On 18, Jul 2016 | In Performance | By admin
Love and hate, attraction and repulsion, pain and lust, peace and war are concepts that, even though diametrically opposed to each other, are inextricably linked. One often leads to the other, one cannot exist without the other.
Marta Jovanovic’s performance Ljubav draws from these binaries, pulling them together in a performance that is deeply personal yet also highly historical. Set in the garden of the Swiss Embassy, which was built as a monument of peace during the Yugoslav Wars in 1993 by then-ambassador Benoit Junod. An elaborate concept of horticultural and landscape design is saturated with meaning and references to the history and politics of military conflict, especially of course the raging wars that were devastating the Balkans at that time. The war that grew out of century-old ethnic and religious convictions finds its resonance in the present day: thousands of refugees from countries in which one cannot see a future hope to find a better life along their trek through a region that was forever changed by a bloodshed not even 30 years ago.
On 10, Apr 2016 | In Performance | By admin
Marta Jovanovic performed Motherhood as a contemplation of her life choices and her status as a woman artist in a patriarchal world. Having just gone through a fundamental transformation in her personal life, which forced her to reevaluate her path, her past and her future, she had to choose, once again, between society’s vision for a woman and her own way. The number of eggs in Motherhood was carefully chosen, each egg representing one fertile day in her life since she started menstruating at age 16. She states with an ironic smirk that each egg she cracked in the performance is one chance of becoming a “real woman”, a mother, that she “wasted on art.”
Jovanovic faced a decision that many women have to make and that comes for most women with substantial doubt and a paralyzing feeling of being torn. Do I want to become a mother or do I want to pursue my career? It also is a decision that possibly puts enormous strain on relationships and even friendships. Of course, it does not necessarily need to be “either” “or”, but sometimes it has to be. And what will the implications be? Will I regret becoming a mother and wife and having to put my career on hold or even let it go entirely? Will I wish I had become a mother once I do not have the option any longer? Even though in the present day contraceptives and the increasing, yet still insufficient support systems for women have at least made a choice possible, that choice still needs to be made and its implications, which are grave and long-term, considered carefully.
On 14, Jan 2016 | In Performance | By admin
“BELGRADE—On the eve of a new year, many resolutions are made and the year ahead is a blank canvas of hopes, ideas and plans. Some people plan to go on diets while others make the goal to travel more or look for a new job. Serbian-born performance artist Marta Jovanovic has one of the more intriguing 2016 New Year’s resolutions that I have come across—starting on January 1, the Rome and New York-based artist will be wearing a uniform for two consecutive years on daily basis during “working hours” and on all work related occasions for the next two years. “Two years is a symbolic period for an artistic creative process, the time frame that international art biennials are also based on,” she wrote me in a recent email. “Joining me, some hundred other artists, curators, art dealers and collectors, museum directors, auction house specialists, and other art world devotees have agreed to wear ‘The Uniform’ for their own specified duration.” She added that if she is able to raise the funds for that part, it could become an amazing international project, “something like an art world team.” The whole process will be documented through social media (the instagram account is @uniform_martajovanovic) and when the project is finished, Marta plans to have those images and videos be part of an exhibition and book.”
Ginanne Brownell Mitic (read full article here!)
On 19, Apr 2015 | In Performance | By admin
Come to Bed!
March 25 – April 25, 2015
All photos taken by Nikola Bradonjic.
Performance artist Marta Jovanovic’s Pillow Talk, is a long duration performance – lasting the entirety of the show, in which audience members are invited to get into bed with the artist, and have a one on one pillow talk with Jovanovic about whatever their heart desires, for however long they choose. The concept alludes to the intimate secrecy that is shared during the act, but also referring to the ideas of revelation, as well as losing grip on reality. During the gallery hours when audience members are not in her bed, Jovanovic continues her normal rhythm of life, working, eating, reading and watching TV in bed, all within the gallery space.
The piece is a part of the group exhibition Come to Bed!, curated by Roya Sachs at BOSI Contemporary in New York, featuring the works of three female artists, Michelle Jaffé, Marta Jovanovic and Esmeralda Kosmatopoulos.
On 20, Dec 2014 | In Performance | By admin
Dec 20, 2014 “ (Secret)” Art Residence Aley, Beirut, Lebanon
Muta, goddess in Roman mythology, was bound to silence after revealing a secret of Jupiter’s love affairs to his wife Juno. Meanwhile, in recent history Edward Snowden is being persecuted for revealing government secrets. Throughout history we were trained to obey the laws of Omertà and keep secrets. If we reveal secrets, we are severely punished. Governments persecute, incarcerate and execute those who reveal their secrets. We keep secrets from others and automatically start keep secrets from ourselves, we tend to forget what hurts or disturbs us. Secrets are automatic, they are created so easily in our subconscious that we often feel guilty of them even if we don’t have anything to hide. We get accused of keeping secrets even when we don’t. The fear of secrets is so intense that we accuse one another of keeping them and desperately hold on to our own.