The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia. In Sanja Ivekovic's Triangle (Trokut, 1979), four black-and-white photographs and written text capture an eighteen-minute performance from May 10, 1979. On that date, a motorcade carrying Josip Broz Tito, then president of Yugoslavia, drove through the streets of downtown Zagreb. As the President's limousine passed beneath her apartment, Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street, she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes, a policeman appeared at her door ordered her inside. Not only did Ivekovic's action expose government repression and call attention to the rights of women, it also called attention to the relationship of gender to power, and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Ivekovic's key works and yet, despite Ivekovic's stature as one of the leading artists of the former Yugoslavia, it has received little direct attention. With this book, Ruth Noack offers the first sustained examination of Ivekovic's widely exhibited, now canonical artwork.After a detailed analysis of the work's formal qualities, Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art, and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Tito's Yugoslavia and in society at large, and investigates the notion that Ivekovic's work of this period is participating in citizenship, shifting the focus from the artist's subversive act to her capacity to shape the terms through which we order our world.

Sanja Ivekovic: Triangle (One Work)

Arts & Photography

Noack, Ruth

History & Criticism

Afterall Books

The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia. 
In Sanja Ivekovic's Triangle (Trokut, 1979), four black-and-white photographs and written text capture an eighteen-minute performance from May 10, 1979. On that date, a motorcade carrying Josip Broz Tito, then president of Yugoslavia, drove through the streets of downtown Zagreb. As the President's limousine passed beneath her apartment, Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street, she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes, a policeman appeared at her door ordered her inside. Not only did Ivekovic's action expose government repression and call attention to the rights of women, it also called attention to the relationship of gender to power, and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Ivekovic's key works and yet, despite Ivekovic's stature as one of the leading artists of the former Yugoslavia, it has received little direct attention. With this book, Ruth Noack offers the first sustained examination of Ivekovic's widely exhibited, now canonical artwork.
After a detailed analysis of the work's formal qualities, Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art, and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Tito's Yugoslavia and in society at large, and investigates the notion that Ivekovic's work of this period is participating in citizenship, shifting the focus from the artist's subversive act to her capacity to shape the terms through which we order our world.

Sanja Ivekovic: Triangle (Afterall Books / One Work)

"documenta 12" reasons on a visual level. Artists are photographing the exhibition for a book of images: the artworks and the spaces, the spaces between the artworks, and the beautiful Kassel setting. This photo volume presents the art projects that were produced especially for documenta 12, as seen by twelve photographers commissioned for this book project. About documenta: documenta is regarded as the most important exhibition of contemporary art, drawing attention from all over the world. This international exhibition, often called the Hundred Day Museum became an unparalleled success. The number of visitors has continually risen. More than 650 thousand visitors came to documenta 11. Under continually changing directorship, and in the equally leisurely and inexorable rhythm of five years, documenta has advanced to become an authoritative worldwide seismograph of contemporary art. At documenta, it becomes manifest whether art is succeeding in grasping the world in images and whether these images have validity for its public.

Bilderbuch: Documenta Kassel 16/06-23/09 2007

Buergel, Roger M.

Collections, Catalogs & Exhibitions

Taschen America, LLC

Documenta Magazine No. 1-3 2007 Reader

Shao Fan occupies a special place within contemporary Chinese painting. He is a master of the painterly technique of classical ink drawing, which he develops into a new artistic language through his unique method of condensing and concentrating his motifs. The protagonists of his monumental paintings are animals. Whether monkeys, hares, or horses, they are less illustrations of their natural physiques than archetypes and hybrid creatures between man and animal.

Shao Fan (Yu Han): YOU. Works 1984 - 2018

Yi, Feng Bo

Individual Artists

Wienand Verlag

Accompanying the sixth annual Contemporary Chinese Art Awards exhibition, this catalogue offers images and texts on works by Liu Wei (outstanding artist), Tseng Yu-Chin (outstanding young artist) and Ai Weiwei (lifetime contribution). It is bundled with a monograph by Pauline J. Yao, recipient of the CCAA award for independent art criticism.

In Production Mode, Contemporary Art in China: Chinese Contemporary Art Awards 2008

Dercon, Chris

Lum, Ken

Yao, Pauline

Blue Kingfisher

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