Aleksandra Domanović tells me that during the installation of her piece for the 4th Marrakech Biennale this year, it somehow went missing. Apparently, authorities came in the night and relocated the outdoor sculpture because it obstructed the pathway where the Princess takes her morning stroll. History is a series of ironies and here the joke was on the monarch. The piece was a monolithic pink fist in abstraction called Monument to Revolution (2012). The relocation was doubly fitting, because Domanović’s videos and sculptures deal with those dysfunctional siblings, art and politics. For 19:30 (2010), a project exhibited at New York’s New Museum, Domanović collected music intro hooks (called idents) from news stations in the former Yugoslavia to assess how the rhythm of news-watching in times of political turmoil becomes psychologically, and musically, encoded in individuals. At times, seeing her pieces is like finding a Nike shoe peeking out behind the shroud of Turin. “Low” culture meets its institutional other, where it creeps up unexpectedly into political and aesthetic regimes. After the wars in Yugoslavia cities found themselves hunting for political emblems untainted by the complications of war. Public sculptures of Bill Clinton and Bruce Lee began to spread throughout the area. Turbo Sculpture (2009-2012), a video essay shown at Domanović’s solo show at the Kunsthalle Basel this year, is an archive of this phenomenon and a fascinating take on the movement of icons in our bizarre, networked age. (Pablo Larios)