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Paris / 2026
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Montpellier, France / 2025
MO.CO. Montpellier Contemporain / Ivana Bašić

After a season dedicated to contemporary figurative painting in France, followed by an exploration of the links between art and literature, MO.CO. Montpellier Contemporain is presenting three exhibitions this spring across its two art centers that delve into the relationships between art and science. This theme resonates with the history of the city of Montpellier, which has played a major role in education, the dissemination of knowledge, and scientific research.
Metempsychosis by Ivana Bašić takes the form of a rite of passage, a spatial journey that questions the material and metaphysical boundaries of humanity.
Featuring more than twenty works, the exhibition brings together sculptures, drawings, video, and a seven-meter-long robotic altarpiece. The experience invites the audience on a surreal journey where the dissolution of bodies and the material world is not seen as a loss, but as the emergence of radical potential.
The works of Ivana Bašić, born in 1986 in Yugoslavia, are strongly influenced by the experience of war, violence, and brutality that, following the collapse of her native country, ended up marking her childhood. Certain ontological obsessions then become urgent: the frangibility of the human condition; the crisis of the Self and the Other; the possibility of reimagining life and death; the quest for immortality. Bašić’s hybrid bodies propose metamorphosis as a substitute for escape, whether on an individual or collective scale: when there is nowhere left to hide, can transformation be the solution ?
At nearly human-scale, each of Bašić’s sculptures is made from a variety of materials — wax, glass, bronze, stainless steel, and alabaster—which together construct the artist’s symbolic and material language. Her forms evoke uterine fluids and insect bodies. These figures are simultaneously violent and tender, evoking both subterranean and invisible primordial forces.
The title of the exhibition refers to its central piece, the seven-metre-long Passion of Pneumatics (2024), which takes inspiration from images of the Italian Renaissance and the depiction of the Immaculate Heart of the Virgin Mary. Here, the sunbeams of the Immaculate Heart are replaced by pneumatic hammers that progressively pound a stone, attempting to reduce the heart of the sculpture to dust.
Using the force of compressed air, the repetitive movements of the hammers are synchronised with the cadence of the artist’s breathing, evoking the Gnostic idea of Pneuma, which stands for both “breath” and “spirit” in Greek. In Gnostic teachings, the Pneumatics represented the highest order of beings—those fuelled by the spirit, the “breath of life”—that transcend the purely materialistic realm.
Ivana Bašić’s work has recently been presented in exhibitions at the Schinkel Pavillon, Berlin (2024), Lafayette Anticipations (2023), National Gallery, Prague (2021), Museum of Art+Design, Miami (2020), Het HEM, Amsterdam (2020), and Contemporary Art Museum Estonia, Tallinn (2019). Ivana Bašić’s works are part of the permanent collection of the Whitney Museum, New York. The artist lives and works in New York.
Metempsychosis follows an initial presentation held in the summer of 2024 at the Schinkel Pavillon in Berlin and will be completed by new works produced for this reimagined reconfiguration in Montpellier.





























