The clacking of heels on the floor, to the rhythm of a measured walk, accompanies the movement of a camera that scrutinises a man in close up. Slowly, the camera turns around him, from his feet on the floor to the top of his head. The man doesn't move a muscle, with his arms lying straight by his side, as though he has become an object under a woman's eye, identifiable by the sound of her footsteps. The closeness of the camera fragments and fetishises the body. There are no wide shots at any point that might enable the man to be identified. The fragments glimpsed by the camera do not provide any identifying markers, rendering the overall view disproportionate. Like a "monument", the figure is presented to the audience. Sanja Ivekovic is well known for her feminist positions and here, she inverses the traditional gender roles. The voyeur, traditionally male, disappears behind the tool – whether it be a paintbrush or a camera – while the female model exhibits herself for this creator and, beyond him, for the audience. In Monument, the main role, an entirely passive one, is masculine, while the woman imposes her gaze. This piece is part of the criticism of gender roles and social norms that is found throughout her work.

Patricia Maincent