On 12, Dec 2017 | In Sculpture | By admin
The installation “Motherhood” originated in a performance of the same title, that Marta Jovanovic performed on February 2016 at O3one Art space in Belgrade. The performance derived out of the artist’s deeply personal urge to contemplate 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. This schism was symbolized in the performance by raw eggs, which Jovanovic smashed with a hammer. The number of eggs 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.”
On 10, Jan 2013 | In Sculpture | By admin
What happens to the body of the artist in the aftermath of the performance?
This query is at the core of the sculptures, videos and photographs of Marta Jovanovic. Much has been said about the difficulty of preserving performance, an ephemeral medium that resists being transformed into a lasting and permanent form. But what about the performer’s body? Can it be suspended in time forever? Can we prevent its aging and ultimate decay, or delay its inevitable mortality?
On 17, Feb 2012 | In Sculpture | By admin
Born in Social Federal Republic of Yugoslavia – SFRJ and grew up in three countries on three continents, Marta Jovanovic, in 2011, after a visit to the Museum Of Yugoslav History and new discoveries about her personal history, produces a body of work dealing with patriotism. Patriotism, in regard to the land and culture and not to the country as political entity, it’s relativity symbolically represented through transparency of an artistic adaptation of a tombstone – sculpture “Love, Fortune, Truth”.