Ivana Bašić
Ivana Bašić was born in 1986 in Belgrade, Serbia and she now lives and works in New York.
In her work Ivana Bašić addresses the vulnerability and transformation of the body.
By fusing synthetic materials, such as silicone, and natural materials, such as wax and oil paint, Bašić’ sculptures acquire a post-human quality.
Her works are often premised on an abstracted sense of primordial matter succumbing to various conditions that are pressed upon it and undergo a series of transformations: from material to immaterial; from organic to inorganic; from human to insectile and from ground-bound matter into pure idealism.
Residing in the liminal space between life and death, these sculptural forms test the boundaries of “human minimality” while examining what constitutes the notion of “wholeness.” For the viewer, her work evokes both the repulsion and the beauty inherent to the pain and fragility of corporeality.
The artist has exhibited widely, mounting solo and group presentation at KUMU Museum, Tallinn, Estonia; The Whitney Museum, New York, US; 6th Athens Biennial, Athens, Greece; Hessel Museum of Art, Annendale-On-Hudson, New York, US; 57.Belgrade Biennial, Belgrade, Serbia; Center for Contemporary Art Estonia, Talinn, Estonia; La Panacee Museum of Contemporary Art, Montpellier, France; Künstlerhaus Halle für Kunst & Medien, Graz, Austria; Andrea Rosen Gallery, New York, New York; Loyal Gallery, Stockholm, Sweden. Her work is in the permanent collection of The Whitney Museum, New York.
Ivana Bašić was born in 1986 in Belgrade, Serbia and she now lives and works in New York.
In her work Ivana Bašić addresses the vulnerability and transformation of the body.
By fusing synthetic materials, such as silicone, and natural materials, such as wax and oil paint, Bašić’ sculptures acquire a post-human quality.
Her works are often premised on an abstracted sense of primordial matter succumbing to various conditions that are pressed upon it and undergo a series of transformations: from material to immaterial; from organic to inorganic; from human to insectile and from ground-bound matter into pure idealism.
Residing in the liminal space between life and death, these sculptural forms test the boundaries of “human minimality” while examining what constitutes the notion of “wholeness.” For the viewer, her work evokes both the repulsion and the beauty inherent to the pain and fragility of corporeality.
The artist has exhibited widely, mounting solo and group presentation at KUMU Museum, Tallinn, Estonia; The Whitney Museum, New York, US; 6th Athens Biennial, Athens, Greece; Hessel Museum of Art, Annendale-On-Hudson, New York, US; 57.Belgrade Biennial, Belgrade, Serbia; Center for Contemporary Art Estonia, Talinn, Estonia; La Panacee Museum of Contemporary Art, Montpellier, France; Künstlerhaus Halle für Kunst & Medien, Graz, Austria; Andrea Rosen Gallery, New York, New York; Loyal Gallery, Stockholm, Sweden. Her work is in the permanent collection of The Whitney Museum, New York.
- Stay inside or perish, 2016wax, glass, pressure, oil paint, weight, rigidity, stainless steel, leather, elastic band
110,5×33×45,7 cm - Stay inside or perish, detail, 2016wax, glass, pressure, oil paint, weight, rigidity, stainless steel, leather, elastic band
110,5×33×45,7 cm - Ungrounding 12, 2022mixed media on paper
76,2×55,9 cm - Pneumatic Positions II: Blossoming, 2023wax, breath, bronze, pressure, exhaust manifolds, steatite, blown glass, stainless steel, petroleum jelly
162,5×51×33 cm - Pneumatic Positions II: Blossoming, detail, 2023wax, breath, bronze, pressure, exhaust manifolds, steatite, blown glass, stainless steel, petroleum jelly
162,5×51×33 cm - Belay My Light, the Ground Is Gone, 2018wax, pink alabaster, blown glass, breath, dust, weight, oil paint, pressure, stainless steel
139,7×228,6×152,4 cm - Belay My Light, the Ground Is Gone, detail, 2018wax, pink alabaster, blown glass, breath, dust, weight, oil paint, pressure, stainless steel
139,7×228,6×152,4 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #2, 2022, view 1White alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #2, 2022, view 2White alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #2, 2022, detailWhite alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #3, 2022, view 1White alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #3, 2022, view 2White alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - I sense that all of this is ancient and wast. I had touched the nothing, and nothing was living and moist #3, 2022, detailWhite alabaster, wax, copper, pressure, grounding rods, stainless steel
66×47×19,5 cm - Untitled, 2022watercolor and resin
51×43,5×3,5 cm
each - Untitled 1/3, 2022watercolor and resin
51×43,5×3,5 cm
each - Untitled 2/3, 2022watercolor and resin
51×43,5×3,5 cm
each - Untitled 3/3, 2022watercolor and resin
51×43,5×3,5 cm
each