As a central figure in the Croatian art scene, Sanja Ivekovi? has been developing since the early 1970s a committed, engagé oeuvre, informed by concerns to do with the issues of gender, identity, and memory. She belongs to a generation of artists known by the name of Nova Umjetni?ka Praksa (New Art Practice), which, in post-1968 Yugoslavia, freed itself from the state power and strove to decompartmentalize the art arena, opening it up to new disciplines and questions grappling directly with society.
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