The Ground is gone exhibition will be officially open on June 7th and will present the latest but also some of Ivana's most significant works such as:
Belay my light, the ground is gone, 2018 sculpture that was recently presented at the Crash test exhibition at La Panacée - the Center for Contemporary Art in Montpellier, which was curated by the renowned French theorist and curator Nicolas Bourriaud; Stay inside or perish, 2016 - a work recently presented by the Marlborough Contemporary in London; Breath seeps through her tightly closed mouth # 12, # 13, # 14, # 15, 2018; Undergrounding, 2016 as well as one channel video work SOMA, which was acquisited by the Whitney Museum of American Art in New York and is currently part of their permanent collection.
"Ivana Basic renders the body as a dense and finite space of confinement and examines the conditions and consequences of that space, its boundaries, its matter, its durability and its weight.
By fusing synthetic materials such as silicone and glass and living materials such as wax, stone and oil paint, she embodies hollow and bruised forms that are at once bodies and habitats. 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”...."
Dzaizku's latest installation is inspired by the research of history of Parisian non-formal scenes, during which he stepped on the clues of a squat named Klepsydra, that existed in French capital during 1980's. This space of utopian exile for subculture groups was so well hidden in the urban tissue, with many entrances and exits through catacombs at the totally opposite parts of town, that it remained invisible till the end of it's existence to everyone except to the initiated ones. In the spirit of last neo-romantic waves of 1980's, non-formal art scenes of the time were echoing with stories about paranormal music seances and about the romantic techno-futuristic renaissance of the cult minds of the epoque, who happened to be present in the hallways of Klepsydra during these events. Due to the fact that nobody exactly knew - or never wanted to say publicly - where is this place exactly located or if it even exists for real, Klepsydra has soon achieved the mythological status of collective hallucination, developed in the circle of sensitive minds who were in search of refuge from the hostile reality.
Renata Poljak is a prominent Croatian mid-generation artist working mostly in the media of video, film, photography and installation. Poljak’s work refers to both local and global political, economic and social phenomena.
At the Salon of the Museum of Contemporary Art, Renata Poljak will present two video works, “Partenza” (2016) and “Yet Another Departure” (2018). “Yet Another Departure” is a three-channel video installation that will premiere on this occasion. Since Poljak often uses documentary and archival materials for production of her works, and also particular phenomena she tries to isolate and transform into complex and intriguing motifs, these two videos are formally and symbolically concerned with the notion of “island” that the artist aims to examine through understanding of the ontological position of a site in relation to the rest of the world.
Born in 1982 in Offenburg, he has studied in Münster and Brussels, and since 2011 is based in Berlin. His murals can be found in many places, such as Jerusalem, Mexico City or Saint Petersburg. His works have been shown by numerous institutions and galleries, the Museum Kunsthalle Wilhelmshaven, the Museum Weserburg, Bremen or the Freiburger Kunstverein. Together with Sophia Hirsch he was awarded the jury price of the Berliner Kunstverein, in 2013.
Exhibition “Single Frames” is realized through Street Art Residencies platform of Association Elektrika, under editorial steering of Vladimir Palibrk. Street Art Residencies project is implemented through funding by Ministry of Culture of Republic of Serbia and Institut Francais Serbie.
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