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Triangle
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1979
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Sanja Iveković is a pioneer in the field of performance  art, feminist art, and video art. Her work, Triangle, is an inseparable part of the canon of contemporary art, and is presented in Israel for the first time. On May 10, 1979, a military parade was held in Zagreb in honor of then Yugoslavian president, Tito. Residents of the street where the president’s motorcade passed were instructed to line the street and cheer the president, and not do so from their balconies. Iveković went out to her balcony on the day of the parade, sipped whiskey, read a book, and simulated masturbation motions. Eighteen minutes later, following a report made by a lookout on the roof of a nearby building, police officers knocked on her door and asked her to vacate the balcony. The three photographs comprising the installation Triangle, as well as the short descriptive text the artist published, are a testimony to a brief moment of resistance: not only against the communist regime in Yugoslavia of those days and the place of the artist as a woman in a military situation, but also against the modes of supervision and control that exist in any social order. Against the national regulation of time and space, Iveković positioned a private, intimate act, which gains political validity by means of its documentation and presencing as a work of art in a public space.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Triangle

Sanja Iveković is a pioneer in the field of performance  art, feminist art, and video art. Her work, Triangle, is an inseparable part of the canon of contemporary art, and is presented in Israel for the first time. On May 10, 1979, a military parade was held in Zagreb in honor of then Yugoslavian president, Tito. Residents of the street where the president’s motorcade passed were instructed to line the street and cheer the president, and not do so from their balconies. Iveković went out to her balcony on the day of the parade, sipped whiskey, read a book, and simulated masturbation motions. Eighteen minutes later, following a report made by a lookout on the roof of a nearby building, police officers knocked on her door and asked her to vacate the balcony. The three photographs comprising the installation Triangle, as well as the short descriptive text the artist published, are a testimony to a brief moment of resistance: not only against the communist regime in Yugoslavia of those days and the place of the artist as a woman in a military situation, but also against the modes of supervision and control that exist in any social order. Against the national regulation of time and space, Iveković positioned a private, intimate act, which gains political validity by means of its documentation and presencing as a work of art in a public space.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis