Ivana Bašić
Ivana Bašić was born in Belgrade, Serbia (1986), and she lives and works in New York, United States.
Ivana Bašić’s sculptures consider the ways subjectivity can transform into otherness: from human to non-human; from organic to inorganic; from matter into pure idealism. Her sculptures are all metamorphic, in states of shifting their bodily and metaphysical identities. Each sculpture combines specific materials—glass, wax, bronze, stone, stainless steel, oil paint—in a symbolic material language that is consistent across the artist’s practice. Charged by her early vantage point of violence and brutality brought on by the collapse of Yugoslavia, the work explores metamorphosis as a substitute for physical flight when there is nowhere left to retreat or hide. Bašić’s practice levies a posthumanist lens to investigate our ontological fixations: the fragility of the human condition; the breakdown of self and other; a reimagination of life and death; and a quest for immortality.
Ivana Basic’s recent exhibitions include: Schinkel Pavillon, Berlin (2023); Lafayette Anticipations, Paris (2023); National Gallery, Prague (2021); Museum of Art+Design, Miami (2020); Het HEM, Amsterdam (2020); Contemporary Art Museum Estonia, Talinn (2019); Kumu Art Museum, Talinn (2019); NRW Forum, Düsseldorf (2019); Athens Biennial (2018); Belgrade Biennial (2018); Künstlerhaus, Graz (2018); MO.CO Panacée, Montpellier (2018); Hessel Museum of Art (2017); Kunstverein Freiburg (2017); and the Whitney Museum of American Art (2016). Bašić’s work is in the collection of the Whitney Museum. She was born and raised in Belgrade, Yugoslavia, and has lived and worked in New York City since 2010.
Ivana Bašić was born in Belgrade, Serbia (1986), and she lives and works in New York, United States.
Ivana Bašić’s sculptures consider the ways subjectivity can transform into otherness: from human to non-human; from organic to inorganic; from matter into pure idealism. Her sculptures are all metamorphic, in states of shifting their bodily and metaphysical identities. Each sculpture combines specific materials—glass, wax, bronze, stone, stainless steel, oil paint—in a symbolic material language that is consistent across the artist’s practice. Charged by her early vantage point of violence and brutality brought on by the collapse of Yugoslavia, the work explores metamorphosis as a substitute for physical flight when there is nowhere left to retreat or hide. Bašić’s practice levies a posthumanist lens to investigate our ontological fixations: the fragility of the human condition; the breakdown of self and other; a reimagination of life and death; and a quest for immortality.
Ivana Basic’s recent exhibitions include: Schinkel Pavillon, Berlin (2023); Lafayette Anticipations, Paris (2023); National Gallery, Prague (2021); Museum of Art+Design, Miami (2020); Het HEM, Amsterdam (2020); Contemporary Art Museum Estonia, Talinn (2019); Kumu Art Museum, Talinn (2019); NRW Forum, Düsseldorf (2019); Athens Biennial (2018); Belgrade Biennial (2018); Künstlerhaus, Graz (2018); MO.CO Panacée, Montpellier (2018); Hessel Museum of Art (2017); Kunstverein Freiburg (2017); and the Whitney Museum of American Art (2016). Bašić’s work is in the collection of the Whitney Museum. She was born and raised in Belgrade, Yugoslavia, and has lived and worked in New York City since 2010.
- 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 - Ivana Bašić, I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn | Position III (#2), 2020, view 2wax, bronze, breath, blown glass, oil paint, stainless steel, pressure
127×30,5×40,6 cm
Edition of 3 +AP - Ivana Bašić, I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn | Position III (#2), 2020, view 1wax, bronze, breath, blown glass, oil paint, stainless steel, pressure
127×30,5×40,6 cm
Edition of 3 +AP - Ivana Bašić, I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn | Position III (#2), 2020, detailwax, bronze, breath, blown glass, oil paint, stainless steel, pressure
127×30,5×40,6 cm
Edition of 3 +AP