Die Ausstellung „S/HE IS THE ONE“ widmet sich aktuellen performativen künstlerischen Praktiken, Embodyment-Strategien und deren Artikulation in verschiedenen Medien in Gegenüberstellung zu historischen Positionen der Performancekunst. Wie wird durch Performances eine andere oder neue Erlebbarkeit von Welt produziert? Wie gelangen dabei Methoden der Appropriation, Dekonstruktion, Konstruktion, Reformulierung, Transposition oder der Übersetzung zum Einsatz? Wie sehr dient die Performance als Mittel in der Kunst, um politische, feministische Fragestellungen oder die Rolle der Autorschaft in direkter Konfrontation mit dem Publikum zu artikulieren?

In her serial photo montages "Double Life" (1975) Sanja Ivekovic juxtaposes media images with private pictures that contain parallels in poses and props. The found-footage material employed ranges from advertisements and pictures of Marilyn Monroe, to newspaper cuttings that show, on the one hand, everyday misfortune, and, on the other, the glorified life of high society. In addition to the photo montages, video works by the artist made since the mid-seventies will be shown, in which she features as a protagonist. Inscribing herself into the public discourse, Ivekovic thus makes visible collective social codes of behavior and their origins in the gender-specific, standardized patterns employed by mass media.

In her serial photo montages "Tragedy of a Venus" (1975) Sonja Ivekovic juxtaposes media images with private pictures that contain parallels in poses and props. The found-footage material employed ranges from advertisements and pictures of Marilyn Monroe, to newspaper cuttings that show, on the one hand, everyday misfortune, and, on the other, the glorified life of high society. In addition to the photo montages, video works by the artist made since the mid-seventies will be shown, in which she features as a protagonist. Inscribing herself into the public discourse, Ivekovic thus makes visible collective social codes of behavior and their origins in the gender-specific, standardized patterns employed by mass media.

Taking the work of Sanja Iveković as a point of departure to discuss urgent matters in feminism today, Sanja Iveković: Unknown Heroine - A Reader gathers commissioned essays by key feminist voices who contributed to a conference titled ‘23%’, which was held on the occasion of the exhibition Sanja Iveković: Unknown Heroine, curated by Lina Džuverović at Calvert 22 Gallery and the South London Gallery (December 2012 - February 2013).