I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn – Position III, 2, 2020
wax, bronze, breath, blown glass, oil paint, stainless steel, pressure
50 x 12 x 16 in. / 127 x 30.5 x 40.6 cm
I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn – Position III, 2, 2020
Detail
I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn – Position III, 3, 2020
wax, bronze, breath, blown glass, oil paint, stainless steel, pressure
50 x 12 x 16 in. / 127 x 30.5 x 40.6 cm
I too had thousands of blinking cilia, while my belly, new and made for the ground was being reborn – Position III, 3, 2020
View 2
Breath seeps through her tightly closed mouth – Position II – Swelling 1, 2019
breath, glass, stainless steel, torque
12 x 30 x 5 in. / 30.5 x 76.2 x 12.7 cm
I will lull and rock my ailing light in my marble arms #2, 2017
wax, glass, breath, weight, pressure, stainless steel, oil paint, silk, cushioning, marble dust
126 x 124 x 15 in. / 320 x 315 x 38.1 cm
A thousand years ago 10 seconds of breath were 40 grams of dust #2, 2017
stainless steel, force, pink alabaster, time, silk, cushioning, dust, electromagnetic linear actuators, micro controller
126 x 19 x 7 in. / 320 x 48.3 x 17.8 cm
A thousand years ago 10 seconds of breath were 40 grams of dust #2, 2017
Detail
I will lull and rock my ailing light in my marble arms #1, 2017
wax, glass, breath, weight, pressure, stainless steel, oil paint, silk, cushioning, marble dust
126 x 128 x 14 in. / 320 x 325 x 35.56 cm
I will lull and rock my ailing light in my marble arms #1, 2017
Detail
Ivana Bašić in her studio. Photo: Tiffany Nicholson.
Ivana Bašić was born in 1986 in Belgrade, Serbia. The artist completed her M.P.S. at the Tisch School of the Arts, New York University, in 2012. In her work, Bašić addresses the vulnerability and transformation of the body and human matter. By using different materials in the work (such as wax, glass, steel, alabaster, oil paint) and combining these with technique and immaterial matters (such as breath, pressure and rigidity), the sculptures acquire a posthuman quality. The colors she chooses refer strongly to the human body. Pink, white and natural combinations are reminiscent of blood, bone and flesh.
The artist has exhibited widely, mounting solo and group presentation at KUMU Museum, Tallinn, Estonia; The Whitney Museum, New York, New York; 6th Athens Biennial, Athens; Hessel Museum of Art, Annendale-On-Hudson, New York; 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, New York. The artist lives and works in New York, New York.
Ick Art: Why a Rising Generation of Female Sculptors Is Embracing Body Horror: These exciting young artists are turning to the gross-out genre to give form to the ambient dread of modern life.
Support Structures, an exhibition currently on view at Gathering, London featuring work by Ivana Bašić, is reviewed in Frieze.
Ivana Bašić's work is currently featured in Human Is, a group exhibition which gathers works by artists that employ the aesthetic, narrative and conceptual properties of science-fiction as tools to mirror, push and re-evaluate humanist and capitalist value systems.
Ivana Bašić‘s work is featured in Au-delà, an exhibition evoking rituals at once ancient and contemporary, individual and collective, pagan and divine, in the search of a new sacred, a new unifying force, curated by Agnes Gryczkowska.
Elisa Carollo writes on Ivana Bašić for Fondazione Imago Mundi.
Maria Abramenko interviews Ivana Bašić for NASTY Magazine, in which they discuss negotiating the mechanics of becoming and unbecoming and speculations on post-human scenarios beyond death and singularity.
Ivana Basic is featured in INCORPOREA #3, a year-long choral exhibition set up as to develop and transform itself over time, and aimed at investigating the body in all its folds and meanings: the body as a revolutionary space, of antagonism and freedom, expression and research, self-definition and power, identity and gender. The exhibition is on view from February 18 through March 13, 2021 at Basement Roma, Rome, Italy.
Ivana Bašić featured in Wonderful post-anthropocentric creatures: For a deconstruction of contemporary aesthetic policy by Alessandra Ioalè, published on isit.online Magazine.
Ivana Bašić's work is featured in The Body Electric, a major multidisciplinary exhibition that examines humans’ ever-changing relationship with technology and the inescapable interface between our bodies and screens
Ivana Bašić inaugurates a new column for FlashArt Magazine entitled Letter From the City, writing about months of isolation, the insectile universe and the genesis of the new work, and featuring the voices of Clarice Lispector, Reza Negarestani, Steven Shaviro, James Baldwin and Oscar Wilde.
