Director
Quotes from Okakura’s The Book of Tea are a connecting tissue and the tea ceremony is a dramatic scene of juxtaposing personal and public space in the video work of Sanja Iveković and Dalibor Martinis. Opposed to the stylized and highly spiritual-meditative dimension of the Japanese ritual, the omnipresent background of its metaphorically impregnated and pseudo-narrative staging of the Croatian artists is a TV image. The order of objects and the peace of the tea drinkers is penetrated by chaos; the calm ritual is turning into a drama...
Herself
Video by Croatian artist Sanja Iveković, a performative stripping of personal identity by the interpolation of excerpts from public service TV shows.
Director
Video by Croatian artist Sanja Iveković, a performative stripping of personal identity by the interpolation of excerpts from public service TV shows.
Director
A reconstructed view of the surroundings I had as a child. I place the camera in the space at different levels corresponding to different stages in my life as I grew up. Constant camera movements show objects from extreme close-up, a perspective alien to the eye opening up a microcosm which remains hidden to the normal observer.
Director
In the performance-video "Instrukcije br 1", Sanja Ivekovic draws 'instructional' lines for a facial and neck massage on her skin using ink. Instead of beautifying facial features, this massage becomes a blotchy, unattractive procedure.
Director
The clacking of heels on the floor, to the rhythm of a measured walk, accompanies the movement of a camera that scrutinises a man in close up. Slowly, the camera turns around him, from his feet on the floor to the top of his head. The man doesn't move a muscle, with his arms lying straight by his side, as though he has become an object under a woman's eye, identifiable by the sound of her footsteps. The closeness of the camera fragments and fetishises the body. There are no wide shots at any point that might enable the man to be identified. The fragments glimpsed by the camera do not provide any identifying markers, rendering the overall view disproportionate. Like a "monument", the figure is presented to the audience.
