Ivekovi\u0107 mai nega l’anhel de ser desitjada inherent a la condici\u00f3 femenina. Aquesta tensi\u00f3 que recorre la seva exploraci\u00f3 del delicat terreny entre el rebuig del paper d’objecte sexual passiu de la dona en favor d’una activitat pol\u00edtica altament compromesa i, de manera paral\u00b7lela, la participaci\u00f3 en algunes de les seves convencions (la recerca de la bellesa, la creaci\u00f3 d’una fam\u00edlia) \u00e9s el que fa que la trobada amb el seu treball sigui una experi\u00e8ncia tan estimulant i, alhora, tan dif\u00edcil de pair, tant per a una dona com per a un home.<\/p>\n
“Un dels avantatges de viure i treballar en el si del comunisme \u00e9s que una apr\u00e8n des de molt petita que no hi ha absolutament res lliure d’ideologia, que tot el que fem t\u00e9 una c\u00e0rrega pol\u00edtica, i que la divisi\u00f3 entre pol\u00edtica i est\u00e8tica \u00e9s completament err\u00f2nia. Crec que el meu treball reflecteix aix\u00f2”, va dir l’artista en una recent entrevista. Ning\u00fa hauria pogut explicar-ho millor.<\/p>\n","protected":false},"excerpt":{"rendered":"
Al centre de Zagreb, en una zona de carrers que porten els noms de diversos dirigents de la hist\u00f2ria de Cro\u00e0cia, hi ha un petit carrer anomenat Ulica Neznane JunaKinje…<\/p>\n","protected":false},"author":1405,"featured_media":7252,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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Al centre de Zagreb, en una zona de carrers que porten els noms de diversos dirigents de la hist\u00f2ria de Cro\u00e0cia, hi ha un petit carrer anomenat Ulica Neznane JunaKinje (carrer de l\u2019Hero\u00efna Desconeguda). El carrer es va batejar aix\u00ed l\u2019any 1928 en homenatge a una dona an\u00f2nima que va morir lluitant contra els turcs vestint robes d’home. Despr\u00e9s de la declaraci\u00f3 d’independ\u00e8ncia de Cro\u00e0cia, l\u2019any 1991, el carrer va ser objecte de diverses peticions per part dels seus habitants que, atribuint err\u00f2niament el seu nom al tr\u00e0gic paper de Iugosl\u00e0via durant la Segona Guerra Mundial i posteriors d\u00e8cades, van voler reescriure la traum\u00e0tica hist\u00f2ria de la seva ciutat per comen\u00e7ar de zero. Durant els anys 90, l’artista Sanja Ivekovi\u0107