From the early 1970s, Sanja Ivekovi} has been exploring the intersections of crisis areas of regimes of representation and the ideological positions upon which they rest. Works such as Dvostruki život/Double Life (1975), Slatki život/Sweet Life (1975/6), Gorki život/Bitter Life (1975), Tragedija jedne Venere/Tragedy of a Venus (1976) are concerned with studying the effects of media on shaping an identity, especially a woman’s identity, by which it is especially important to note that it is often about the specific effects of the media in the socialist regime of Yugoslavia and, following the former’s break-up, in transitional Croatia. This fact is important not only because from the beginning of her artistic practice did the artist introduce a specific difference which locates feminism in the concrete conditions of the socialist social order, thus negating the universal essentialist phenomenon of the female view.